• Journal of Korea Society of Industrial Information Systems
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• v.19 no.5
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• pp.9-14
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• 2014

Recently, various contents using human motion are developed in computer vision and game industries. If we try to apply human motion to application programs and contents, users can experience a sense of immersion getting into it so that the users feel a high level of satisfaction from the contents. In this research, we analyze human head motion using images captured from an webcam and then we apply the result of motion recognition to a game without special devices as an interface. The proposed method, first, segments human head region using an image composed of MHI(Motion History Image) and the result of skin color detection, and then we calculate the direction and distance by the MHI sequence. In experiments, the proposed method for human head motion recognition was tested for controlling a game player. From the experimental results we proved that the proposed method can make a gammer feel more immersed into the game. Furthermore, we expect the proposed method can be an interface of a serious game for medical or rehabilitation purposes.

• Journal of the Korea Computer Graphics Society
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• v.15 no.4
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• pp.31-40
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• 2009

Captured motion data is widely used today in a variety of areas including film production, game development, sports analysis, and medical rehabilitation. The ability of analyzing and processing motion data has increased rapidly for last decades. However, it is still difficult for users to quickly understand the contents of motion data consisting of a series of time-varying poses. One typical approach is to visualize consecutive poses in sequence while adjusting three-dimensional view, which is often time-consuming and laborious especially when users need to repeatedly control time and view in order to search for desired motions. We present a method of visualizing motion data as a sequence of images in comic book layout so that users can rapidly understand the overall flows of motion data, and easily identify their desired motions. The usefulness of our approach is demonstrated by visualizing various kinds of motion data including locomotion, boxing, and interaction with environments.

• Journal of Internet Computing and Services
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• v.4 no.4
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• pp.9-14
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• 2003

A GUI (graphical user interface) has been a dominant platform for HCI (human computer interaction). A GUI - based interaction has made computers simpler and easier to use. The GUI - based interaction, however, does not easily support the range of interaction necessary to meet users' needs that are natural. intuitive, and adaptive. In this paper, the modified BMA (block matching algorithm) is proposed to track a hand in a sequence of an image and to recognize it in each video frame in order to replace a mouse with a pointing device for a virtual reality. The HCI system with 30 frames per second is realized in this paper. The modified BMA is proposed to estimate a position of the hand and segmentation with an orientation of motion and a color distribution of the hand region for real - time processing. The experimental result shows that the modified BMA with the YCbCr (luminance Y, component blue, component red) color coordinate guarantees the real - time processing and the recognition rate. The hand tracking by the modified BMA can be applied to a virtual reclity or a game or an HCI system for the disable.

• The Journal of the Korea Contents Association
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• v.8 no.1
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• pp.212-227
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• 2008

Since 3D face can be rotated freely in 3D space and illumination effects can be modeled properly, 3D face modeling Is more precise and realistic in face pose, illumination, and expression than 2D face modeling. Thus, 3D modeling is necessitated much in face recognition, game, avatar, and etc. In this paper, we propose a 3D face modeling method based on 3D morphable shape modeling. The proposed 3D modeling method first constructs a 3D morphable shape model out of 3D face scan data obtained using a 3D scanner Next, the proposed method extracts and matches feature points of the face from 2D image sequence containing a face to be modeled, and then estimates 3D vertex coordinates of the feature points using a factorization based SfM technique. Then, the proposed method obtains a 3D shape model of the face to be modeled by fitting the 3D vertices to the constructed 3D morphable shape model. Also, the proposed method makes a cylindrical texture map using 2D face image sequence. Finally, the proposed method builds a 3D face model by rendering the 3D face shape model with the cylindrical texture map. Through building processes of 3D face model by the proposed method, it is shown that the proposed method is relatively easy, fast and precise than the previous 3D face model methods.

• Cartoon and Animation Studies
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• s.28
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• pp.125-153
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• 2012

This study is regarding what motion modality has influences on aspects of genre and media. Nowadays, motion modality becomes an element which is actively manipulated in live actions as well as animations. And, it has been generally accepted that a strategy on manipulation of motion depends on matters of genre or medium. As respected, can we say the premise is correct? if it is, can we refine the premise more theoretically, without using the words, 'genre' or 'media' which have not been are not been defined on an academic aspect. I intend to discuss on this issue. I will speculate the issue of manipulation of motion modality on theoretical bases. According to McLuhan's hot/cool media theory and Bolter's oscillation theory, the effect of it turns out to be same as manipulation of sentience ratio of media readers, and the ideal result will be examined by an example analysis. In the analysis, I will explore what effects manipulation of motion has on several examples. Then, by examining what kind of correlation these effects has with media/genre positioning, I ultimately will evaluate the genre/medium-based determinism of motion modality, which is represented by a typical premise like "Animation is most realistic when it has the most animation-like movement." Conclusively I suggest a refined premise like the following. Modality of motion is a strategy depending on issues of genre, with no regard to issues of medium, and the issue of genre is a category which is positioned considering mixture ratio of sentience. With this reason, A strategy of modality of motion depends to sentience a certain sequence needs. So, motion modality becomes a strategy which has to be approached in functionality of genre rather than economic values which spring from technical devices like a motion capture.

• Cartoon and Animation Studies
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• s.23
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• pp.1-17
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• 2011

The paper analyzed the metaphoric expressions appeared in whose cinematic quality has been subjectively recognized on the global stage by winning the Oscar for Best Animated Short Film. Many contents and visual effects of the film were expressed with metaphor. Story and sequence were analyzed through the language system-based 'Conceptual Metaphor Analysis Framework'. In addition, characters have been analyzed through the 'Visual Metaphor Analysis Framework'. The framework is to analyze visual dimensions which are derived when concepts are structuredin animation. This paper has attempted to investigate and reveal patterns how animation self-organizes or how animation self-realizes through linguistic objectives. That is, it is to reveal how animation communicates with the audience from the metaphoric perspective among many conventional ones. In an animated film, metaphor is a fundamental means to connect fragmented images, produce a holistic view and therefore induce creative communication with the audience. The essential motive of metaphor which is expressed in various styles in is modern people's feeling of loss and sense of missing something. Train, bottle top, food, lost-and-found center, in-between space and lost items have significance across the movie. According to an analysis, metaphor offers simplicity and freshness as an aesthetic function. In addition, the metaphor expresses lengthy contents and various meanings implicitly, delivering an economic function. With a creative function, metaphor is a tool to generate new meanings. In other words, an animated film is a medium to inspire and move the general public as a means of communication and thinking, not just an entertainment for young generations. After all, metaphoric expressions have been used to deliver diverse and deep meanings in animated films.

• The Journal of Korean Institute of Communications and Information Sciences
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• v.31 no.8A
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• pp.820-829
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• 2006

IP-based design methodology has been popularly employed for SoC design to reduce design complexity and to cope with time-to-market pressure. Due to the request for high performance of current mobile systems, embedded SoC design needs a multi-processor to manage problems of high complexity and the data processing such as multimedia, DMB and image processing in real time. Interface module for communication between system buses and processors are required, since many IPs employ different protocols. High performance processors require interface module to minimize the latency of data transmission during read-write operation and to enhance the performance of a top level system. This paper proposes an automatic interface generation system based on FSM generated from the common protocol description sequence of a bus and an IP. The proposed interface does not use a buffer which stores data temporally causing the data transmission latency. Experimental results show that the area of the interface circuits generated by the proposed system is reduced by 48.5% on the average, when comparing to buffer-based interface circuits. Data transmission latency is reduced by 59.1% for single data transfer and by 13.3% for burst mode data transfer. By using the proposed system, it becomes possible to generate a high performance interface circuit automatically.

• The Journal of the Korea Contents Association
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• v.17 no.1
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• pp.634-661
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• 2017

This study examines the procedure of successful novel adaptation. It is well known from precedent studies that narrative structure of novels should change forms to suit the media characteristics of films. But, the changing forms of narrative structure is not a sufficient condition of successful novel adaptation, but a necessary condition. A successful adaptation could be completed with filmic expressions on the presented narrative structure. The core of filmic expression is cinematic language which means the composition and array of image and sound. The novel, Kirishma Thing deals with everyday life of high school students and it consists of six stories which are narrated by one student each in first person point of view. The film, Kirishma Thing implemented a different strategy. It reveals the same events several times to show many characters over in each person's point of view in the first half. In the second half, all the characters gathers at the rooftop of the school to have an unilinear narrative structure over one event. This film utilize all kinds of cinematic language to achieve these structures including the widescreen aspect ratio which exposes as many characters as possible in one shot, picture composition which shows the same event in a different point of view, contrast in lighting and music which differentiates and empowers the last sequence of the film.

• Journal of Korea Entertainment Industry Association
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• v.15 no.8
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• pp.145-159
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• 2021

is a contemporary experimental film that forms ambiguity in the narrative and the psychological motivation of the characters, destroys linear temporality, and reminds of manipulation possibilities in digital images through varied techniques, and it carries implication by the fact that the transformation process of human subjects and self-awareness are connected to social trauma and makes way to infer by comparing it to the historical contexts of other nations or societies. centers on the space outside the screen, absent space, and the intrinsic meaning within the space and the frame and shares the information in the visible space and the space outside the screen and arouses an active perceptual process so that the audience can deduce the information that is not presented. The film visualized the historical meaning without describing the background of the times in detail and aimed to express the conflicts and worries between the god, a transcendental existence, with humans, which are marginal beings, within the conflicting structure among humans. Moreover, attempted to resolve the sadness of loss and absence through the spatial aesthetics and the film presented the progression of the situation through the contrast of the characters and also the comparison between light and darkness. This study intends to make an attempt of interpreting the realm involving personal (characters) stories and the social and historical backgrounds together with the religious sphere and discuss the visualization of the semantic context. In addition, this study analyzed the sequence of the scenes in , which reconstructs identity and historical cases and religious values to observe the meaning and characteristics and closely analyze the general meaning pursued by the film. discussed the issues of trauma that individuals, regions, and nations confront as a representation and interpretation of the trauma connoted in the film, and consideration can be provided about the implication concerning the situation and context in South Korea. Furthermore, the film placidly discusses the growth and agony in humans and the society without expressing it excessively, so it will be a valuable research result to inspire the trend of creating films that incorporate new imaging technology and original visualization techniques.