• Journal of Advanced Navigation Technology
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• v.14 no.3
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• pp.452-458
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• 2010

In case of an embedded system with computing resource restrictions such as system power and cpu, the overhead due to displaying data on the computer screen may have a significant influence on the system performance. This paper describes an initialization method for LCD-driving components such as an ARM Core, an LCD controller, and an SPI(serial peripheral interface). It also introduces a pixel display function and a panel display method using virtual screen for reducing the display overhead for an LN2440SBC system with an ARM9-based S3C2440A microprocessor. A virtual screen is a large space of computer memories allocated much larger than those needed for one-time display of an image. Displaying a specific region of a virtual screen is done by assigning it as a view-port region. Such a display is useful in an embedded system when concurrently running tasks produce and display their respective results on the screen; it is especially so when the execution result of each task is partially modified, instead of being totally modified, on its turn and displayed. If the tasks running on such a system divide and make efficient use of the region of the virtual screen, the display overhead can be minimized. For the performance comparison with and without using the virtual screen, two different images are displayed in turn and the amount of time consumed for their display is measured. The result shows that the display time of the former is about 5 times faster than that of the latter.

• Proceedings of the Korea Information Processing Society Conference
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• 2009.04a
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• pp.639-642
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• 2009

LN2440SBC 임베디드 보드는 ARM 코어 방식의 S3C2440A CPU를 가진 임베디드 컴퓨터 시스템이다. 이 시스템에 부착한 터치스크린 기능을 가진 TFT LCD 키트인 LP35의 구동을 위해서는 ARM 코어, LCD 컨트롤러, 그리고 LCD 장치와의 통신을 위한 SPI(serial peripheral interface)의 초기화와 LCD 화면에 이미지, 선, 도형 같은 것들의 출력을 가능하게 해주는 그래픽스 라이브러리 함수들이 필요하다. 본 논문은 이같은 기능들을 가지는 LP35를 위한 드라이버의 구현 방법을 기술한다. 특히, 드라이버 구동을 위한 초기화 방법과 화면 출력 기능들의 구현을 위해 필요한 픽셀 디스플레이 함수의 구현에 중점을 두어 설명한다. 또한 픽셀 디스플레이 함수를 이용한 기본 그래픽스 라이브러리 함수들에 대해 설명한다. 드라이버의 초기화를 위해서는 클럭 속도 설정, 범용 입출력 핀(GPIO)을 LCD와 SPI 용으로의 할당. SPI의 마스터/슬레이브 및 보오 레이트 설정, LCD 컨트롤러 레지스터 설정을 통한 LCD 기능 선택. 그리고 SPI를 통한 LCD 장치로의 파워 온(power on) 명령 전달 등이 수행된다.

• Journal of the Korea Institute of Information and Communication Engineering
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• v.10 no.10
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• pp.1767-1772
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• 2006

Computer-generated integral imaging system is an auto-stereoscopic display system that users can see and feel the stereoscopic images when they see the pre-rendered elemental images through a lens array. The process of constructing elemental images using computer graphics is called image mapping. Viewpoint vector rendering (VVR) method is one of the image mapping algorithm specially designed for real-time graphics applications, which would not be affected by the size of the rendered objects or the number of elemental lenses used in the integral imaging system. This paper describes a new VVR framework which improved its rendering performance considerably. It also compares the previous VVR implementation with the new VVR work utilizing GPU and shows that newer implementation shows pretty big improvements over the old method.

• Journal of the Korea Computer Graphics Society
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• v.21 no.1
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• pp.1-11
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• 2015

Researchers have developed virtual reality environments to provide audience with more visually immersive experiences than previously possible. One of the most popular solutions to build the immersive VR space is a multi-projection technique. However, utilization of multiple projectors requires large spaces, expensive cost, and accurate geometry calibration among projectors. This paper presents a novel omnidirectional projection system with a single projector and a single spherical mirror.We newly designed the simple and intuitive calibration system to define the shape of environment and the relative position of mirror/projector. For successful image projection, our optimized omnidirectional image generation step solves image distortion produced by the spherical mirror and a calibration problem produced by unknown parameters such as the shape of environment and the relative position between the mirror and the projector. Additionally, the focus correction is performed to improve the quality of the projection. The experiment results show that our method can generate the optimized image given a normal panoramic image for omnidirectional projection in a rectangular space.

• Cartoon and Animation Studies
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• s.49
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• pp.651-676
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• 2017

Shadow images are a representative medium and means of expression for the imagination that exists between consciousness and unconsciousness for thousands of years. Wherever light exists, people create play with their own shadows without special skills, and have made a fantasy at once. Shadow images have long been used as subjects and materials of literacy, art, philosophy, and popular culture. Especially in the field of art, people have been experimenting with visual stimulation through the uniqueness of simple silhouettes images. In the field of animation, it became to be recognized as a form of non - mainstream areas that are difficult to make. However, shadow images have been used more actively in the field of digital arts and media art. In this Environment with technologies, Various formative imaginations are being expressed more with shadow images in a new dimension. This study is to introduce and analyze these trends, the aesthetic transformations and extended methods focusing on digital silhouette animation and recent media art works using shadow images. Screen-based silhouette animation combines digital technology and new approaches that have escaped conventional methods have removed most of the elements that have been considered limitations, and these factors have become a matter of choice for the directors. Especially, in the display environment using various light sources, projection, and camera technology, shadow images were expressed with multiple-layered virtual spaces, and it becomes possible to imagine a new extended imagination. Through the computer vision, it became possible to find new gaze and spatial images and use it more flexibly. These changes have given new possibility to the use shadow images in a different way.

• Journal of Korea Entertainment Industry Association
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• v.15 no.5
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• pp.45-53
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• 2021

Digital morph expresses the imaginary beyond the representation of reality by expressing the narrative effect characteristically. In particular, the effect of affect can be considered to be a characteristic of digital cinema as a post-cinema. In (2013), Morphing image prominently shows the characteristics of post-cinema. By actively utilizing software technology, this film gives a shocking effect by expressing the magical image. Paying attention to the post-cinematic characteristics of morphing different from classical film, this article treated the characteristics of digital morphing. The digital morphing presents the flow of affect visualizing uncanny phenomenon of body transformation. This evokes concept of neuro-image which Patricia Pisters distinguished the neuropsychiatric pathology that appears actively on the contemporary digital screen. The Neuro-image goes beyond the temporality of Deleuze's time-image presenting future. Allegedly, the morphing of presents the neuro-images when Nina's body changed to hybrid body with black swan. Digital Morphing technique provides a shocking effect, showing delirium when the body bizarrely deformed while dancing ballet. This is different from the attraction of the morphing in film, it expresses the emotion of the neoliberal era beyond representation. In conclusion, the digital morphing presents the neuro-image system modulating the shock. This shows the characteristics of digital film which interacting and controling the shock effect as post-cinema.

• Journal of the Korean Society for Nondestructive Testing
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• v.31 no.2
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• pp.127-133
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• 2011

A LabVIEW program has been developed together with simple infrared thermography(IRT) system to control the lock-in conditions of the system efficiently. The IR imaging software was designed to operate both of infrared camera and halogen lamp by synchronizing them with periodic sine signal based on thyristor(SCR) circuits. LabVIEW software was programmed to provide users with screen-menu functions by which it can change the period and energy of heat source, operate the camera to acquire image, and monitor the state of the system on the computer screen. In experiment, lock-in IR image for a specimen with artificial hole defects was obtained by the developed IRT system and compared with optical image.

• Cartoon and Animation Studies
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• s.49
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• pp.633-649
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• 2017

The purpose of this study is to conceptualize the changing aspects of human freedom of observation and viewing as the visual media evolves from film to 3D stereoscopic film and VR. The purpose of this study is to conceptualize the aspect of freedom and viewing aspect from the viewpoint of genealogy. In addition, I will identify the media aesthetic characteristics of VR and identify the identity and ontology of VR. Media has evolved around the most artificial sense of human being. There is a third visual space called screen at the center of all the reproduction devices centering on visual media such as painting, film, television, and computer. In particular, movies, television, and video screens, which are media that reproduce moving images, pursue perfect fantasy and visual satisfaction while controlling the movement of the audience. A mobilized virtual gaze was secured on the assumption of the floating nature of the so-called viewers. The audience sees a cinematic illusion with a view while seated in a fixed seat in a floating posture. They accept passive, passive, and passively without a doubt the fantasy world beyond the screen. But with the advent of digital paradigm, the evolution of visual media creates a big change in the tradition of reproduction media. 3D stereoscopic film predicted the extinction of the fourth wall, the fourth wall. The audience is no longer sitting in a fixed seat and only staring at the front. The Z-axis appearance of the 3D stereoscopic image reorganizes the space of the story. The viewer's gaze also extends from 'front' to 'top, bottom, left, right' and even 'front and back'. It also transforms the passive audience into an active, interactive, and experiential subject by placing viewers between images. Going one step further, the visual media, which entered the VR era, give freedom to the body of the captive audience. VR secures the possibility of movement of visitors and simultaneously coexists with virtual space and physical space. Therefore, the audience of the VR contents acquires an integrated identity on the premise of participation and movement. It is not a so-called representation but a perfection of the aesthetic system by reconstructing the space of fantasy while inheriting the simulation tradition of the screen.

• Journal of Broadcast Engineering
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• v.20 no.5
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• pp.687-696
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• 2015

JCT-VC (Joint Collaborative Team on Video Coding) continues developing HEVC/Screen Content Coding (HEVC/SCC) as an extension for efficiently coding screen content videos, including computer animations, graphics, and electrical documents, based on HEVC/Range extension (HEVC/RExt.). Color space conversion from RGB space being captured from CCD sensors is popular in natural video coding. However, the conversion is often undesired for screen contents because of a significant loss in perceptual quality. Therefore, several coding tools including cross-component prediction (CCP) and in-loop adaptive color space transform (ACST) have been developed for an efficient screen content video coding in order to reduce the redundancies between color spaces while maintaining the original color space. In this paper, we review the two coding tools, i.e., CCP and ACST exploiting the correlation in the RGB color space and conduct the performance analysis of the coding tools. In our simulation results, CCP and ACST provide 11.7% BD-rate saving and 16.4% BD-rate saving, respectively, while the two coding tools provide 18.2% BD-rate saving in total. Following this idea, if the two coding tools are exclusively selected, we provide 93% encoding measurement time with a 0.3% coding loss.

• Journal of the Korean Institute of Intelligent Systems
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• v.21 no.4
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• pp.481-486
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• 2011

Recently, most presentations have been presented on the screen using the computer. This paper suggests that the computer can be controlled by the gesturing recognition, without the help of any person or tools. If we use only information in the form of images, we should have a high-resolution camera for capturing the images and a computer that can treat high-resolution images. However, this paper will present a solution whereby a low-resolution camera can be used at the stage. It uses the supersonic sensor to trace the presenter's location and a low-resolution camera for capturing the necessary limited and small area. The gesture is defined by the number of fingers and one's hand positions which are recognized by the Erosion / Dilation and Subtraction algorithm. The system this paper addresses has improved 13%, when comparing tests between the image-only data system and this paper's system. The gesture recognition tests have a 98% success rate.