• Journal of the Institute of Electronics Engineers of Korea SP
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• v.45 no.4
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• pp.50-58
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• 2008

In this paper, we propose a color transient improvement (CTI) algorithm based on image fusion to improve the color transient in the television(TV) receiver or in the MPEG decoder. Video image signals are composed of one luminance and two chrominance components, and the chrominance signals have been more band-limited than the luminance signals since the human eyes usually cannot perceive changes in chrominance over small areas. However, nowadays, as the advanced media like high-definition TV(HDTV) is developed, the blurring of color is perceived visually and affects the image quality. The proposed CTI method improves the transient of chrominance signals by exploiting the high-frequency information of the luminance signal. The high-frequency component extracted from the luminance signal is modified by spatially adaptive weights and added to the input chrominance signals. The spatially adaptive weight is estimated to minimize the ${\iota}_2-norm$ of the error between the original and the estimated chrominance signals in a local window. Experimental results with various test images show that the proposed algorithm produces steep and natural color edge transition and the proposed method outperforms conventional algorithms in terms of both visual and numerical criteria.

• Journal of Broadcast Engineering
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• v.16 no.2
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• pp.350-359
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• 2011

Fast developments of broadcasting technologies since 1990s enabled not only High Definition Television service providing high quality audiovisual contents at home but also mobile broadcasting service providing audiovisual contents to high speed moving vehicle. Terrestrial Digital Multimedia Broadcasting (T-DMB) is one of the technologies developed for mobile broadcasting service, which has been successfully commercialized. One of the major technical breakthroughs achieved by T-DMB in addition to robust vehicular reception is an adoption of framework based on MPEG-4 System. It naturally enables integrated interactive data services by using Binary Format for Scene (BIFS) technology for scene description and representation of graphics object and Object Descriptor Framework representing multimedia service components as objects. T-DMB interactive data service has two fundamental limitations. Firstly, graphic data for interactive service should be always overlaid on top of a video not to be rendered out of it. Secondly, data for interactive service is only received by broadcasting channel. These limitations were considered as general in broadcasting systems. However, they are being considered as hard limitations for personalized data services using location information and user characteristics which are becoming widely used for data services of smart devices in these days. In this paper, the architecture of T-DMB hybrid data service is proposed which is utilizing broadcasting network, wireless internet and local storage for delivering BIFS data to overcome these limitations. This paper also presents hybrid BIFS technology to implement T-DMB hybrid data service while maintaining backward compatibility with legacy T-DMB players.

• The Journal of Korean Institute of Communications and Information Sciences
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• v.33 no.2C
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• pp.192-199
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• 2008

In ultra-wideband (UWB) systems, conventionally, the synchronization is to align time phases of a locally generated template and any of multipath components to within an allowable range. However, the synchronization with a low-power multipath component could incur significant performance degradation in receiver operation (e.g., detection) after the synchronization. On the other hand, the synchronization with a high-power multipath component can improve the performance in receiver operation after the synchronization. Generally, the first one among multipath components has the largest power. Thus, the synchronization with the first path component can make better performance than that with low-power component in receiver operation after the synchronization, Based on which, we first propose an optimal decision rule based on a maximum likelihood (ML) approach, and then, develope a simpler suboptimal decision rule for selecting the first path component. Simulation results show that the system has good demodulation performance, which uses new synchronization definition and the proposed decision rules have better performance than that of the conventional decision rule in UWB multipath channels. Between macroblocks in the previous and the current frame. On video samples with high motion and scene change cases, experimental results show that (1) the proposed algorithm adapts the encoded bitstream to limited channel capacity, while existing algorithms abruptly excess the limit bit rate; (2) the proposed algorithm improves picture quality with $0.4{\sim}0.9$dB in average.

• The Korean Journal of Archival Studies
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• no.72
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• pp.91-163
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• 2022

The focus of this paper lies on the fact that the 'management' and 'utilization' of audiovisual archives are still not specialized in both the public and the private sectors. The use of online video platforms including 'YouTube' has became common. Accordingly the production and collection of high-definition and high-capacity audiovisual archives has been rapidly increasing. However, it also emphasizes that there are no references or principles in the current Public Records Act and its enforcement rules, public standards, and guidelines. This paper ultimately examines the provisions that are related to audiovisual archives of the current Public Records Act, which needed to be revised and enacted due to the lack of an audiovisual archives management manual of national institutions, public broadcasters, and organizations can refer to. In addition, this study tries to find out what kind of systems and guidelines are used in audiovisual archives management. This paper examines the current state of standardization of audiovisual records of the National Archives. It also analyses the systems and the guidelines methodically for efficient audiovisual record management in the public records management sector. It suggests the new direction of relevant public standards and guidelines through this research. Futhermore, it measures to activate the audiovisual management policy-making functions of the National Archives. The necessity of establishing a Public Audiovisual Archives as an organization was also reviewed in this paper. The Public Audiovisual Archives will collect Public Audio and Videos systematically and comprehensively through the legal deposit system. And it will be operated by the management and the utilization system so that it can be used for public as a collective memory. Finally, it will takes a charge of a professional role in audiovisual record management field, such as technology standardization to safeguard and protect the copyrights through this process.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.12 no.1
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• pp.318-326
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• 2011

The purpose of this study is to investigate whether standardized patient(SP) can be used as a reliable examiner in Objective Structured Clinical Examination(OSCE). 4 SPs and 4 faculties who have more than 2 years experience of OSCE scoring were selected. For 1 assignment 2 members of faculty and 2 SPs were designated as raters. SPs were educated for assessing 2 technical skills, male Foley catheter insertion and wound dressing, for 8 hours (4 hours / day, each topic). The definition, method, cautions and complications for each of procedural skills were covered in the education. Theoretical lectures, video learning, faculty demonstration and practical training on mannequins were employed. The 8 raters were standardized for an hour with simulated OSCE scoring using previous videos on the day before the OSCE. Each assessment was composed of 14 checklists and 1 global rate. The allotted time for each assignment was 5minutes and for evaluation time 2 minutes per student. The evaluation from the faculty and SPs were compared and analyzed with the GENOVA program. The overall generalizability coefficient (G coefficient) was 0.839 from two cases of OASTS. The reliability of the raters was high, 0.946. The inter-rater agreement between faculty group and SP group was 0.949 for checklist and 0.908 for global rating. Therefore SPs can play a role of raters in OSCE for procedural skills, if they are given the appropriate training.

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

• Journal of the Institute of Electronics Engineers of Korea SD
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• v.46 no.3
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• pp.60-68
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• 2009

This work proposes a 10b 200MS/s 65nm CMOS ADC for high-definition video systems such as HDTV requiring high resolution and fast operating speed simultaneously. The proposed ADC employs a four-step pipeline architecture to minimize power consumption and chip area. The input SHA based on four capacitors reduces the output signal range from $1.4V_{p-p}$ to $1.0V_{p-p}$ considering high input signal levels at a low supply voltage of 1.2V. The proposed three-stage amplifiers in the input SHA and MDAC1 overcome the low output resistance problem as commonly observed in a 65nm CMOS process. The proposed multipath frequency-compensation technique enables the conventional RNMC based three-stage amplifiers to achieve a stable operation at a high sampling rate of 200MS/s. The conventional switched-bias power-reduction technique in the sub-ranging flash ADCs further reduces power consumption while the reference generator integrated on chip with optional off-chip reference voltages allows versatile system a locations. The prototype ADC in a 65nm CMOS technology demonstrates a measured DNL and INL within 0.19LSB and 0.61LSB, respectively. The ADC shows a maximum SNDR of 54.BdB and 52.4dB and a maximum SFDR of 72.9dB and 64.8dB at 150MS/S and 200MS/s, respectively. The proposed ADC occupies an active die area of $0.76mm^2$ and consumes 75.6mW at a 1.2V supply voltage.