• Journal of Broadcast Engineering
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• v.25 no.5
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• pp.665-671
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• 2020

MPEG-I is actively working on standardization on the coding of immersive video which provides up to 6 degree of freedom (6DoF) in terms of viewpoint. 3DoF+ video, which provides motion parallax to omnidirectional view of 360 video, renders a view at any desired viewpoint using multiple view videos acquisitioned in a limited 3D space covered with upper body motion at a fixed position. The MPEG-I visual group is developing a test model called TMIV (Test Model for Immersive Video) in the process of development of the standard for 3DoF+ video coding. In the TMIV, the redundancy between a set of input view videos is removed, and several atlases are generated by packing patches including the remaining texture and depth regions into frames as compact as possible, and coded. This paper presents an atlas generation method that removes small-sized blocks in the atlas for more efficient 3DoF+ video coding. The proposed method shows a performance improvement of BD-rate bit savings of 0.7% and 1.4%, respectively, in natural and graphic sequences compared to TMIV.

• Cartoon and Animation Studies
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• s.18
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• pp.57-72
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• 2010

Textbooks used in Information Society need to use many illustrations and pictures which have positive effect in motivating and triggering students to study. "Pictures mean more than thousands of the word" says that it is significant to use media in class through visual materials. To meet the needs of the times, I examined one of the units, "IV Understanding Humans and Cultural Phenomena", among 7 authorized 'Society Culture' textbooks, so that there are 123 illustrations and 342 pictures that the percentage of them was 35.65% totally in the unit. On the examination of the frequency of using contents in each category, the illustrations are used 59 times (47.96%) in the research activity and the pictures 145 times (42.4%) in the context, which are most frequently used. Also on the examination into the actual states using contents among 'Society Culture' teachers by in-depth interviewing, they often use them when their class starts. And they require more increase in the illustrations than the pictures for easy and clear understanding and need more contents offering in the research activity to help students to study more interesting. Finally, on the result of the analysis of contents used in textbooks, exemplary cases were available to convey enough information without reading the context in the textbook because the proposed illustrations expressed the research activity's subject and the context's subject effectively. Even more, one illustration was able to indicate the sub-unit's subject while also presenting the content to be learned in the unit. However, improper cases included illustrations which are somewhat unrealistic or difficult to understand. Further, there are also some illustrations which are not related to the context. If these points are revised in the future, textbooks would be better.

• Cartoon and Animation Studies
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• s.48
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• pp.117-139
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• 2017

The possibility of interactivity of digital media environment is adopted in human expression system and integrates the dynamic aspect of digital technology with expressive structure, thereby transforming the paradigm of image acceptance as well as image expression range. Virtual reality images have an important meaning in that they are changing the one-way mechanism of production and acceptance of images that lead to producers-video-audiences beyond the problem of verisimilitude such as how vividly they simulate reality. First of all, the virtual reality image is not one-sided but interactive image composed by the user. Viewing a virtual reality image does not just see the camera shine, but it gets the same view as in the real world. Therefore, the image that was controlled through framing changes to be configured positively by the user. This implies a change in the paradigm of image acceptance as well as a change in the existing form of the image itself. In addition, the narrative structure of the image and the subjects that are formed in the process are also required to be discussed. In the virtual reality image, the user 's gaze is a fusion of the gaze inside the image and the gaze outside the image. This is because the position of the user as the subject of the gaze in the virtual reality image is continuously restricted by the device of the discourse such as the editing and the narration of the shot. The significance of the virtual reality image is not aesthetically perfect but it is reconstructed according to the user to reflect the existence of the user positively and engage the user in the image.

• Cartoon and Animation Studies
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• s.49
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• pp.677-696
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• 2017

Cartoons and consequently animation are an effective way of visualizing futuristic scenarios. Here we look at how animation is becoming ubiquitous and an integral part of this future today: the cybernetic and mediated society that we are being transformed into. Animation therefore becomes a form of speech between humans and this networked reality, either as an interface or as representation that gives temporal form to objects. Animation or specifically animated films usually are associated with character based short and feature films, fiction or nonfiction. However animation is not constricted to traditional cinematic formats and language, the same way that design and communication have become treated as separate fields, however according to $Vil{\acute{e}}m$ Flusser they aren't. The same premise can be applied to animation in a networked culture: Animation has become an intrinsic to design processes and products - as in motion graphics, interface design and three-dimensional visualization. Video-games, virtual reality, map based apps and social networks constitute layers of an expanded universe that embodies our network based culture. They are products of design and media disciplines that are increasingly relying on animation as a universal language suited to multi-cultural interactions carried in digital ambients. In this sense animation becomes a discourse, the same way as Roland Barthes describes myth as a type of speech. With the objective of exploring the role of animation as a design tool, the proposed research intends to develop transmedia creative visual strategies using animation both as narrative and as an user interface.

• Journal of Broadcast Engineering
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• v.13 no.5
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• pp.651-661
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• 2008

This paper proposes a novel contrast enhancement (CE) algorithm for color images using the modified error diffusion (ED). After conventional color histogram equalization (HE), artifacts such as false contours are produced in the contrast enhanced image. The proposed CE algorithm using the modified ED consists of two parts: CE and ED. In the first part, a low-contrast input image is enhanced by the conventional HE method. In the second part, we use the modified ED algorithm. The inputs of the second part are the average and scaled difference images of the original color input image and the HE image, in which the scaled color difference image is diffused by the ED algorithm. In the proposed algorithm, the modified ED algorithm reduces the artifacts produced in the HE image, and increases the number of color levels. Computer simulations with a number of low-contrast color images show the effectiveness of the proposed CE method in terms of the visual quality as well as the probability mass function. It can be used as a post-processing for CE with simultaneous artifact reduction in various display devices.

• Journal of Broadcast Engineering
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• v.18 no.6
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• pp.859-871
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• 2013

In this paper, we propose an algorithm that generates multi-view images by grid-mesh based image domain warping using occlusion mask and various image features obtained from the stereoscopic images. In the proposed algorithm, we first extract image saliency map, line segments and disparity saliency map from stereo images and then get them through a process that improves the quality of extracted features. This process is accomplished in two steps. In the first step, reliability of disparity saliency map on object boundary regions is enhanced by using occlusion information. And in the second step, we enhance the quality of image features in terms of temporal consistency by using temporal consistency information for stereo images. With these enhanced features, multi-view images are generated by grid-mesh based image domain warping technique. Experimental results show that the proposed algorithm performs better than existing algorithms in terms of visual quality.

• Journal of Broadcast Engineering
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• v.22 no.1
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• pp.28-41
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• 2017

In this paper, the fast encoding algorithm in High Efficiency Video Coding (HEVC) encoder was studied. For the encoding efficiency, the current HEVC reference software is divided the input image into Coding Tree Unit (CTU). then, it should be re-divided into CU up to maximum depth in form of quad-tree for RDO (Rate-Distortion Optimization) in encoding precess. But, it is one of the reason why complexity is high in the encoding precess. In this paper, to reduce the high complexity in the encoding process, it proposed the method by determining the maximum depth of the CU using a hierarchical clustering at the pre-processing. The hierarchical clustering results represented an average combination of motion vectors (MV) on neighboring blocks. Experimental results showed that the proposed method could achieve an average of 16% time saving with minimal BD-rate loss at 1080p video resolution. When combined the previous fast algorithm, the proposed method could achieve an average 45.13% time saving with 1.84% BD-rate loss.

• Journal of Broadcast Engineering
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• v.10 no.3
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• pp.413-421
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• 2005

As the population of HDTV is growing, among many useful features of modern set top boxes (STBs) or digital video recorders (DVRs), video browsing, visual bookmark, and picture-in-picture capabilities are very frequently required. These features typically employ reduced-size versions of video frames, or thumbnail images. Most thumbnail generation approaches generate DC images directly from a compressed video stream. A discrete cosine transform (DCT) coefficient for which the frequency is zero in both dimensions in a compressed block is called a DC coefficient and is simply used to construct a DC image. If a block has been encoded with field DCT, a few AC coefficients are needed to generate the DC image in addition to a DC coefficient. However, the bit length of a codeword coded with variable length coding (VLC) cannot be determined until the previous VLC codeword has been decoded, thus it is required that all codewords should be fully decoded regardless of their necessary for DC image generation. In this paper, we propose a method especially for fast DC image generation from an I-frame using multiple-symbol lookup table (mLUT). The experimental results show that the method using the mLUT improves the performance greatly by reducing LUT count by 50$\%$.

• Journal of Broadcast Engineering
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• v.15 no.1
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• pp.52-62
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• 2010

Recently, DVC (Distributed Video Coding) is attracting a lot of research works since this enables us to implement a light-weight video encoder by distributing the high complex tasks such as motion estimation into the decoder side. In order to improve the coding efficiency of the DVC, the existing works have been focused on the efficient generation of side information (SI) or the virtual channel modeling which can describe the statistical channel noise well. But, in order to improve the overall performance, this paper proposes a new scheme that can be implemented with simple bit operations without introducing complex operation. That is, the performance of the proposed scheme is enhanced by using the fact that the Wyner-Ziv (WZ) frame and side information are highly correlated, and by reducing the effect of virtual channel noise which tends to be clustered in some regions. For this aim, this paper proposes an efficient pixel-domain WZ (PDWZ) CODEC which effectively exploits the statistical redundancy by using the code conversion and Gray code, and then reduces the channel noise by using the bit interleaver. Through computer simulations, it is shown that the proposed scheme can improve the performance up to 0.5 dB in objective visual quality.

• The Journal of Art Theory & Practice
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• no.5
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• pp.109-133
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• 2007

What a concept of theatricality in modern art became more controversial is through a review "art and object-hood" on Michael Fried's minimal art, as having been already known broadly. As he had been concerned, the art following the minimalism is accepting as the very important elements such as the introduction of temporality, the stage in the exhibition space, and the audience's positive participation, enough to be no exaggeration to say that it was involved in almost all the theatricality. Particularly even in the installation art and the environment art, which have substantially positioned since the 1970s, the space is staged, and the audience's participation is greatly highlighted due to the temporal character and the site-specific in works. In such way, the theatricality in art work is today regarded as one of the most important elements. In this context, it is thought to have significance to examine theatricality, which is shown in the works of Arte Povera artists, who had been active energetically between 1967-1971. That is because the name of this group itself is what was borrowed from "Poor Theatre" in Jerzy Grotowski, who is a play director and theorist coming from Poland, and because of having many common points in the aspect of content and form. It reveals that the art called Arte Povera is sharing many critical minds in the face of commanding the field called a play and other media. Grotowski's theatre theory is very close to the theory and substance in Arte Povera in a sense that liberates a play, which was locked in literature, above all, renews the relationship between stage and seat and between actor and audience, and pursues a human being's change in consciousness through this. That is because Arte Povera also emphasizes the communication with the audience through appealing to a human being's perception and through the direct and living method, not the objective art concept of centering on the work. In addition, the poor play or poor art all has tendency that denies a system, which relies upon economic and cultural system, and seeks for what is anti-cultural, elemental, and fundamental. It is very similar even in a sense that focuses on the exploration process itself rather than the result, excludes the transcendental concept, and attaches importance to empiricism. However, Arte Povera accepts contradictoriness and complexity, and suggests eclecticism and tolerance, thereby being basically the nomadic art and the art difficult to be captured constitutively. On the other hand, there is difference in a sense that the poor play is characterized by purity, asceticism, seriousness, and solemnity. If so, which significance does this theatricality, which was introduced to art, ultimately have? As all the arts desire to be revealed with invisible things beyond the visual thing, theatricality comes to play a very important role at this time. If all the artists and audiences today came to acquire actual or virtual freedom much more, that can be said to be a point attributable to that art relied upon diverse conditions in a play.