• Title/Summary/Keyword: Shift-and-add

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Design of Multiplierless Lifting-based Wavelet Transform using Pattern Search Methods (패턴 탐색 기법을 사용한 Multiplierless 리프팅 기반의 웨이블릿 변환의 설계)

  • Son, Chang-Hoon;Park, Seong-Mo;Kim, Young-Min
    • Journal of Korea Multimedia Society
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    • v.13 no.7
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    • pp.943-949
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    • 2010
  • This paper presents some improvements on VLSI implementation of lifting-based 9/7 wavelet transform by optimization hardware multiplication. The proposed solution requires less logic area and power consumption without performance loss compared to previous wavelet filter structure based on lifting scheme. This paper proposes a better approach to the hardware implementation using Lefevre algorithm based on extensions of Pattern search methods. To compare the proposed structure to the previous solutions on full multiplier blocks, we implemented them using Verilog HDL. For a hardware implementation of the two solutions, the logical synthesis on 0.18 um standard cells technology show that area, maximum delay and power consumption of the proposed architecture can be reduced up to 51%, 43% and 30%, respectively, compared to previous solutions for a 200 MHz target clock frequency. Our evaluation show that when design VLSI chip of lifting-based 9/7 wavelet filter, our solution is better suited for standard-cell application-specific integrated circuits than prior works on complete multiplier blocks.

Design of a New Audio Watermarking System Based on Human Auditory System (청각시스템을 기반으로 한 새로운 오디오 워터마킹 시스템 설계)

  • Shin, Dong-Hwan;Shin Seung-Won;Kim, Jong-Weon;Choi, Jong-Uk;Kim, Duck-Young;Kim, Sung-Hwan
    • The Transactions of the Korean Institute of Electrical Engineers D
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    • v.51 no.7
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    • pp.308-316
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    • 2002
  • In this paper, we propose a robust digital copyright-protection technique based on the concept of human auditory system. First, we propose a watermarking technique that accepts the various attacks such as, time scaling, pitch shift, add noise and a lot of lossy compression such as MP3, AAC WMA. Second, we implement audio PD(portable device) for copyright protection using proposed method. The proposed watermarking technique is developed using digital filtering technique. Being designed according to critical band of HAS(human auditory system), the digital filers embed watermark without nearly affecting audio quality. Before processing of digital filtering, wavelet transform decomposes the input audio signal into several signals that are composed of specific frequencies. Then, we embed watermark in the decomposed signal (0kHz~11kHz) by designed band-stop digital filer. Watermarking detection algorithm is implemented on audio PD(portable device). Proposed watermarking technology embeds 2bits information per 15 seconds. If PD detects watermark '11', which means illegal song. PD displays "Illegal Song" message on LCD, skips the song and plays the next song, The implemented detection algorithm in PD requires 19 MHz computational power, 7.9kBytes ROM and 10kBytes RAM. The suggested technique satisfies SDMI(secure digital music initiative) requirements of platform3 based on ARM9E core.

Detail Enhancement by Spatial Gamut Mapping Based on Local Contrast Compensation (지역적 대비를 보상하는 색역 사상을 통한 상세정보 향상)

  • Song, In-Yong;Ha, Ho-Gun;Ha, Yeong-Ho
    • Journal of the Institute of Electronics Engineers of Korea SP
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    • v.49 no.4
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    • pp.58-66
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    • 2012
  • Currently many devices reproduce electronic images in the various ways. However, the color that is reproduced in any device is different from the original color due to the differences in the gamut between devices. A recent trend in gamut mapping algorithms is the use of spatial information to compute the color transformation of pixels from the input to the output gamut. However, these techniques share the problem of preserving details, and avoiding halos, and hue shift. In this paper, spatial gamut mapping for preserving the details of the input image is proposed. Our approach improves visibility of detail that is not effectively represented with conventional spatial gamut mapping. In proposed method, initially, we gamut map the input image using gamut clipping and obtain a detail layer for both the input and the gamut mapped images. Next, we calculate the difference between the two detail layers, obtaining the details of the out of gamut region. Finally, we add the details of out of gamut region to the gamut mapped image. Since the resulting image has out of gamut colors, we obtain resulting image of proposed method by using a gamut clipping method. Consequently, the printed output image was more consistent with the corresponding monitor image.

Dispute of Part-Whole Representation in Conceptual Modeling (부분-전체 관계에 관한 개념적 모델링의 논의에 관하여)

  • Kim, Taekyung;Park, Jinsoo;Rho, Sangkyu
    • Journal of Intelligence and Information Systems
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    • v.18 no.4
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    • pp.97-116
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    • 2012
  • Conceptual modeling is an important step for successful system development. It helps system designers and business practitioners share the same view on domain knowledge. If the work is successful, a result of conceptual modeling can be beneficial in increasing productivity and reducing failures. However, the value of conceptual modeling is unlikely to be evaluated uniformly because we are lack of agreement on how to elicit concepts and how to represent those with conceptual modeling constructs. Especially, designing relationships between components, also known as part-whole relationships, have been regarded as complicated work. The recent study, "Representing Part-Whole Relations in Conceptual Modeling : An Empirical Evaluation" (Shanks et al., 2008), published in MIS Quarterly, can be regarded as one of positive efforts. Not only the study is one of few attempts of trying to clarify how to select modeling alternatives in part-whole design, but also it shows results based on an empirical experiment. Shanks et al. argue that there are two modeling alternatives to represent part-whole relationships : an implicit representation and an explicit one. By conducting an experiment, they insist that the explicit representation increases the value of a conceptual model. Moreover, Shanks et al. justify their findings by citing the BWW ontology. Recently, the study from Shanks et al. faces criticism. Allen and March (2012) argue that Shanks et al.'s experiment is lack of validity and reliability since the experimental setting suffers from error-prone and self-defensive design. They point out that the experiment is intentionally fabricated to support the idea, as such that using concrete UML concepts results in positive results in understanding models. Additionally, Allen and March add that the experiment failed to consider boundary conditions; thus reducing credibility. Shanks and Weber (2012) contradict flatly the argument suggested by Allen and March (2012). To defend, they posit the BWW ontology is righteously applied in supporting the research. Moreover, the experiment, they insist, can be fairly acceptable. Therefore, Shanks and Weber argue that Allen and March distort the true value of Shanks et al. by pointing out minor limitations. In this study, we try to investigate the dispute around Shanks et al. in order to answer to the following question : "What is the proper value of the study conducted by Shanks et al.?" More profoundly, we question whether or not using the BWW ontology can be the only viable option of exploring better conceptual modeling methods and procedures. To understand key issues around the dispute, first we reviewed previous studies relating to the BWW ontology. We critically reviewed both of Shanks and Weber and Allen and March. With those findings, we further discuss theories on part-whole (or part-of) relationships that are rarely treated in the dispute. As a result, we found three additional evidences that are not sufficiently covered by the dispute. The main focus of the dispute is on the errors of experimental methods: Shanks et al. did not use Bunge's Ontology properly; the refutation of a paradigm shift is lack of concrete, logical rationale; the conceptualization on part-whole relations should be reformed. Conclusively, Allen and March indicate properly issues that weaken the value of Shanks et al. In general, their criticism is reasonable; however, they do not provide sufficient answers how to anchor future studies on part-whole relationships. We argue that the use of the BWW ontology should be rigorously evaluated by its original philosophical rationales surrounding part-whole existence. Moreover, conceptual modeling on the part-whole phenomena should be investigated with more plentiful lens of alternative theories. The criticism on Shanks et al. should not be regarded as a contradiction on evaluating modeling methods of alternative part-whole representations. To the contrary, it should be viewed as a call for research on usable and useful approaches to increase value of conceptual modeling.

Comparison of Acting Style Between 2D Hand-drawn Animation and 3D Computer Animation : Focused on Expression of Emotion by Using Close-up (2D 핸드 드로운 애니메이션과 3D 컴퓨터 애니메이션에서의 액팅(acting) 스타일 비교 -클로즈-업을 이용한 감정표현을 중심으로-)

  • Moon, Jaecheol;Kim, Yumi
    • Cartoon and Animation Studies
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    • s.36
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    • pp.147-165
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    • 2014
  • Around the turn of 21st century, there has been a major technological shift in the animation industry. With development of reality-based computer graphics, major American animation studios replaced hand-drawn method with the new 3D computer graphics. Traditional animation was known for its simplified shapes such as circles and triangle that makes characters' movements distinctive from non-animated feature films. Computer-generated animation has largely replaced it, but is under continuous criticism that automated movements and reality-like graphics devaluate the aesthetics of animation. Although hand-drawn animation is still produced, 3D computer graphics have taken commercial lead and there has been many changes to acting of animated characters, which calls for detailed investigation. Firstly, the changes in acting of 3D characters can be traced from looking at human-like rigging method that mimics humanistic moving mechanism. Also, if hair and clothing was part of hand-drawn characters' acting, it has now been hidden inside mathematical simulation of 3D graphics, leaving only the body to be used in acting. Secondly, looking at "Stretch and Squash" method, which represents the distinctive movements of animation, through the lens of media, a paradox arises. Hand-drawn animation are produced frame-by-frame, and a subtle change would make animated frames shiver. This slight shivering acts as an aesthetic distinction of animated feature films, but can also require exaggerated movements to hide the shivering. On the contrary, acting of 3D animation make use of calculated movements that may seem exaggerated compared to human acting, but seem much more moderate and static compared to hand-drawn acting. Moreover, 3D computer graphics add the third dimension that allows more intuitive movements - maybe animators no longer need fine drawing skills; what they now need is directing skills to animate characters in 3D space intuitively. On the assumption that technological advancement and change of artistic expressionism are inseparable, this paper compares acting of 3D animation studio Pixar and classical drawing studio Disney to investigate character acting style and movements.

Group storytelling with multi-storyteller in single person media game contents on Youtube - focused on viewer-participating contents in channel (유튜브 1인 게임 방송의 집단 스토리텔링 -<대도서관 TV(buzzbean11)> 채널의 시청자 참여형 콘텐츠를 중심으로)

  • Kil, Hye-Bin;Kim, So-Young
    • Journal of Popular Narrative
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    • v.27 no.2
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    • pp.107-142
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    • 2021
  • Emergence of new media platform had changed relationship between the broadcaster and the viewer, which used to form 'performer-audience' structure. This research has focused on the transition of 'streamer-viewer' role in single-media broadcasting, such as Youtube or Twitch, and identify how they progress group storytelling as a team. Walter Benjam and Leslie Marmon Silko's notion of 'story and storyteller' and Erving Goffman's 'social role theory' was used to define participants' role in new media broadcasting. channel, on Youtube, was selected and analyzed as example case. The domain of 'front stage' was broadened in recorded contents comparing to live streaming. The audience of live streaming is included to the front stage during the expansion. The role of streamer, game participant, and live stream contents viewer is also adjusted during the change, which leads to group-creation of the contents. Streamer plays a role of main-storyteller and suggest identity of the community. Game participants work as sub-storyteller, filling in the blank space in game storytelling and making it sophisticated. They also perform based on community's identity, which streamer has built in advance. Lastly, live steam viewers are intermittent sub-storyteller, which seldom add up the narrative. Though, their main role is to preserve identity of game broadcasting community by reacting according to community's identity. As a result, the game broadcasting narrative is developed by combining and adding up pieces of story made in different level and role of participants. The research redefine the role of viewer and storytelling method in new media, especially in single-person broadcasting. Considering the rapid shift in recent media and contents, a new approach to the streamer-veiwer role and group storytelling of this research can be one of the new method to analyze contents produced in new media, such as Youtube.