• Proceedings of the Korean Society of Computer Information Conference
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• 2017.01a
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• pp.189-190
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• 2017

인공망막의 효율성을 높이기 위해 생물학적 인간의 시각정보과정에 여러 연구가 진행 중이다. 인간의 시각정보처리과정에는 시각정보를 축약하는 특성을 가지고 있다. 본 논문에서는 인간의 시각체계를 기반으로 영상 자체를 인식하지 않고 정보를 압축한 후 복원된 영상에 대한 인식 모델을 제안하고자 한다. 실험결과, 제안된 인식 모델과 일반적 인식모델과의 차이가 없음을 알 수 있었다.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.20 no.3
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• pp.400-406
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• 2019

This study will explore the reenactment of visual special effects used in TV dramas. The subjects of the study are images that are reproduced in visual special effects through and . Accordingly, we looked at the changes in the way TV dramas were produced according to the times, and looked at the changes in the market. Also, we looked at cases of visual special effects of Korean dramas, and looked at expressions according to the degree of completion of visual special effects. For the purpose of the analysis of the research targets, the images of reproducibility and the flow through reality were analyzed. In the case of , the period setting is realistic, but visual special effects were used to maximize the actor's safety and expression, and in the case of , the visual effects were used to maximize the aesthetic of the period background. In addition, it can be seen that the visual special effects were used for the effect of PPL on the export of images. This shows that the emphasis of reality and image montage techniques are being used to pursue hyperrealism. It is now possible to actively express and use the beauty of TV dramas rather than technical limitations. In addition, the pursuit of realism can actively express the changing times of digital age. This is an active representation of the camera's angle, lighting, and perspective that coincides with the background. The environment of video production is crucial for realistic expressions. The study examined various visual directions and applications. In TV images, we looked at reproduction, which can make a natural period of time by combining. As a follow-up study, we are going to study the changes in the new quadratic image based on the present image representation.

• The Journal of the Korea Contents Association
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• v.7 no.11
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• pp.150-157
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• 2007

The image calls forth the curiosity of the children. children experience the many thing through the image and it makes children to study naturally. Specially, the animation socializes children and it plays an important role in form of a self-identity. The gender-identity reappearance of the animation character is important. Gender-identity reappearance type of the animation character is able to classify with the reappearance type of visual information and the narrative. The narrative reappearance type does more clearly visual information reappearance type. Also classifying the gender-identity of animation character aspects into each type, they are; gender stereotype that character reflects the conservative and commercial ideology; gender non-stereotype that character doesn't reflect gender stereotype. But reappearance of the gender non-stereotype character as well, it is stopping in the exaggeration or the caricature of gender role of the character. Consequently the animation characters must be reappeared with the character which have the future oriented gender identity-as one human being that forms a value subjectively. The animation which reappears the future oriented gender-identity plants a proper self-perception and gender role in children and relaxes the traditional gender-identity which is already acquired.

• Cartoon and Animation Studies
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• s.13
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• pp.83-96
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• 2008

Digital production method in animation has enabled us to reconstruction the real world in the way we had sought in visual all. However, spectator's visual desire is not satisfied with mere photographic visual reconstruction. It demands traditional picturesque qualify with involves a great deal of contingencies and errors. Naturally, Digital film technology has also sometimes tried to simulate analogue technique such as hand drawing so on. This is not caused by nostalgia, but by recursive instinct. The spectator's visual desire for media doesn't remain only precision of real world but require mental demand on successive visual and perceptive errors while repealing ripeness of new media and going through perception and recognition. This spectator's desire and visual art technology pursuits variously its visual perfection in history.

• Journal of the Institute of Electronics Engineers of Korea SP
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• v.38 no.3
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• pp.11-11
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• 2001

일반적 칼라 출력 장치는 제한된 범위의 색만을 재현 할 수 있다. 특히 프린터와 같이 색의 재현성이 부족한 장비에서는 하드웨어 특성에 따른 채색 면적이나 인쇄에 사용되는 용지의 특성에 따라 염료의 확산 등에 대해서도 고려해야 한다. 특히, 색을 프린트하기 위해서는 출력 과정에서 색의 선형적인 증가와 감소가 이루어져야 하며 또한 정확한 색의 모델링이 가능하여야 한다. 따라서 본 논문에서는 이를 위해 프린터 출력시 실제 채색 면적과 시각적 색감을 고려할 수 있는 디더링 방법을 제안한다. 제안된 방법은 실제 채색 면적을 고려한 패턴 데이터 베이스를 만들어 이를 디더링 패턴으로 이용하게 된다. 그리고 이 데이터 베이스에서 정확한 패턴을 선택하기 위해서는 인간시각의 색 인지력을 모델링한 대조 민감도 함수를 사용하게 된다. 따라서 본 논문에서는 저해상도의 칼라 출력장치에서도 고화질의 색을 재현할 수 있게 해준다.

• Proceedings of the Korean Information Science Society Conference
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• 2000.10b
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• pp.419-421
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• 2000

정확한 색 재현(Color Reproduction)을 위해서 영상 입력 장치(Image Input Device)의 조명색(Illuminant Color)에 따른 영상 변화를 분석하는 것은 중요하다. 영상 입력 장치는 피사체(Object)를 비추는 조명의 색 특성에 따라 영상을 생성한다. 이는 인간 시각 시스템(Human Visual System)이 가지는 색 불변성(Color Constancy)과는 다른 특성이며, 정확한 색 재현을 위해 필요한 색 실현 모델(Color Appearance Model)이 영상을 변환하는데 문제점으로 작용한다. 따라서, 영상 입력 장치가 생성하는 영상으로부터 조명 정보를 분석하여 인간 시각 시스템의 색 불변성을 재현할 필요가 있다. 본 논문에서는 영상의 조명 정보를 평가하기 위해 채도(Chroma)가 높은 기준 색 샘플들의 rgb 색도를 이용하여 색도 평면에 색도 다각형(Chromaticity Polygon)을 구성하고 영상의 모든 픽셀들의 rgb 색도 분포와 기준 색 샘플들의 색도 다각형간의 포함 관계에 따라 조명 정보를 평가한다.

• Proceedings of the KIEE Conference
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• 2005.07d
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• pp.2947-2949
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• 2005

본 연구의 목적은 전자파에 노출되었을 경우와 노출되지 않았을 경우의 시각 자극(광자극)에 의해 발생하는 뇌파를 분석하여, 전자파가 광자극 전과 광자극 후의 시각인식에 미치는 영향을 규명하는 것이다. 암순응 시킨 피험자에게 신호의 주파수가 약 900MHz이고, 세기가 약 13dBm인 전자파에 노출되었을 경우와 노출되지 않았을 경우로 구분하여, 광인식시에 발생하는 뇌파를 계측, 분석하였다. 본 연구에서 제안한 해석방법을 이용하여 뇌파를 분석한 결과, 인체가 전자파에 노출되었을 때 시각인식에 기인하여 나타나는 뇌파 변화의 현상 중 $\alpha$-blocking 시점이 지연되는 것을 확인하였다.

• Archives of design research
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• v.15 no.2
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• pp.187-196
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• 2002

This article is a study on modern wall painting of Korea. The system of wall paintings in Korea is studied in the first chapter. It contains the function, the painters'peculiar character, the psychological basis and the subjects of wall painting. The most popular subjects are the Lee dynasty's folk custom and visual symbols of this period. The second chapter sees the study of these subjects in Lacan's psychoanalytic view. The representation of Lee dynasts custom in this post modern society reveal that the Korean lives in the realm of the imaginary in visual level. That is the projection of their desire to be in the perfect community which is believed to be existed in Lee's dynasty. However the visual circumstance in Korea is the symbolic which is constructed of the Western symbols. This visual confliction reveals Korean Habitus and the lack of independent visual expression method. For conclusion, it is proposed that the relation of Korean Habitus and design must be studied to create proper visual circumstance.

• Journal of the Korean Institute of Landscape Architecture
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• v.41 no.2
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• pp.1-10
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• 2013

This paper aims to make an aesthetic inquiry into representing modes of wilderness in western films. The western film was the first genre in earnest about natural landscape, covering vast areas of America from the East to the West. It adopted representative modes suited to physical characteristics of landscapes which produced aesthetic characteristics. In western films, wilderness was represented at a distance from the camera lens as a setting and an object of contemplation. In eastern forest landscapes, western films adopted the visual model of Hudson River School's landscape painting which expressed the transcendental sublime. The western semiarid region reproduced the warrior's gaze shot from a high angle, and, in this visual mode, wilderness was expressed as a demonic landscape derived from Burke's definition of the sublime. On one hand, the western desert was represented as a place of hardship shot at a low angle which expressed the vastness, unevenness and limitlessness of the desert owing to the absence of horizon. On the other hand, the mesas of Monument Valley have sublime characteristics of size and time. In western films, they play the role of an emblem by rising from the limitless desert on the horizon. The prospect-refuge relationship, the desire to see without being seen, is discovered in the representative mode of wilderness in western films. In this context, this study hopes to discover the archetype of landscape representation.

• Cartoon and Animation Studies
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• s.42
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• pp.25-52
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• 2016

Animation documentary is a hybrid genre that is newly highlighted with opposite properties. The actual world is reproduced with an unrealistic method in documentary aspect, but the objectivity of documentaries cannot be guaranteed as the boundary of actual pictures and digital images has become ambiguous. As the animation documentary by Ari Folman succeeded in 2008, the focus of this study is on 'how can fictional animations prove the authenticity of documentaries?' in which the study is mainly conducted in documentary aspect. For this, the researcher considers visual style research has important role in understanding and developing a new video genre, and asserts the necessity of research on reproduction image that is produced by the characteristics of animation which is produced in frame units. This paper has contents on the visual style of animation documentaries with pictorial reproduction methods in which animation images were classified into 3 styles based on previous research on animation documentary style. Visual styles are classified into actual image that is based on similarity with reality to deliver objective facts, image that is transformed through emphasis and omission which are factors of animations, and surrealistic image that reproduces non-visual regions such as illusions and the inner side of characters. Through this study that analyzes visual style types and characteristics, animation documentaries are expected to position as a hybrid genre that illustrates reality with a new method instead of being included in the existing reproduction method of documentaries.