Demo Data from VLDB 2026 / reviewers in the wild / expert
David Isherwood
dblp:06/6887
· DBLP profile ↗
2ranked-venue papers
0as first author
0since 2021 · last 2005
—ORCID · none
Domains — the database's venue-derived domains; a paper can count in several
Graphics, computer vision, multimedia, augmented reality and games · 2
Expertise — from the expertise taxonomy: the topics of the expert's papers under the CCF categories. A weight counts papers with recency: 1 for a paper about the topic, 0.3 when the topic is its context, halved every five years.
| Computer graphics and multimedia
1 paper |
Image and video coding · 50% Multimedia systems and quality of experience · 50% |
Topics — the 2 heaviest of 2, each with the papers that count most for it
| Topic | Weight | Papers | Last | Evidence papers |
|---|---|---|---|---|
Multimedia systems and quality of experience › multimedia streaming
music streaming |
0.0 | 1 | 2003 | Content-based UEP: a new scheme for packet loss recovery in music streaming · ACM Multimedia 2003 |
Image and video coding › error resilience
packet loss recovery |
0.0 | 1 | 2003 | Content-based UEP: a new scheme for packet loss recovery in music streaming · ACM Multimedia 2003 |
Methods — techniques the papers use, named apart from their topics
unequal error protection · 0.0forward error correction · 0.0
| Year | Publication | Venue | Position |
|---|---|---|---|
| 2005 | Toward bandwidth-efficient and error-robust audio streaming over lossy packet networks
Jari Korhonen, Ye Wang 0007, David Isherwood |
Multim. Syst. | 3 |
| 2003 | Content-based UEP: a new scheme for packet loss recovery in music streamingabstractBandwidth efficiency and error robustness are two essential and conflicting requirements for streaming media content over error-prone channels, such as wireless channels. This paper describes a new scheme called content-based unequal error protection (C-UEP), which aims to improve the user-perceived QoS in the case of packet loss. We use music streaming as an example to show the effectiveness of the new concept. C-UEP requires only a small fraction of the redundancy used in existing forward error correction (FEC) methods. C-UEP classifies every audio segment (e.g. an encoding frame) into different classes to improve encoding efficiency. Salient transients such as drumbeats and note onsets are encoded with more redundancy in a secondary bitstream used to recover lost packets by the receiver. Formal perceptual evaluations show that our scheme improves audio quality significantly over simple muting and packet repetition baselines. This improvement is achieved with a negligible amount of redundancy, which is transmitted to the receiver ahead of playback. Ye Wang 0007, Ali Ahmaniemi, David Isherwood, Wendong Huang |
ACM Multimedia | 3 |