• Journal of Broadcast Engineering
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• 제20권2호
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• pp.238-247
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• 2015

We develop the signal processing method for adaptive implementing direction of signal and the frequency sensitivity of human visual system(HVS). Existing multibnad energy scaling method makes ringing artifact because it does not consider signal direction. To solve this problem, we use block gradient for signal direction in addition to existing method. And we use the fact that frequency component of signal is more sensitive than value of signal over human eyes. we enhance the signal according to contrast sensitivity function(CSF) which is the model of frequency sensitivity of human eye. Compared that the existing analysis models only improve the efficiencies in the existing systems, the developed method can process the image signals to be more desirable and suitable to HVS.

• Journal of Broadcast Engineering
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• 제5권1호
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• pp.10-22
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• 2000

In this paper, we present a texture description method as a standardization of multimedia contents description. Like color, shape, object and camera motion information, texture is one of very important information in the visual part of international standard (MPEG-7) in multimedia contents description. Current MPEG-7 texture descriptor has been designed to fit human visual system. Many psychophysical experiments give evidence that the brain decomposes the spectra into perceptual channels that are bands in spatial frequency. The MPEG-7 texture description method has employed Radon transform that fits with HVS behavior. By taking average energy and energy deviation of HVS channels, the texture descriptor is generated. To test the performance of current texture descriptor, experiments with MPEG-7 Texture data sets of T1 to T7 are performed. Results show that the current MPEG-7 texture descriptor gives better retrieval rate and fast and fast extraction time for texture feature.

• Journal of Broadcast Engineering
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• 제24권5호
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• pp.827-835
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• 2019

In the pooling stage of a full reference image quality assessment (FR-IQA) technique, the global perceived quality for any distorted image is usually measured from the quality of its local image patches. But all the image patches do not have equal contribution when estimating the overall visual quality since the degree of degradation on those patches depends on various considerations i.e., types of the patches, types of the distortions, distortion sensitivities of the patches, saliency score of the patches, etc. As a result, weighted pooling strategy comes into account and different weighting mechanisms are used by the existing FR-IQA methods. This paper performs a thorough analysis and proposes a novel weighting function by considering the luminance adaptation as well as the visual saliency effect to offer more appropriate local weights, which can be adopted in the existing FR-IQA frameworks to improve their prediction accuracy. The extended experimental results show the effectiveness of the proposed weighting function.

• Journal of Broadcast Engineering
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• 제27권4호
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• pp.569-580
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• 2022

In this study, we investigated the effect of peripheral blur on binocular fusion to resolve binocular fusion failure which is one of the 3D visual fatigues in the perspective of human visual system. With stimulus having discrete disparity change, binocular fusion failure rate for target stimulus having crossed and uncrossed disparity decreased. And target stimulus having continuous disparity also required relatively larger binocular disparity when peripheral blur was presented with target stimulus rather than when peripheral blur was not presented. These results imply that peripheral blur facilitated binocular fusion in the situation of binocular disparity change, and suggest that considering the characteristics of human three-dimensional visual systems, manipulating 3D contents can improve visual discomfort caused by binocular displays at low costs.

• Journal of Science of Art and Design
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• 제1권
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• pp.165-188
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• 1999

When we think about visual art, we can't pass over the matter of images and spaces. An image is fixed in a painting space. If the image were posited in the river of time, it would be changed as time flowed on. Its image might be created, rigged, transfigured or it might vanish or remain as traces. The image is changed through the process of expressing them on the painting surfaces. In paintings the changing of the image is caused not only by working processes but also recognizing the objects. In modernist painting, the idea of space was important, but in postmodernist view, the idea of time becomes essential. In this thesis I will focus on the matter of time and image of painting in the late 20th century. Studying the relationship of image and time is not familiar because we had considered the space as being more related to painting distinction than time. Presently, the concept of space can't be divided from that of time. In Physics, they recently called it as a united concept- time-space. Painting space also becomes one asking and recieve the concept of time actively. Now in painting, time is no more a supporting matter but becomes a major matter. In the late 20th century, we can find many trials to catch the change of images as time flowes on and express them as a trace through using verioty media. One of the way to drawing the change of images as time passes could be seen through various joint images in one painting space and another in the traces of one image. The other could be done by using new media such as computer in the example of fractal art. It shows the images chainging of practically as time changes. New understanding about time of this era has to be affirmatively accepted because it reflects the contemporary cultural situation and in art, the concern about the possiblity of it and finding new medias which has to go on.

• Cartoon and Animation Studies
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• 통권51호
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• pp.1-33
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• 2018

In contemporary performance arts, we can see diverse types of performances that use advanced technology and visual media. It is notable that animation based on narratives and images, is grafted on to performance arts. Cases emerge that introduce animation in opera performances as part of a new stagecraft. Regietheater that turns on directors' interpretation, has been expanded in full scale through major music festivals and theaters through many different attempts to embody. In this state, recently visual media have been actively employed in opera performances. It has led to expansion of time and space along with more attempts. Not least of all, introduction of animation has been conducive to reinforcing functionality of opera performances in many aspects. This study suggests requirements for ideal Regietheater production in opera performances. For this end, the functions of animation strategically used are evaluated through analyzing $Zauberfl{\ddot{o}}te$)> production of Komische Oper Berlin. Through this research, this study is to look deeply into effects created from new and different attempts by grafting animation on to opera performances.

• Smart Media Journal
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• 제10권1호
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• pp.70-78
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• 2021

The auditory information is used for urgent notification or warning in vehicle because it is not restricted by the direction compared to the visual. However, since the hearing impaired drivers cannot recognize sound signal, various methods of visualizing the auditory information have been attempted to replace it. When visualizing auditory information, only important information should be selected and provided to prevent cognitive overload concentrated on the vision. For this purpose, analysis of the type of auditory information in vehicle should be given in advance. In this study, the types of auditory information in vehicle were analyzed based on the user experience of hearing impaired drivers. Through the observation of the driving behavior of hearing impaired drivers, 33 auditory informations experienced in vehicle were collected. The collected auditory informations were classified into 12 groups through open card sorting by an expert group, and the types of auditory information in vehicle consisting of four levels were presented through a relative comparison of importance between groups. The presented type of auditory information in vehicle can be used as a guideline for selecting important information when the auditory information is converted into visual or tactile. This study is meaningful in that the user experience analysis was conducted by observing actual driving in daily life of hearing impaired drivers.

• Journal of the Korea Society of Computer and Information
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• 제29권11호
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• pp.119-126
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• 2024

CF video content refers to various types of advertising content provided through TV media. CF video content includes various types of videos as well as promotion of products and brand companies. CF video content is often produced with relatively small personnel, and in many cases, it is produced without properly reflecting viewer preference factors. Therefore, it is necessary to increase viewers' viewing satisfaction through various studies on the method of directing motion typography suitable for the production of CF video content. To this end, the preference was investigated by classifying the visual components of motion typography, and the limitations of motion typography were found by the object and design analysis. For the specific analysis, based on a review of previous studies on the preference of CF video content, a questionnaire was conducted for viewers or users centering on the CFTV site, and the observation model was also intended to find preference factors focusing on Motion Typography Effect Analysis. This factor analysis is intended to activate various CF image contents in the future and to enhance the wide effect of motion typography.

• Journal of Broadcast Engineering
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• 제16권3호
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• pp.394-402
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• 2011

We introduce the standard content identifier Universal Content Identifier (UCI) and a watermarking system that embeds UCI for the broadcast content distribution services. Our proposed UCI embedder is designed in consideration of integrating with the previously established broadcast system and protecting the illegal distribution of broadcast contents. Our goal is that when broadcast content is transmitted, 28 byte UCI is embedded imperceptibly in the content itself in real-time and the embedded UCI is successfully extracted not only in the typical format used in the broadcast content distribution service but also in the illegally distributed broadcast contents. Usually the illegally distributed contents are modified from the original by changing resolutions, frame rates, or adjusting colors. In this paper, we present a watermarking scheme that embeds 28 byte UCI in broadcast content in real-time while keeping the visual quality high and the embedded watermark robust enough to survive through the various modification. The experimental results show that the embedded UCI remains in the various modified versions of content and that the visual degradation by embedding is not noticeable.

• Science of Emotion and Sensibility
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• 제16권1호
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• pp.29-42
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• 2013

In this paper, we analyze the effect of the depth perception, volume perception and visual discomfort according to the change of the quality of the depth image and the depth of the major object. For the analysis, a 2D image was converted to eighteen 3D images using depth images generated based on the different depth position of a major object and background, which were represented in three detail levels. The subjective test was carried out using eighteen 3D images so that the degrees of the depth perception, volume perception and visual discomfort recognized by the subjects were investigated according to the change in the depth position of the major object and the quality of depth map. The absolute depth position of a major object and the relative depth difference between background and the major object were adjusted in three levels, respectively. The details of the depth map was also represented in three levels. Experimental results showed that the quality of the depth image differently affected the depth perception, volume perception and visual discomfort according to the absolute and relative depth position of the major object. In the case of the cardboard depth image, it severely damaged the volume perception regardless of the depth position of the major object. Especially, the depth perception was also more severely deteriorated by the cardboard depth image as the major object was located inside the screen than outside the screen. Furthermore, the subjects did not felt the difference of the depth perception, volume perception and visual comport from the 3D images generated by the detail depth map and by the rough depth map. As a result, it was analyzed that the excessively detail depth map was not necessary for enhancement of the stereoscopic perception in the 2D-to-3D conversion.