• Proceedings of the Korea Contents Association Conference
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• 2006.11a
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• pp.831-835
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• 2006

Motion capture means the recording of movement of objects such as human beings, animals, creatures, machines, etc in a form applicable to computer. Since the motion capture system can be introduced to the fields where realistic movement of human beings and animals, which cannot be attained with an existing key frame method is required, large scale is necessary or economical burden exists, it has a merit and possibility of new expression. For these reasons, this method is increasingly used in the field of digital entertainment such as movie, TV, advertisement, documentary, music video, etc centering around the game. However, in spite of such an advantage, problems such as too much advance preparation work in digital image expressions using motion capture, marker attachment, compensation of motion data, motion retargeting and lack of professional human resources, etc. are becoming a prominent figure. Accordingly, this study intends to suggest the way of more effective production of motion capture digital image through finding the problems and their draft possible solutions in the production process based on the image production examples using motion capture.

• Journal of Korea Multimedia Society
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• v.2 no.3
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• pp.347-354
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• 1999

Image sequence is compressed and stored as the unit of frame in computer, and reconstructed with desired quality according to several applications. In some cases specific parts are more important than other parts within a frame and these important parts must be reconstructed with high quality compared with the other parts and several schemes are suggested for such application and these schemes need to separate the important parts from a given frame, and also the syntax of shape, texture, and motion information must be defined for important parts and the other parts. But syntax rule in H.261, MPEG1 or MPEG2 is not suitable for our application because the syntax rules in the existing scheme can not express shape information for separating the important regions from each frame. So we propose a new syntax rule which represents the shape, texture and motion information in the circumstances where specific important parts exist in a frame.

• Journal of KIISE:Computer Systems and Theory
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• v.34 no.12
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• pp.665-682
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• 2007

Line drawing is a widely used style in non-photorealistic rendering because it generates expressive descriptions of object shapes with a set of strokes. Although various techniques for line drawing of 3D objects have been developed, line drawing of 2D images has attracted little attention despite interesting applications, such as image stylization. This paper presents a robust and effective technique for generating line drawings from 2D images. The algorithm consists of three parts; filtering, linking, and stylization. In the filtering process, it constructs a likelihood function that estimates possible positions of lines in an image. In the linking process, line strokes are extracted from the likelihood function using clustering and graph search algorithms. In the stylization process, it generates various kinds of line drawings by applying curve fitting and texture mapping to the extracted line strokes. Experimental results demonstrate that the proposed technique can be applied to the various kinds of line drawings from 2D images with detail control.

• The Journal of the Korea Contents Association
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• v.7 no.5
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• pp.85-93
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• 2007

The motion capture system has shown its great potential as a new image expression means for handling such challenging tasks as realistic animation of humans or animals in motion, which cannot be handled by the existing key frame method satisfactorily, and also projects involving a large scale or a burdensome economic expenses. Its applications also has been intensified and widened in the entertainment arena including motion pictures, TV, advertisements, documentaries, music videos, etc. centering around games. Despite of these merits, though, a number of issues have been surfaced in the digital image expression utilizing the motion capture system, such as a burdensome amount of preparatory work, the needs for attachment of markers and for remedial corrections of motion data, and the lack of trained manpower. We would like to present in this paper a new direction for making the digital image production more efficient, based on the extensive analysis of prior image production projects that used the motion capture system.

• The KIPS Transactions:PartB
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• v.15B no.5
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• pp.391-396
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• 2008

Motion of object in a video clip often plays an important role in characterizing the content of the clip. A number of methods have been developed to analyze and retrieve video contents using motion information. However, most of these methods focused more on the analysis of direction or trajectory of motion but less on the analysis of the movement of an object itself. In this paper, we propose the shape sequence descriptor to describe and compare the movement based on the shape deformation caused by object motion along the time. A movement information is first represented a sequence of 2D shape of object extracted from input image sequence, and then 2D shape information is converted 1D shape feature using the shape descriptor. The shape sequence descriptor is obtained from the shape descriptor sequence by frequency transform along the time. Our experiment results show that the proposed method can be very simple and effective to describe the object movement and can be applicable to semantic applications such as content-based video retrieval and human movement recognition.

• The Journal of The Korea Institute of Intelligent Transport Systems
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• v.17 no.5
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• pp.151-159
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• 2018

Recently, stereoscopic technology has become a potential for blue ocean as a new growth power industry, and interest in it has been steadily increasing with the development of virtual and augmented reality technologies. Various methods such as binocular parallax and polarized glasses have been developed and used for stereoscopic image expression, but they have limitations such as eye damage, headache, crosstalk and resolution degradation. In this paper, we present a new method of stereoscopic image representation that can overcome the limitations and verify its applicability through basic experiments for object extraction and real - time image representation.

• Journal of the Korea Society of Computer and Information
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• v.10 no.3 s.35
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• pp.55-64
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• 2005

The avatar can be used as an auxiliary methodology of text and image communications in cyber space. An intelligent communication method can also be utilized to achieve real-time communication, where intelligently coded data (joint angles for arm gestures and action units for facial emotions) are transmitted instead of real or compressed pictures. In this paper. for supporting the action of arm and leg gestures, a method of generating the facial expressions that can represent sender's emotions is provided. The facial expression can be represented by Action Unit(AU), in this paper we suggest the methodology of finding appropriate AUs in avatar models that have various shape and structure. And, to maximize the efficiency of emotional expressions, a comic-style facial model having only eyebrows, eyes, nose, and mouth is employed. Then generation of facial emotion animation with the parameters is also investigated.

• The KIPS Transactions:PartA
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• v.14A no.3 s.107
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• pp.151-158
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• 2007

Quadtree, which is a hierarchical data structure, is a very important data structure to represent images. The linear quadtree representation as a way to store a quadtree is efficient to save space compared with other representations. Therefore, it has been widely studied to develop efficient algorithms to execute operations related with quadtrees. The computation of block location is one of important geometry operations in image processing, which extracts a component completely including a given block. In this paper, we present a constant time algorithm to compute the block location of images represented by quadtrees, using three-dimensional $n\times n\times n$ processors on RMESH(Reconfigurable MESH). This algorithm has constant-time complexity by using efficient basic operations to deal with the locational codes of quardtree on the hierarchical structure of $n\times n\times n$ RMESH.

• The KIPS Transactions:PartA
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• v.10A no.3
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• pp.207-214
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• 2003

Quadtree, which is a hierarchical data structure, is a very important data structure to represent binary images. The linear quadtree representation as a way to store a quadtree is efficient to save space compared with other representations. Therefore, it has been widely studied to develop efficient algorithms to execute operations related with quadtrees. The linear translation is one of important operations in image processing, which moves the image by a given distance. In this paper, we present an algorithm to perform the linear translation of binary images represented by quadtrees, using three-dimensional $n{\times}n{\times}n$ processors on RMESH (Reconfigurable MESH). This algorithm has constant-time complexity by using efficient basic operations to route the locational codes of quardtree on the hierarchical structure of n${\times}$n${\times}$n RMESH.

• Journal of Digital Convergence
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• v.19 no.7
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• pp.349-358
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• 2021

In the 1980s, the rapid development of Hong Kong genre films began the myth of Hong Kong's New Wave films, which had a profound impact on Taiwanese films of the same period. Later, two leading film directors, Hou Xiaoxien and Edward Yang, appeared in the process of being influenced by Taiwanese film Ganyu Wave. In this paper, we conducted research on the art style, theme style, film language, and aesthetic narrative methods of films of Hou Xiaoxien and Edward Yang against the backdrop of Taiwan's New Wave era. In addition, the visual characteristics of Taiwan's New Wave films, and the two directors have drawn suggestions on Taiwan's new generation of directors and the Taiwanese film industry, and presented a colorful film creation scheme for the creation and innovation of the new generation of filmmakers.