• Journal of the Korea Institute of Military Science and Technology
• /
• v.22 no.5
• /
• pp.590-598
• /
• 2019

Aerial photographs taken by an image sensor fixed on a flight body, e.g. without a gimbal, are generally distorted according to its attitude, altitude and angle of view in flight. This can result in a significant difficulty of analyzing geometric information which should be integrated for numerous still frames. In this study, a simulation method of observation performance that uses geometric relationships between navigation data and image data is suggested, and this method is shown to be very useful for easily examining the integrated information such as the total range of photography, the time of target acquisition, etc.

• Journal of Industrial Technology
• /
• v.5
• /
• pp.3-7
• /
• 1985

Analytical techniques for use with reconnaissance frame photographs are outlined. The first approach is a point-by-point space resection in which the dynamic properties of the camera are taken into account. In the second approach appropriate parameters are added to correct for image distoritions, caused by the focal plane shutter, during the space resection phase. Test results showed that the analytical techniques developed will significantly improve the planimetric and height accuracy obtained by conventional methods.

• Archives of Plastic Surgery
• /
• v.50 no.4
• /
• pp.443-444
• /
• 2023

Point-of-care photography and photo sharing optimize patient outcomes and facilitate remote consultation imperative for resident surgeons. This literature review and external pilot survey study highlight the risks associated with current practices concerning patient privacy and biometric security. In a survey of 30 plastic surgeon residents and attendings, we found that the majority took photos of patients with their iPhones and shared them with colleagues via Apple iMessage. These findings corroborate previous reports and highlight a lack of physician user acceptance of secure photo-sharing platforms. Finally, we frame a successful example from the literature in the context of a postulated framework for institutional change. Prioritizing the privacy and safety of patients requires a strategic approach that preserves the ease and frequency of use of current practices.

• Journal of the Semiconductor & Display Technology
• /
• v.18 no.2
• /
• pp.78-81
• /
• 2019

In this study, we will analyze the design, development and application of these small drones using open source. These drones are used in flight exercises, aerial photography, and coding education. In the era of the fourth industrial revolution, such as the development of sensor technology, expansion of open source sharing, and application of artificial intelligence, Is expected to be able to demonstrate convergence. In this paper, we have studied the design and fabrication of small drones using open source. In the case of drones, various functions and differentiated materials are required depending on the application, and the future development of the unmanned mobile object, namely the drone, in which the creativity and the technology are combined with each other continues to be enhanced by the improvement of autonomy and artificial intelligence. Software-based architecture-based technologies have been developed in collaboration with embedded SWs that combine sensors, motors, and control systems. In hardware, it is customary to use a combination of materials and design to increase the freedom of design. It will be made in a free structure.

• Cross-Cultural Studies
• /
• v.19
• /
• pp.39-77
• /
• 2010

The cinema of Peter Greenaway has consistently engaged questions of the relationship between the arts and particularly the relations of image and writing to cinema. When different types of images are correlated and merged with each other on the borders of painting, photography, film, video and computer animation, the interrelationships of the distinct elements cause a shift in the notion of the whole image. This analysis proposes to articulate the complex relationship between the 'interartial' dimension and the 'intermedial' dimension in Peter Greenaway's film, (1991). If the interartiality is interested in the interaction between various arts, including the transition from one to another, the intermediality articulates the same type of relationship between two or more media. The interactional relationship is the same on both sides; on the contrary, the relationship between art and media does not show the same symmetry. All art is based on one or more media - the media is a condition existence of art - but no art can't be reduced to the status of media. This suggests that if the interartiality always involves the intermediality, this proposal may not be reversed. First, we analyse a self-conscious investigation into digital art and technology. Prosospero's Books can be read as a daring visual essay that self-consciously investigates the technical and philosophical functions of letters, books, images, animated paintings, digital arts, and the other magical illusions, which have been modern or will be post-modern media to represent the world. Greenaway uses both conventional film techniques and the resources of high-definition television to layer image upon image, superimposing a second or third frame within his frame. Greenaway uses the frame-within-frame as the cinematic equivalent of Shakespeare's paly-within-play : it offer him the possibility to analyse the work of art/artist/spectator relationship. Secondly, we analyse the relationship between the written word, oral word and the books. Like the written word, the oral word changes into a visual image: The linguistic richness and nuances of Shakeaspeare's characters turn into the powerful and authoritative, but monotone, voices of Gielgud-Prospero, who speaks the Shakespearean lines aloud, shaping the characters so powerfully through his worlds that they are conjured before us. Specially each book is placed over the frame of the play's action, only partially covering the image, so that it gives virtually every frame at least two space-time orientations. Thirdly, we try to show how Peter Greenaway uses pictorial references in order to illustrate the context of the Renaissance as well as pictorial techniques and language in order to question the nature of artistic representation. For exemple, The storm is visualised through reference to Botticelli's : the storm of papers swirling around the library is constructed to look like a facsimili copy of Michelangelo's Laurentiana Library in Florence. Greenaway's modern mannerism consists in imposing his own aesthetic vision and his questioning of art beyond the play's meta-theatricality: in other words, Shakespeare''s text has been adapted without being betrayed.

• Cartoon and Animation Studies
• /
• s.45
• /
• pp.417-434
• /
• 2016

The wall painting of Altamira cave "eight-legged wild boar" is often presented as a typical example of long-held desire of humanity for expressing movement. However, the eight legs are the product of so-called "double layer", of two paintings painted in different periods. Nonetheless, the explanation of Altamira cave paintings linking with the origin of animation is constantly reproduced without any particular doubt, verification or citation of sources. The fact of associating eight legs with movement is irrelevant to visual perception transcending time. This should be considered a movement expression code invented in a particular period of time. Sequential photography tried in the late 19th century, in particular, chronography of $\acute{E}tienne$-Jules Marey plays a crucial role in this. Marey's photography of which a series of sequence movements are overlapped in one frame and printed was reflected in painting works of artists including Duchamp and Balla in the early 20th century and formed as movement expression code. Animation manuals started to emerge from that period of time introduced the images of Marey's chronophotography as a way of analyzing and embodying the movement. In sum, the act of considering Altamira cave paintings of eight-legged wild boar as an expression of movement is an error intending to look at the past through today's visual code.

• Journal of the Korean Institute of Landscape Architecture
• /
• v.24 no.2
• /
• pp.13-24
• /
• 1996

The purpose of this study is to suggest optimum level of the Ratio of Greenery within the frame of vision in the interior landscape design through the analysis of visual character and preference of the interior landscape. The concept of the RG was defined as the ratio of projected area of plants higher than 1.2M against background wall from eye level. 5 photography of Interior landscape space -- 10,20,30,40 and 50% of the RG-- were constructed by computer graphic techinques. Likert scale and semantic differential scale were used to analyse visual character and preference of the interior landscape space. The analysis results are as follows : 1. Factors that compose of the image of the interior landscape have been found to be the "evaluation ", "complexity". The mean value of semantic differential scale showed a significant difference according to RG. When the RG was 20~30%, "Harmony" and "stability" was strongly recognized than the other factors and the interior landscape made the interior space natural and intimate. But at the RG 40!50%, users felt "stuffy" and "too complex" by many plants, so it was not efficient the Interior Landscape. 2. The visual preference was significantly different according to RG. The mean value of the visual preference was increased as the RG was higher, it was the highest at the RG 30%. But over the RG 30%, the preference level was declined. 3. Based on these results, this study suggests that the optimum level of RG in the Interior Landscape is 30%.at the optimum level of RG in the Interior Landscape is 30%.

• Korean Institute of Interior Design Journal
• /
• no.8
• /
• pp.58-64
• /
• 1996

People live in an environment which affects the human b by way of ‘Affordance’ .. And the interaction between h human and the surrounding environment arises ‘the sense of place' through adoptation. Considering the human emo¬t tional and psychological needs, besides the functionalones, for the design of environment gives ‘the place’ the h humanized atmosphere. Then the viewing-window, re¬f fleeting the dweller’s sensibility and aesthetic aspect, be¬c comes an important design element for the human interi¬o or atmosphere. G Generally, the view has the character of the Panorama a and sometimes of the Picture. And the viewing - window t transfigures the visual effects by ways of ‘Framing’, at t taching the ’Screen’ and ‘Successive development' of the views through openings on the wall. Hence this study w was developed from the aesthethic view-points of archi t tecture, cinema, picture and photography etc., and the c conclusions are as follows. T The ‘Frame’ limits the boundary of the view into a p particular area, while the ‘Screen’ changes the clear view t to an obscure one. And the wall-openings located with i intervals show the fragments of the outer view in a suc¬c cessive way. And these techniques applied to the viewing window make the viewer have the associated meanings d derived from the ‘Guided Projection'. So, the associative p psychology of the viewer complements the partiality, ob¬s scurity and brokenness of the view into a complete one, a and finally the view comes to be an aesthetic one to the v vIewer.

• Journal of Korean Ophthalmic Optics Society
• /
• v.19 no.4
• /
• pp.527-532
• /
• 2014

Purpose: The matching of the optical center and the pupil center was measured by photographs in wearing glasses. In this study, the influences of the induced prism by the mismatching are studied. Methods: 74 subjects (148 eyes) who were spectacles wearer were participated in this study. The mean age was $29.19{\pm}12.22$ years (range 19-55 years). The facial photographs of subjects were taken while wearing spectacles. The matching of the corneal reflected image and optical center of the spectacle lens in the horizontal deviations, and the vertical deviations were measured by the observation of the photo image. The prisms induced in accordance with various frame type were calculated from the mismatching deviations. Results: The binocular horizontal deviations were $1.55{\pm}1.70mm$ for the metal frame, $1.71{\pm}2.21mm$ for the clings type plastic frame, and $1.15{\pm}1.38mm$ for the plastic frame. In the horizontal direction induced prism, the ratio over the tolerance was 23%. The ratio were the 17.6% at the BI prism, and 5.4% at the BO prism. The binocular vertical deviation comparisons were $3.93{\pm}1.91mm$ for the metal frame, $5.79{\pm}1.93mm$ for the clings type plastic frame, and 1$6.01{\pm}2.94mm$ for the plastic frame. In the vertical direction induced prism, the ratio over the tolerance was 44.6%. Based on the refraction power, the ratio were 12.2% at -0.25${\leq}-3.00$, and 32.4% at -3.00${\leq}-12.00D$. Conclusions: The induced prisms in the horizontal direction were much in the BI prism. The binocular vertical deviations of the glasses.

• Transactions of the Korean hydrogen and new energy society
• /
• v.29 no.2
• /
• pp.219-225
• /
• 2018

This study was carried out to investigate the injection characteristics of 800 kPa compressed natural gas compressed natural gas (CNG) injector developed in Korea. The CNG injector with multi-holes, employed in this experiment, was designed to inject CNG in the manifold at high pressure of 800 kPa. The spray macroscopic visualization test was carried out via Schlieren photography to study fuel-air mixing process. The fundamental spray characteristics, such as spray penetration, spray cone angle and spray velocity, were evaluated in the constant volume combustion chamber (CVCC) with varying the constant back pressure in CVCC from 0 to 1.8 bar. For the safety reason, nitrogen ($N_2$) and an acetone tracer were utilized as a surrogate gas fuel instead of CNG. The surrogate gas fuel pressures were controlled at 3, 5.5, and 8 bar, respectively. Injection durations were set at 5 ms throughout the experiment. The simulating events of the low engine speed were arranged at 1,000 rpm. The spray images were recorded by using a high-speed camera with a frame rate of 10,000 f/s at $512{\times}256pixels$. The spray characteristics were analyzed by using the image processing (Matlab). The results showed the significant difference that higher injection pressure had more effect on the spray shape than the lower injection pressure. When the injection pressure was increased, the longer spray penetration occurred. Moreover, the linear relation between speed and time are dependent on the injection pressure as well.