• Journal of Korea Multimedia Society
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• v.21 no.2
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• pp.232-241
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• 2018

Operational Transformation (OT) algorithms for real-time collaborative editing systems are becoming increasingly important due to the increased demand for collaborative data processing. The operational transformation algorithm is a technique for real-time concurrency control and consistency maintenance with non-locking technique, and many studies have been conducted to overcome three issues of convergence, causality-prevention, and intention-prevention. However, previous work has the disadvantage of wasting memory by storing all operations that occurred during an edit operation in the history buffer to solve this problem. Therefore, we propose a memory-saving real-time collaborative editing system that maintains a constant memory space and concurrency control through a method of applying the valid-time to each user-generated operation in order to reduce memory waste. This system prevents long-term memory occupation of client-generated operations, thus it reduces the space and time complexity even with low-rate of collaboration work, so that the performance degradation avoids.

• Journal of Broadcast Engineering
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• v.27 no.4
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• pp.519-526
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• 2022

Identifying and searching for characters appearing in scenes during multimedia video editing is an arduous and time-consuming process. Applying artificial intelligence to labor-intensive media editing tasks can greatly reduce media production time, improving the creative process efficiency. In this paper, a method is proposed which combines existing artificial intelligence based techniques to automate character recognition and search tasks for video editing. Object detection, face detection, and pose estimation are used for character localization and face recognition and color space analysis are used to extract unique representation information.

• Journal of Institute of Control, Robotics and Systems
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• v.8 no.1
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• pp.28-36
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• 2002

Regarding efficient development of computer graphic animations, lots of techniques for editing or transforming existing motion data have been developed. Basically, the motion transformation techniques follow optimization process. To make the animation be natural, almost all the techniques utilize kinematics and dynamics in constructing constraints for the optimization. Since the kinematic and dynamic structures of virtual characters to be animated are very complex, the most time-consuming part is known to the optimization process. In order to suggest some guide lines to engineers involved in the motion transformation, in this paper, we analyze the computational complexities for typical motion transformation in quantitative manner as well as the possibility for parallel computation.

• Journal of KIISE:Software and Applications
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• v.26 no.1
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• pp.157-157
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• 1999

Researches on the gesture recognition have become a very interesting topic in the computer vision area, Gesture recognition from visual images has a number of potential applicationssuch as HCI (Human Computer Interaction), VR(Virtual Reality), machine vision. To overcome thetechnical barriers in visual processing, conventional approaches have employed cumbersome devicessuch as datagloves or color marked gloves. In this research, we capture gesture images without usingexternal devices and generate a gesture trajectery composed of point-tokens. The trajectory Is spottedusing phase-based velocity constraints and recognized using the discrete left-right HMM. Inputvectors to the HMM are obtained by using the LBG clustering algorithm on a polar-coordinate spacewhere point-tokens on the Cartesian space .are converted. A gesture vocabulary is composed oftwenty-two dynamic hand gestures for editing drawing elements. In our experiment, one hundred dataper gesture are collected from twenty persons, Fifty data are used for training and another fifty datafor recognition experiment. The recognition result shows about 95% recognition rate and also thepossibility that these results can be applied to several potential systems operated by gestures. Thedeveloped system is running in real time for editing basic graphic primitives in the hardwareenvironments of a Pentium-pro (200 MHz), a Matrox Meteor graphic board and a CCD camera, anda Window95 and Visual C++ software environment.

• Proceedings of the Korean Society of Broadcast Engineers Conference
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• 1997.06a
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• pp.75-81
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• 1997

A new DTPP (Desk-Top Program Production) system has been developed that enables multiple program producers (directors) working at different locations to collaborate over a computer network and prepare a single program for broadcasting. In this system, information is shared among users by exchanging data edited on non-linear editing terminals in program post-production work over a network in real time. In short, the new DTPP system provides a collaborative work space for producing TV programs. The system does not make use of a special server for collaborative work but rather multiple interconnected editing terminals having the same functions. In this configuration, data at a terminal which has just been edited by some operation is forwarded to all other connected terminals for updating. This form of information sharing, however, requires that some sort of data synchronizing method be established since multiple terminals are operating on the same data simultaneously. We therefore adopt a method whereby the system synchronizes the clocks on each terminal at the time of connection and sends an operation time stamp together with edited data. This enables most recently modified data to be identified and all information on all terminals to be updated appropriately. This paper provides an overview of this new collaborative DTPP system and describes the techniques for exchanging edited data and synchronizing data.

• Archives of design research
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• v.16 no.3
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• pp.263-272
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• 2003

Motiongraphics is not short film and has a special communication method characteristic of design. As graphic design needs space-composition, motiongraphics requires time-composition. In the 1920's, artists belonged Bauhaus in Germany tried to realize time-composition in the plans for abstract animation. At that time the russian film director Eisenstein experimented with moving image composit on, creating new meanings through the montage of heterogeneous images. In the digital era of today, motiongraphics is composed of such various elements as moving image, photo, illustration, typography, etc. The editing in montage film is one-dimensional. Meanwhile, motiongraphics of these days consists of a lot of layers, composing various elements by editing. Motiongraphics needs time structure and visual rhythm as well as scenario or storyboard for time composition. The principle of time composition in motiongraphics ist similar to that of musical composition. If we compare the time composition of abstract animation or montage film with the melody in a solo, time composition for motiongraphicf is like a symphony. Various composing elements are developed under different tempos at the same time.

• Cartoon and Animation Studies
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• s.25
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• pp.65-85
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• 2011

In this essay, Japanese animator Kihachiro Kawamoto's works will be analyzed. Kawamoto made Breaking of Branches is Forbidden in 1968 and was famous for puppet animation as The Demon(1972), Dojoji Temple(1976) and House of Flame(1979) used Japanese traditional elements in his works. The themes are the agony and despair of a human being, and the narrative is developed dramatically. This is possible through a variety of techniques in animation expression. For example of this are the movement of the puppets and the lighting. In the case of Kawamoto's works, above all, it can be said that the dramatic development depends on editing - the relation of each shot to the next shot. Therefore, this analysis will focus especially on the editing of The Demon, Dojoji Temple and House of Flame. Kawamoto's method of editing will be examed and the analysis will confirm that classical continuity edting by controling space and time has been used. Namely that the effect of editing enhances dramatic development of the narrative on Kawamoto's works. This study will also discuss the benefit of using cinematic methods of in animation. Eventhough it is not essential, Kawamoto chooses cinematic method editing. Through their use, he is able to absorb the audience in the traditional Japanese world which ordinarily could be too difficult to understand through puppet animation.

• International Journal of Internet, Broadcasting and Communication
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• v.11 no.1
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• pp.54-59
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• 2019

The parametrization of the surface plays an important role in the 3D computer graphics and computer vision. Especially, it is essential in 3D mesh editing that manipulates the position of 3D objects on a computer monitor. Because computer monitors are two-dimensional, while vertices of objects that actually want to change are in a three-dimensional virtual space. In this study, we propose a new type of parametrization method that takes advantage of the special properties of circles that are common to local parameterization. Experimental results show that our parameterization method is more efficient in terms of time and space than the standard parameterization method that was designed by Floater et al.

• Korean Institute of Interior Design Journal
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• v.19 no.3
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• pp.30-37
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• 2010

Dutch artist, Theo van Doesburg had shown short but strong experimental aesthetics in his works through De Stijl movement. He played a leading role for editing De Stijl magazine and performed various formative works such as painting, sculpture, and architecture. In 1923 he opened the first De Stijl exhibition cooperated with Cornelis van Eesteren. In this architecture exhibition he showed rich formal spirits of counter-construction in his major design works, that is Maison Particuliere and Maison D'artiste among three houses projects. Formal characteristics of counter-construction can be summed up under two categories, time and space. Analytical results are as follows; First, the characteristics of counter-construction related to time category include two types of two mode. One is linear aspect of time based on the viewer's movement. The other aspect is simultaneity caused by synoptical effect. These could be proved by the analysis of arrangement of color planes. Secondly, the spatial aspects of counter-construction are produced through two different ways of formal strategies. Van Doesburg arranged cubes in very irregular pattern. This treatment induces ambiguous void and creates feeling of subject's space. And, through deleting, shifting, and extending he could make dynamic spatial effect by interpenetration between in and out. This fluid space thus introduces movements of one's gaze and circulation. He denied traditional classical values which had ruled the western aesthetical discipline for centuries and believed that mankind can reach the realm of universal equilibrium by contrast and tension created by counter-construction. In this vein Theo van Doesburg was an avant-garde artist of Hegelian thoughts who adopted the dialectical method without following the formal characteristics from ancestors.

• Journal of the Korea Institute of Information and Communication Engineering
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• v.24 no.3
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• pp.384-390
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• 2020

The reverberation effect on the sound when producing movies or VR contents is a very important factor in the realism and liveliness. The reverberation time depending the space is recommended in a standard called RT60(Reverberation Time 60 dB). In this paper, we propose a scene recognition technique for automatic reverberation editing. To this end, we devised a classification model that independently trains color images and predicted depth images in the same model. Indoor scene classification is limited only by training color information because of the similarity of internal structure. Deep learning based depth information extraction technology is used to use spatial depth information. Based on RT60, 10 scene classes were constructed and model training and evaluation were conducted. Finally, the proposed SCR + DNet (Scene Classification for Reverb + Depth Net) classifier achieves higher performance than conventional CNN classifiers with 92.4% accuracy.