• Korean Journal of Remote Sensing
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• v.37 no.5_1
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• pp.1135-1147
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• 2021

In order to geometrically correct high-resolution satellite imagery, the sensor modeling process that restores the geometric relationship between the satellite sensor and the ground surface at the image acquisition time is required. In general, high-resolution satellites provide RPC (Rational Polynomial Coefficient) information, but the vendor-provided RPC includes geometric distortion caused by the position and orientation of the satellite sensor. GCP (Ground Control Point) is generally used to correct the RPC errors. The representative method of acquiring GCP is field survey to obtain accurate ground coordinates. However, it is difficult to find the GCP in the satellite image due to the quality of the image, land cover change, relief displacement, etc. By using image maps acquired from various sensors as reference data, it is possible to automate the collection of GCP through the image matching algorithm. In this study, the RPC of KOMPSAT-3A satellite image was corrected through the extracted matching point using the UAV (Unmanned Aerial Vehichle) imagery. We propose a pre-porocessing method for the extraction of matching points between the UAV imagery and KOMPSAT-3A satellite image. To this end, the characteristics of matching points extracted by independently applying the SURF (Speeded-Up Robust Features) and the phase correlation, which are representative feature-based matching method and area-based matching method, respectively, were compared. The RPC adjustment parameters were calculated using the matching points extracted through each algorithm. In order to verify the performance and usability of the proposed method, it was compared with the GCP-based RPC correction result. The GCP-based method showed an improvement of correction accuracy by 2.14 pixels for the sample and 5.43 pixelsfor the line compared to the vendor-provided RPC. In the proposed method using SURF and phase correlation methods, the accuracy of sample was improved by 0.83 pixels and 1.49 pixels, and that of line wasimproved by 4.81 pixels and 5.19 pixels, respectively, compared to the vendor-provided RPC. Through the experimental results, the proposed method using the UAV imagery presented the possibility as an alternative to the GCP-based method for the RPC correction.

• Korean Journal of Heritage: History & Science
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• v.46 no.3
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• pp.172-193
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• 2013

This study examines the production techniques and raw materials shown in the Korean dried-lacquer statues of Buddha through a careful observation of the Seated Dried-lacquer Bodhisattva Statue from the late Goryeo Dynasty which is currently possessed by Okura Museum of Art in Tokyo. As a method of study, the X-ray data and the results from a field survey were combined to analyze the production techniques and the characteristics of raw materials. Based on this analysis, a hypothesis was established on the production process and verified through a reenactment of the actual production process. Then, the characteristics of the techniques applied to each process and the raw materials were recorded in detail. Specifically, the dried lacquer techniques and the raw materials were estimated based on the results of naked-eye observation in comparison with the literature, especially the records of "Xiu Shi Lu" written by Huang Cheng of the Ming Dynasty which is considered as 'the textbook of lacquer techniques.' The raw materials used in the production of the traditional Korean lacquerware inlaid with mother-of-pearl were also referenced. As a result, it was found that the features of production techniques and the raw materials found in the Statue at Okura Museum of Art have many similarities with those of the Seated Dried-lacquer Statue of Lohan (Arhat) from Yuanfu 2 Nian Ming (1098) of the Song Dynasty which is currently at the Honolulu Museum of Art. In particular, the similarities include that the interior of the statue being vacant because the clay and the wood core were not replaced after being removed from the prototype, that the complete form was made in the clay forming stage to apply the lacquer with baste fiber fabric, that the clay and the wood core were removed through the bottom of the statue, and that the modeling stage was omitted and the final coat over the statue is very thin. Additionally, decorating with ornaments like Bobal and Youngrak made of plastic material was a technique widely popular in the Song Dynasty, suggesting that the Seated Dried-lacquer Bodhisattva Statue in Okura Museum of Art was greatly affected by the production techniques of the Dried-lacquer Buddha Statue from the Song Dynasty. There is no precise record on the origin and history of the Korean Dried-lacquer Buddha Statues and the number of existing works is also very limited. Even the records in "Xuanhe Fengshi Gaoli Tujing" that tells us about the origin of the Dried-lacquer Buddha Statue from the Yuan Feng Period (1078~1085) do not indicate the time of transmission. It is also difficult to trace the clear route of transmission of production techniques through existing Dried-lacquer Buddha Statues. Fortunately, this study could at least reveal that the existing Dried-lacquer Buddha Statues of Korea, including the one at Okura Museum of Art, have applied the production techniques rather differently from those used in the production of Japanese Datsukatsu Dried-lacquer Buddha Statues that have been known as the standard rule in making dried-lacquer statues of Buddha for a long time.

• Korean Journal of Environment and Ecology
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• v.35 no.1
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• pp.24-36
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• 2021

Countries around the world, including the Republic of Korea, are participating in efforts to preserve biodiversity. Concerning species, in particular, studies that aim to find potential habitats and establish conservation plans by conducting habitat suitability analysis for specific species are actively ongoing. However, few studies on mid- to long-term changes in suitable habitat areas are based on accumulated information. Therefore, this study aimed to analyze the time-series changes in the habitat suitable area and examine the otters' changing pattern (Lutra lutra) designated as Level 1 endangered wildlife in Gangwon-do. The time-series change analysis used the data on otter species' presence points from the 2nd, 3rd, and 4th national natural environment surveys conducted for about 20 years. Moreover, it utilized the land cover map consistent with the survey period to create environmental variables to reflect each survey period's habitat environment. The suitable habitat area analysis used the MaxEnt model that can run based only on the species presence information, and it has been proven to be reliable by previous studies. The study derived the habitat suitability map for otters in each survey period, and it showed a tendency that habitats were distributed around rivers. Comparing the response curves of the environmental variables derived from the modeling identified the characteristics of the habitat favored by otters. The examination of habitats' change by survey period showed that the habitats based on the 2nd National Natural Environment Survey had the widest distribution. The habitats of the 3rd and 4th surveys showed a tendency of decrease in area. Moreover, the study aggregated the analysis results of the three survey periods and analyzed and categorized the habitat's changing pattern. The type of change proposed different conservation plans, such as field surveys, monitoring, protected area establishment, and restoration plan. This study is significant because it produced a comprehensive analysis map that showed the time-series changes of the location and area of the otter habitat and proposed a conservation plan that is necessary according to the type of habitat change by region. We believe that the method proposed in this study and its results can be used as reference data for establishing a habitat conservation and management plan in the future.

• Korean Journal of Heritage: History & Science
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• v.39
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• pp.351-378
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• 2006

With the development of media, the methods for the documentation of intangible cultural heritage have been also developed and diversified. As well as the previous analogue ways of documentation, the have been recently applying new multi-media technologies focusing on digital pictures, sound sources, movies, etc. Among the new technologies, the documentation of intangible cultural heritage using the method of 'Motion Capture' has proved itself prominent especially in the fields that require three-dimensional documentation such as dances and performances. Motion Capture refers to the documentation technology which records the signals of the time varing positions derived from the sensors equipped on the surface of an object. It converts the signals from the sensors into digital data which can be plotted as points on the virtual coordinates of the computer and records the movement of the points during a certain period of time, as the object moves. It produces scientific data for the preservation of intangible cultural heritage, by displaying digital data which represents the virtual motion of a holder of an intangible cultural heritage. National Research Institute of Cultural Properties (NRICP) has been working on for the development of new documentation method for the Important Intangible Cultural Heritage designated by Korean government. This is to be done using 'motion capture' equipments which are also widely used for the computer graphics in movie or game industries. This project is designed to apply the motion capture technology for 3 years- from 2005 to 2007 - for 11 performances from 7 traditional dances of which body gestures have considerable values among the Important Intangible Cultural Heritage performances. This is to be supported by lottery funds. In 2005, the first year of the project, accumulated were data of single dances, such as Seungmu (monk's dance), Salpuri(a solo dance for spiritual cleansing dance), Taepyeongmu (dance of peace), which are relatively easy in terms of performing skills. In 2006, group dances, such as Jinju Geommu (Jinju sword dance), Seungjeonmu (dance for victory), Cheoyongmu (dance of Lord Cheoyong), etc., will be documented. In the last year of the project, 2007, education programme for comparative studies, analysis and transmission of intangible cultural heritage and three-dimensional contents for public service will be devised, based on the accumulated data, as well as the documentation of Hakyeonhwadae Habseolmu (crane dance combined with the lotus blossom dance). By describing the processes and results of motion capture documentation of Salpuri dance (Lee Mae-bang), Taepyeongmu (Kang seon-young) and Seungmu (Lee Mae-bang, Lee Ae-ju and Jung Jae-man) conducted in 2005, this report introduces a new approach for the documentation of intangible cultural heritage. During the first year of the project, two questions have been raised. First, how can we capture motions of a holder (dancer) without cutoffs during quite a long performance? After many times of tests, the motion capture system proved itself stable with continuous results. Second, how can we reproduce the accurate motion without the re-targeting process? The project re-created the most accurate motion of the dancer's gestures, applying the new technology to drew out the shape of the dancers's body digital data before the motion capture process for the first time in Korea. The accurate three-dimensional body models for four holders obtained by the body scanning enhanced the accuracy of the motion capture of the dance.