• Journal of Broadcast Engineering
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• v.19 no.4
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• pp.521-532
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• 2014

ATSC-M/H based hybrid 3DTV, which is one of the service compatible 3DTV system, has considerable quality gap between the left and right views. And CRA(Conditional Replenishment Algorithm) has been proposed to deal with the issue of resolution mismatch and improve the visual quality. In CRA, the disparity vectors of stereoscopic images are estimated. The disparity compensated left view and simply enlarged right view are compared and conditionally selected for generating the enhanced right view. In order to implement CRA, a fast algorithm is strongly required because the disparity vectors need to be obtained at every layer and the complexity of CRA is quite high. In this paper, we adopted SDSP(Small Diamond Search Pattern) instead of full search and predicted the initial position of search pattern by examining the spatio-temporal correlation of disparity vectors and also suggested the SKIP mode to limit the number of processing units. The computer simulation showed that the proposed fast algorithm could greatly reduce the processing time while minimizing the quality degradation of reconstructed right view.

• Journal of Broadcast Engineering
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• v.19 no.4
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• pp.453-467
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• 2014

A typical histogram equalization contrast enhancement effect for improving the image quality is excellent. However, because it appears that excessive changes of the brightness values, The average brightness of the image is changing in units of frames of applications such as a TV video is unsuitable. In order to solve these drawbacks, a modified method of histogram equalization on various studies have been made. But the result images of existing methods sometimes shown visual degradations such as over-enhancement and false contouring. In this paper, we propose improved contrast enhancement method through bi-histogram equalization using target mean brightness based on differential compression method. The proposed method is based on the average brightness value by dividing the histogram, the histogram for each zone, according to the frequency differential of compression. And equalize the modified histogram based on target mean brightness. This allows to suppress deterioration of picture quality, and changes in the average brightness of each frame of video, while maintaining and improving the contrast. Experimental results show that the proposed method compared to the conventional method, the average brightness of each frame from a movie well maintained, and no degradation of the image quality showed a good effect to improve the contrast.

• The Journal of Art Theory & Practice
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• no.2
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• pp.7-26
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• 2004

Since the 20th century, it was often announced that a painting was dead, but it is still alive. Even in the epoch of recently increasing virtuality, painting is still appealing, consistently pursed by many with a thirst. Thus, it is said that the mission of a picture is to maintain its reality without being trapped in virtuality. In the history of Western painting spanning over several hundreds of years the myriad of techniques and styles have emerged, going though a huge variety of changes: namely, its not possible any longer to find the new ways of expression in painting. Hence, painters today feel that it becomes more gradually difficult for them to execute something. In the midst of swiftly changing, diversely evolving trends of contemporary art, the painters incessantly pose a question why they go on working on painting, and seek to find its answer. Why the painters still try to say something about painting? Is that because they consider it the quintessence of fine arts or think that it is in no way possible or meaningful to comment on fine arts without relying on painting? If then, is there any avenue of escape for the painting? The question of the 'crisis of painting' is still raised, when reviewing the rapidly changing conditions of inventing artworks. That is also why the recent works failed to offer a conceptually unified, universally shared perspective of painting. Moreover, painting is left to shrink comparatively with the pervasive existence of videos and installations briskly employing digital images and technologies in their creations. Whats more problematic is the fact that there is a growing sense of crisis not only in the sphere of painting hut also in the entire realm of art. As the organizers and curators of big-scale exhibitions and art projects tend to exploit their space spectacularly, focusing primarily on their abilities to control the space, there is a pervasive notion amongst them that painting is a medium that is not properly to suit such purposes and requests. Today, the death of painting is, in fact, the death of modernist painting, which assumed a central role in the history of art for a considerable amount of time, rather than the death of painting itself. Employing a new paradigm of invention, a picture is now entering a new domain which is perhaps unknown to us. Moving beyond the stereotypical concepts of painting, physical property and flatness, pictures today reveal the introduction of time and space and the penetration of new media such as installation, photography, video and the Internet. Despite such trends, the dexterity and tactile capability of painters is still to be considered significant in the future. The renewal of painting is made in an entirely unexpected manner and place.

• Cartoon and Animation Studies
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• s.40
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• pp.177-209
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• 2015

The purpose of this study is to determine the meaning and function of black and white in the comic strip, which are mounted on the book pages. The role of space in comic strip, compared to the role of time in the cinema, enable to feel the role of the time in the book. Therefore storytelling of comic strip has been placed in the inseparable relationship with space. My aim is to think about the black and white meaning in the visual media, especially the use of black and white which is highlighted in the comic strip. Black and white doesn't mean a loss of color in the comic strip but it works around 2 important notions : readability, modernity (with minimalism). In comic strip, 'black and white' is not a true colour but it is complex items which indicate symbolic significances. Moreover it is also a notion which enhance 'existence and absence' and 'visible and invisible'. That's why to analyze and to understand how the space is organized in comic strip page, i chose several examples extract from black and white comic strip.

• Cartoon and Animation Studies
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• s.42
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• pp.53-79
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• 2016

The public interest and popularity of animation has already forecasted the value of animation as the leader of pop culture and cultural industry. The trend in animation changed from 2D to 3D animation, a new genre that appeared in the 1990s with the development of computer technology and innovative changes in media, and 3D animation secured its position in the 2000s. Researches on 3D animation are conducted in various ways. Integrating the area it shares with film and the area it shares with design, it is produced and consumed. This study focused on 'formativeness(design)', the basis of character design, and tried to find out how it is recognized by the audience, who actually watch and feel it. Also, it approached basic theory and tried to deduce logic that is easy to understand and can analyze design or formativeness which keeps changing. Lastly, this study regards the parts that viewers are not satisfied with as problems, and tries to find out a developmental direction. Among the animations for theaters that were big hits in 2015, this study focused on the characters of and . It reviewed errors and what was lacking in the previous studies, collected experts' opinions and made adjustment. Using the frame prepared through this process, it conducted a survey on study participants, the viewers, to see how it is perceived by them. Finally, it tried to find out the reasons why the audience felt that way through theoretical reviews and applications.

• Journal of Broadcast Engineering
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• v.17 no.6
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• pp.964-975
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• 2012

Recently the attention on digital hologram that is regarded as to be the final goal of the 3-dimensional video technology has been increased. A digital hologram can be generated with a depth and a RGB image. We proposed a new system to capture RGB and depth images and to convert them to digital holograms. First a new cold mirror was designed and produced. It has the different transmittance ratio against various wave length and can provide the same view and focal point to the cameras. After correcting various distortions with the camera system, the different resolution between depth and RGB images was adjusted. The interested object was extracted by using the depth information. Finally a digital hologram was generated with the computer generated hologram (CGH) algorithm. All algorithms were implemented with C/C++/CUDA and integrated in LabView environment. A hologram was calculated in the general-purpose computing on graphics processing unit (GPGPU) for high-speed operation. We identified that the visual quality of the hologram produced by the proposed system is better than the previous one.

• Journal of Broadcast Engineering
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• v.17 no.5
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• pp.838-850
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• 2012

In this paper, we propose a novel algorithm that generates multi-view images by using various image features obtained from the given stereoscopic images. In the proposed algorithm, we first create an intensity gradient saliency map from the given stereo images. And then we calculate a block-based optical flow that represents the relative movement(disparity) of each block with certain size between left and right images. And we also obtain the disparities of feature points that are extracted by SIFT(scale-invariant We then create a disparity saliency map by combining these extracted disparity features. Disparity saliency map is refined through the occlusion detection and removal of false disparities. Thirdly, we extract straight line segments in order to minimize the distortion of straight lines during the image warping. Finally, we generate multi-view images by grid mesh-based image warping algorithm. Extracted image features are used as constraints during grid mesh-based image warping. The experimental results show that the proposed algorithm performs better than the conventional DIBR algorithm in terms of visual quality.

• Journal of the Korea Society of Computer and Information
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• v.16 no.2
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• pp.25-31
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• 2011

Principal component analysis (PCA) is a well-known method for dimensionality reduction and feature extraction. Although PCA has been applied in many areas successfully, it is sensitive to outliers due to the use of sum-square-error. Several variants of PCA have been proposed to resolve the noise sensitivity and, among the variants, improved robust fuzzy PCA (RF-PCA2) demonstrated promising results. RF-PCA2, however, still can fall into a local optimum due to equal initial membership values for all data points. Another reason comes from the fact that RF-PCA2 is based on sum-square-error although fuzzy memberships are incorporated. In this paper, a variant of RF-PCA2 called RF-PCA3 is proposed. The proposed algorithm is based on the objective function of RF-PCA2. RF-PCA3 augments RF-PCA2 with the objective function of PCA and initial membership calculation using data distribution, which make RF-PCA3 to have more chance to converge on a better solution than that of RF-PCA2. RF-PCA3 outperforms RF-PCA2, which is demonstrated by experimental results.

• Journal of Broadcast Engineering
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• v.13 no.4
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• pp.544-553
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• 2008

With the development of video editing technology, there are growing uses of overlay text inserted into video contents to provide viewers with better visual understanding. Since the content of the scene or the editor's intention can be well represented by using inserted text, it is useful for video information retrieval and indexing. Most of the previous approaches are based on low-level features, such as edge, color, and texture information. However, existing methods experience difficulties in handling texts with various contrasts or inserted in a complex background. In this paper, we propose a novel framework to localize the overlay text in a video scene. Based on our observation that there exist transient colors between inserted text and its adjacent background a transition map is generated. Then candidate regions are extracted by using the transition map and overlay text is finally determined based on the density of state in each candidate. The proposed method is robust to color, size, position, style, and contrast of overlay text. It is also language free. Text region update between frames is also exploited to reduce the processing time. Experiments are performed on diverse videos to confirm the efficiency of the proposed method.

• Journal of Broadcast Engineering
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• v.13 no.4
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• pp.501-515
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• 2008

Recently, as users' requests for high quality mobile multimedia services are rapidly increasing and additional bandwidth can be provided by adopting the hierarchical modulation transmission technology, the research on the Advanced Terrestrial DMB (AT-DMB) service using the SVC (Scalable Video Coding) scheme is being actively studied. But, in order to realize a compatible video service and to accelerate the successful standardization and commercialization, it is necessary to simplify the compatible encoder structure. In this parer, we propose a fast mode decision method by constraining the redundant coding modes in the spatial scalable encoder that keeps the current T-DMB video in base layer. The proposed method is based on the statistical characteristics of each coding mode at both base and enhancement layers, inter-layer predictions, which are derived by investigating macroblock-layer coding modes of the spatial scalable encoder's functional structure. Through computer simulations, it is shown that a simplified encoder model that reduces the heavy computational burden can be found, while keeping the objective visual quality very high.