• Proceedings of the Korean Society of Broadcast Engineers Conference
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• 2019.06a
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• pp.160-162
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• 2019

음향 이벤트 인식 기술은 오디오 신호에서 음향 이벤트를 예측하는 기술로, 최근 대용량 데이터베이스의 배포, 인식 알고리즘과 하드웨어의 발전, 관련 인식 대회 등에 힘입어 많은 연구가 이루어지고 있는 분야이다. 본 논문에서는 음향 장면 및 이벤트 인식 관련 대회인 DCASE 챌린지에 대하여 기술하고, 약한 레이블 기반의 데이터를 학습해 강한 레이블을 예측하는 DCASE 챌린지 과제 4에 대하여 설명한다. 또한 DCASE 챌린지 과제 4에 제출된 다양한 음향 이벤트 인식 알고리즘과 데이터베이스의 종류에 따른 성능을 비교하여 음향 이벤트 인식 성능을 분석한다.

• International journal of advanced smart convergence
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• v.11 no.3
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• pp.150-156
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• 2022

Recently, the use of Unreal Engine for animation production is increasing. In this situation, Unreal Engine's 'MetaHuman Creator' helps make it easier to apply realistic characters to animation. In this regard, we tried to produce animations using 'MetaHuman' and verify the effectiveness and differences from the animation production process using only Maya software. To increase the efficiency of the production process, the animation process was made with Maya software. We tried to import animation data from Unreal Engine and go through the process of making animations, and try to find out if there are any problems. And we tried to compare animations made with realistic 'MetaHuman' characters and animation works using cartoon-type characters. The use of the same camera lens in realistic character animations and cartoon character animations produced based on the same scenario was judged to be the cause of the lack of realistic animation screen composition. The analysis revealed that a different approach from the existing animation camera lens selection is required for the selection of the camera lens in the production of realistic animation.

• Journal of information and communication convergence engineering
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• v.21 no.2
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• pp.152-158
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• 2023

In recent years, as computer-generated imagery has been applied to more industries, realistic facial animation is one of the important research topics. The current solution for realistic facial animation is to create realistic rendered 3D characters, but the 3D characters created by traditional methods are always different from the actual characters and require high cost in terms of staff and time. Deepfake technology can achieve the effect of realistic faces and replicate facial animation. The facial details and animations are automatically done by the computer after the AI model is trained, and the AI model can be reused, thus reducing the human and time costs of realistic face animation. In addition, this study summarizes the way human face information is captured and proposes a new workflow for video to image conversion and demonstrates that the new work scheme can obtain higher quality images and exchange effects by evaluating the quality of No Reference Image Quality Assessment.

• English Language & Literature Teaching
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• no.4
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• pp.285-305
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• 1998

In order to scrutinize what realism really means, this paper is to analyze and compare the major realistic plays of Yun Jo-byeong of Korea with the earlier realistic ones of Bernard Shaw of England. As all the scholars concerned admit, Shaw offered reality in all of his plays: social, political, economic, religious. He was a didact, a preacher who readily acknowledged that the stage was his pulpit. Though he preached socialism, creative evolution. the abolition of prisons, real equality for women, and railed against the insincerity of motives for war, he did so as a jester in some of the finest comedy ever written. Shaw brought serious themes back to the trivialized English stage, creating a body of drama that left him second to none among twentieth century dramatists. Today, evolution and creationism and Shaw's ideas on creative evolution and the Life Force remain timely issues. As for Yun Jo-byeong who has written many realistic plays lately, he is known as a major realist in Korea. But his realistic plays are more symbolic, poetic, and private than Shaw's. As a result, Korean realism has not been so flourished in Korea as in England. Therefore, we Korean playwrights who want to write really realistic plays should try to study Shaw's realism more closely than ever.

• Proceedings of the Korean Society of Broadcast Engineers Conference
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• 2018.06a
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• pp.213-216
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• 2018

본 논문에서는 사람의 인지 시각 특성 중 하나인 JND(Just Noticeable Difference)를 이용한 인지 비디오 부호화 기법을 제안한다. JND 기반 인지 부호화 방법은 사람의 인지 시각 특성을 이용해 시각적으로 인지가 잘 되지 않는 인지 신호를 제거함으로 부호화 효율을 높이는 방법이다. 제안된 방법은 기존 수학적 모델 기반의 JND 기법이 아닌 최근 각광 받고 있는 데이터 중심(data-driven) 모델링 방법인 심층 신경망 기반 JND 모델 생성 기법을 제안한다. 제안된 심층 신경망 기반 JND 모델은 비디오 부호화 과정에서 입력 영상에 대한 전처리를 통해 입력 영상의 인지 중복(perceptual redundancy)를 제거하는 역할을 수행한다. 부호화 실험에서 제안된 방법은 동일하거나 유사한 인지화질을 유지한 상태에서 평균 16.86 %의 부호화 비트를 감소 시켰다.

• International Journal of Advanced Culture Technology
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• v.11 no.1
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• pp.241-252
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• 2023

Watercolour painting was introduced to China over a hundred years ago, and in the last two decades, it has developed rapidly, presenting a situation of diversified development. While Western-style watercolour painting has been adopted by Chinese painters, they have also expanded on it with their own aesthetic awareness and cognitive styles. As a result, Chinese watercolour painting has developed a set of expressive techniques that highlight the cultural characteristics of the nation in terms of aesthetics, concepts and techniques, resulting in a painting style with a distinctive national personality at present. Although Chinese watercolour painting has taken on a variety of styles with the intervention of modern and contemporary art, realistic watercolour painting is still the mainstream. However, there are obvious differences between the "realism" of Chinese watercolour painting and the "realism" of Western watercolour painting in terms of expression. The most distinctive feature is the "imagery" language of expression, which is closely linked to the cultural heritage of Chinese tradition and is of great value for research. I interpret the aesthetics, composition, colour and brushwork of Chinese realistic watercolour painting from the perspective of traditional Chinese aesthetics in order to deepen the understanding of Chinese realistic watercolour painting and to provide a reference for the further development of the art of Chinese realistic watercolour painting.

• ETRI Journal
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• v.44 no.1
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• pp.73-84
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• 2022

The moving picture experts group (MPEG) immersive video (MIV) technology has been actively developed and standardized to efficiently deliver immersive video to viewers in order for them to experience immersion and realism in various realistic and virtual environments. Such services are provided by MIV technology, which uses multiview videos as input. The pruning process, which is an important component of MIV technology, reduces interview redundancy in multiviews videos. The primary aim of the pruning process is to reduce the amount of data that available video codec must handle. In this study, two approaches are presented to improve the existing pruning algorithm. The first method determines the order in which images are pruned. The amount of overlapping region between the source views is then used to determine the pruning order. The second method considers global region-wise color similarity to minimize matching ambiguity when determining the pruning area. The proposed methods are evaluated under common test condition of MIV, and the results show that incorporating the proposed methods can improve both objective and subjective quality.

• The Journal of the Korea Contents Association
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• v.12 no.6
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• pp.142-150
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• 2012

The development of technology in traditional media is affecting a variety of ways. In particular, the influence of digital images, the animation turned to a realistic 3D animation. With the release of realistic 3D animation , Robert Zemeckis received much attention but the audience did not like the animation of this style gradually. Robert Zemeckis gave up 3D animation after that drew attention for having a huge production budget while failing at a record-setting proportion in the American box-office. A digital actor in realistic 3D animation looks like real but the audience know that it is not real and they know that realistic 3D animations and live-action movies are different. So the audience will experience an emotional conflict like confusion, hesitation. The visual completion in realistic 3D animation is due to the development of technology and technology must develop to connect the audience acceptance and movie.

• The Journal of the Convergence on Culture Technology
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• v.10 no.2
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• pp.91-97
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• 2024

Recently, with the rapid development of digital media technology, Realistic content that stimulates users' five senses is being used in various fields. This study focused on the case of the development of the Korea Industrial Complex Corporation's public relations center as the subject of the study to study the realistic content development process of public enterprises. First, the realistic content development process was divided into 10 stages and practical guidelines were presented to help develop realistic content in the future by presenting important development points and methods at each stage. Second, among the realistic content development processes, the importance of storytelling was analyzed at the scenario stage. Third, various methods of displaying content were analyzed. In the case of the Korea Industrial Complex Corporation's public relations center, it was proposed in three ways: story video, experience video, and media wall. It is suggested that the role of branding, promotion, and PR can be performed in one public relations center through an effective development process.

• Cartoon and Animation Studies
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• s.20
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• pp.47-61
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• 2010

The Uncanny Valley is a hypothesis introduced by a roboticist, Masahiro Mori. The theory holds that as robots and other facsimiles of humans look and act more human-like, the emotional response from a human spectator to them will become increasingly empathic, until they approach realistic similarity to humans but not quite exactly like them, when those images stop being likable and instead become repulsive and "uncanny." Although the scientific validity of this hypothesis is still debatable, it is true that many spectators has tendency to reject hyper-realistic animation. For that reason, the great success of the recent movie Avatar is remarkable. Computer animations that try to represent humans in hyper-realistic way fall into a paradox: successful result images would look too mundane and unsuccessful ones look "wrong". On top of that, audience would expect from hyper-realistic animation to see same level of acting of live-action films, which is usually not the case. The subtle differences between digital characters and real actors irritate spectators and hinder them in absorbtion. The biggest difference between Avatar and other hyper-realistic animation is the referent of their representation. While Avatar pursues a similar hyper-realistic visual style, the referents of the representation shown in this movie are totally alien to us thus impossible to compare with the real counterparts. Unlike characters in other hyper-realistic animations who had to fight an uphill battle with great actors in real life, those in Avatar have criteria of their own. That is why this movie can be free from the dreadful valley and let the audience absorb into the spectacle.