The phrase "audiovisual problems" is correct and usable in written English.
It can be used when discussing issues related to both audio and visual components, such as in presentations, media, or technology.
Example: "The team encountered several audiovisual problems during the live broadcast, which affected the viewer experience."
Alternatives: "audio-visual issues" or "multimedia problems".
The works of Fagel[22] and Mattheyses et al.[16] share some common characteristics with ours, since they address the audiovisual synthesis problem as one of concatenating units that combine acoustic and visual information.
This integration permits to address the FG sleeping problem: an audiovisual pattern can remain an actual foreground even if one of the components (audio or video) becomes BG.
The problem of audiovisual coherence is quite important: human interlocutors are very sensitive to discrepancies between the visible and audible consequences of articulation [10, 11] and have expectations on resulting audiovisual traces of the same underlying articulation.
A useful handbook covering many aspects of classroom communication, including verbal and nonverbal communication, structuring your presentation, using audiovisual aids, and dealing with common problems.
To cope with these problems, we devise an audiovisual integration method for beat-tracking.
Several authors describing the PBL process include descriptions of additional structured educational activities and sources of guidance such as references, audiovisual aids and lectures relevant to the problem as scaffolds to enhance student learning (Ertmer and Simons 2006; Saye and Brush 2002; Simons and Klein 2007; Taylor and Miflin 2008).
To solve these problems, this paper presents a particle-filter-based audiovisual beat-tracking method for guitar playing.
The prime minister has been seeking to include the audiovisual industry in a free trade agreement to avoid the problem, but her pleas have been ignored.
The proposed technique overcomes the problems of asynchrony and incoherence inherent in classic approaches to audiovisual synthesis.
Section 2 discusses the problems with guitar beat-tracking, and Section 3 presents our audiovisual beat-tracking approach.
