• Journal of Broadcast Engineering
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• v.17 no.1
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• pp.108-121
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• 2012

As Scalable Video Coding (SVC) is a video compression standard extended from H.264/AVC, it is a way to provide scalability in terms of temporal, spatial and quality. Although the compression efficiency of SVC is increased due to the scalability in many aspect, it is essential to reduce the complexity in order to efficiently use because the complexity is relatively increased. To reduce the complexity of SVC in the paper, we propose fast mode decision algorithm to reduce the complexity of encoding process using direction information of B-picture by efficiently performing inter-layer prediction. The proposed algorithm is a fast mode decision algorithm that makes different from detection mode number of forward and backward, bi-direction in the way using best mode of base-layer up-sampled after simply SKIP mode detection using the direction information of best mode of base-layer up-sampled. The experimental results show that the proposed algorithm approach can achieve the maximum computational time saving about 53% with almost no loss of rate distortion (RD) performance in the enhancement layer.

• Journal of Broadcast Engineering
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• v.13 no.2
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• pp.222-235
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• 2008

Recently, as growing of high definition media services like HDTV and IPTV, fast moving picture manipulation techniques need to meet what those services require. Especially, a fast reduced-size image extracting method is required in the areas of video indexing and video summary Conventional DC image extracting methods, however, can't be applied to H.264/AVC streams since a spatial domain prediction scheme is adopted in H.264/AVC intra mode. In this paper, we propose a theoretical method for extracting a thumbnail image from an H.264/AVC intra frame in the frequency domain. Furthermore, the proposed scheme can extract the thumbnail very fast since all operations are applied to transform coefficients directly, after a general equation for the thumbnail extraction in nine H.264/AVC intra prediction modes is introduced, an LUT(Look Up Table) for each mode is designed. Through the implementation and performance evaluation, while the subject quality difference between the output of our scheme and a conventional output is negligible, the former can extract the thumbnail faster then the latter by up to 63%.

• Journal of the Korean Institute of Landscape Architecture
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• v.38 no.4
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• pp.35-44
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• 2010

This study will define the features of the viewpoint that best enables the view of Busan Port from Young-Do. Special focus will be on spatial distribution, the type Busan Port sights that can be experienced from Young-Do, the compositional characteristic of a port landscape and visual characteristic. The results are based on 27 selected viewpoints and are as follows. Firstly, the patterns of the spatial distribution of viewpoints are classified as park, public facility and wayside types. It was found that most viewpoints are located along a wayside. Secondly, the types of Busan Port sights that can be experienced from Young-Do are divided into three kinds: surrounding stand-line type, facing the port and the type of penetrating city. The major type was of penetrating city among the three patterns. The reason for this is that the point of view for Busan Port was changed into a prospect over the sea since city and road sections have been expanding due to the urbanization of Young-Do. Thirdly, the compositional characteristics of the port landscape are divided into three styles: panoramic, corridor, and rooftop. The most frequent type is the rooftop style among the three characteristics. This fact indicates that the picture of Busan Port seen from Young-Do loses continuity of view and that housetops inhibit the sense of distance. Lastly, the visual characteristics of the viewpoint were analyzed. The angles of the declination of the viewpoints are concentrated on the horizontally closed parts. Thirteen points lie between $-3^{\circ}$ and $-1^{\circ}$, and twelve points between $-6^{\circ}$ and $-4^{\circ}$. The visual axes of the depression are two points because sight is interrupted by buildings which are built when the city expands. Two viewpoints for experiencing the optimum landscape of depression should be prepared to ensure continuous preservation of the viewpoints. The sight creates a wide prospect, reaching from 0.2km to 6.4km. It is expected that the results of this study can be used for the landscape plans of port cities including the management and preservation of viewpoints.

• Korean Journal of Heritage: History & Science
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• v.50 no.4
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• pp.104-121
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• 2017

The present study attempted to produce the floor plan of the surroundings near Geumcheongyo Bridge in Changdeokgung Palace of the Late Joseon Period through the use of rubber sheeting transformation based on the drawing principles of "Donggwoldo(東闕圖)". First, the study compared the actual sizes of the major buildings that have existed since the production of "Donggwoldo(東闕圖)" with the sizes depicted in the picture to reveal that the front elevation of the buildings was produced by reducing it by approximately 1/200. However, the study could not confirm the same production proportions for the side elevation. Only the lengths of the side elevation were depicted at around half of the actual proportions, and as the diagonal line angles were found to be at an average of $39^{\circ}$, the study confirmed they were drawn in a manner similar to cabinet projection. Second, the study created an obliquely projected floor plan by inversely shadowing the drawing principles of "Donggwoldo(東闕圖)" and produced a floor plan of the surroundings near Geumcheongyo Bridge in Changdeokgung Palace through the use of rubber sheeting transformation. Projective transformation was confirmed as most suitable during the transformation, and with standard error of 2.1208m, the relatively high accuracy of the transformation shows that the production of a floor plan for "Donggwoldo(東闕圖)" is significant. Furthermore, it implies the possibility of producing floor plans for various documentary paintings produced using the paralleled oblique drawing method in addition to "Donggwoldo(東闕圖)". Third, the study evaluated the accuracy of the spatial information provided by the produced floor plan by comparing the three items of Geumcheongyo Bridge location, Geumcheongyo Bridge and Jinseonmun Gate arrangement, and Geumcheon stone embankment location. The results confirmed the possibility of utilizing the floor plan as a useful tool which helps understand the appearance of the surroundings at the time of "Donggwoldo(東闕圖)" production because it is parallel to the excavation results of the Geumcheongyo Bridge and its context. Therefore, the present study is significant in that it seeks the possibility of producing spatial information recorded in "Donggwoldo(東闕圖)" by applying rubber sheeting transformation and consequently in that it presents a new methodology for understanding the appearance of the East Palace of the Late Joseon Period.

• Journal of the Institute of Electronics and Information Engineers
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• v.51 no.4
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• pp.144-159
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• 2014

Techniques for making a single panoramic image using multiple pictures are widely studied in many areas such as computer vision, computer graphics, etc. The panorama image can be applied to various fields like virtual reality, robot vision areas which require wide-angled shots as an useful way to overcome the limitations such as picture-angle, resolutions, and internal informations of an image taken from a single camera. It is so much meaningful in a point that a panoramic image usually provides better immersion feeling than a plain image. Although there are many ways to build a panoramic image, most of them are using the way of extracting feature points and matching points of each images for making a single panoramic image. In addition, those methods use the RANSAC(RANdom SAmple Consensus) algorithm with matching points and the Homography matrix to transform the image. The SURF(Speeded Up Robust Features) algorithm which is used in this paper to extract featuring points uses an image's black and white informations and local spatial informations. The SURF is widely being used since it is very much robust at detecting image's size, view-point changes, and additionally, faster than the SIFT(Scale Invariant Features Transform) algorithm. The SURF has a shortcoming of making an error which results in decreasing the RANSAC algorithm's performance speed when extracting image's feature points. As a result, this may increase the CPU usage occupation rate. The error of detecting matching points may role as a critical reason for disqualifying panoramic image's accuracy and lucidity. In this paper, in order to minimize errors of extracting matching points, we used $3{\times}3$ region's RGB pixel values around the matching points' coordinates to perform intermediate filtering process for removing wrong matching points. We have also presented analysis and evaluation results relating to enhanced working speed for producing a panorama image, CPU usage rate, extracted matching points' decreasing rate and accuracy.

• Transactions of the Korean Society for Noise and Vibration Engineering
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• v.14 no.7
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• pp.586-603
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• 2004

One of the subtle problems that make noise control difficult for engineers is “the invisibility of noise or sound.” The visual image of noise often helps to determine an appropriate means for noise control. There have been many attempts to fulfill this rather challenging objective. Theoretical or numerical means to visualize the sound field have been attempted and as a result, a great deal of progress has been accomplished, for example in the field of visualization of turbulent noise. However, most of the numerical methods are not quite ready to be applied practically to noise control issues. In the meantime, fast progress has made it possible instrumentally by using multiple microphones and fast signal processing systems, although these systems are not perfect but are useful. The state of the art system is recently available but still has many problematic issues : for example, how we can implement the visualized noise field. The constructed noise or sound picture always consists of bias and random errors, and consequently it is often difficult to determine the origin of the noise and the spatial shape of noise, as highlighted in the title. The first part of this paper introduces a brief history, which is associated with “sound visualization,” from Leonardo da Vinci's famous drawing on vortex street (Fig. 1) to modern acoustic holography and what has been accomplished by a line or surface array. The second part introduces the difficulties and the recent studies. These include de-Dopplerization and do-reverberation methods. The former is essential for visualizing a moving noise source, such as cars or trains. The latter relates to what produces noise in a room or closed space. Another mar issue associated this sound/noise visualization is whether or not Ivecan distinguish mutual dependence of noise in space : for example, we are asked to answer the question, “Can we see two birds singing or one bird with two beaks?"

• MISULJARYO - National Museum of Korea Art Journal
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• v.96
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• pp.18-53
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• 2019

The paintings Gyeongpodae Pavilion and Chongseokjeong Pavilion were recently donated to the National Museum of Korea and unveiled to the public for the first time at the 2019 special exhibition "Through the Eyes of Joseon Painters: Real Scenery Landscapes of Korea." These two paintings carry significant implications for understanding Joseon art history. Because the fact that they were components of a folding screen produced after a sightseeing tour of the Gwandong regions in 1557 has led to a broadening of our understanding of sixteenth-century landscape painting. This paper explores the art historical meanings of Gyeongpodae Pavilion and Chongseokjeong Pavilion by examining the contents in the two paintings, dating them, analyzing their stylistic characteristics, and comparing them with other works. The production background of Gyeongpodae Pavilion and Chongseokjeong Pavilion can be found in the colophon of Chongseokjeong Pavilion. According to this writing, Sangsanilro, who is presumed to be Park Chung-gan (?-1601) in this paper, and Hong Yeon(?~?) went sightseeing around Geumgangsan Mountain (or Pungaksan Mountain) and the Gwandong region in the spring of 1557, wrote a travelogue, and after some time produced a folding screen depicting several famous scenic spots that they visited. Hong Yeon, whose courtesy name was Deokwon, passed the special civil examination in 1551 and has a record of being active until 1584. Park Chung-gan, whose pen name was Namae, reported the treason of Jeong Yeo-rip in 1589. In recognition of this meritorious deed, he was promoted to the position of Deputy Minister of the Ministry of Punishments, rewarded with the title of first-grade pyeongnan gongsin(meritorious subject who resolved difficulties), and raised to Lord of Sangsan. Based on the colophon to Chongseokjeong Pavilion, I suggest that the two paintings Gyeongpodae Pavilion and Chongseokjeong Pavilion were painted in the late sixteenth century, more specifically after 1557 when Park Chung-gan and Hong Yeon went on their sightseeing trip and after 1571 when Park, who wrote the colophon, was in his 50s or over. The painting style used in depicting the landscapes corresponds to that of the late sixteenth century. The colophon further states that Gyeongpodae Pavilion and Chongseokjeong Pavilion were two paintings of a folding screen. Chongseokjeong Pavilion with its colophon is thought to have been the final panel of this screen. The composition of Gyeongpodae Pavilion recalls the onesided three-layered composition often used in early Joseon landscape paintings in the style of An Gyeon. However, unlike such landscape paintings in the An Gyeon style, Gyeongpodae Pavilion positions and depicts the scenery in a realistic manner. Moreover, diverse perspectives, including a diagonal bird's-eye perspective and frontal perspective, are employed in Gyeongpodae Pavilion to effectively depict the relations among several natural features and the characteristics of the real scenery around Gyeongpodae Pavilion. The shapes of the mountains and the use of moss dots can be also found in Welcoming an Imperial Edict from China and Chinese Envoys at Uisungwan Lodge painted in 1557 and currently housed in the Kyujanggak Institute for Korean Studies at Seoul National University. Furthermore, the application of "cloud-head" texture strokes as well as the texture strokes with short lines and dots used in paintings in the An Gyeon style are transformed into a sense of realism. Compared to the composition of Gyeongpodae Pavilion, which recalls that of traditional Joseon early landscape painting, the composition of Chongseokjeong Pavilion is remarkably unconventional. Stone pillars lined up in layers with the tallest in the center form a triangle. A sense of space is created by dividing the painting into three planes(foreground, middle-ground, and background) and placing the stone pillars in the foreground, Saseonbong Peaks in the middle-ground, and Saseonjeong Pavilion on the cliff in the background. The Saseonbong Peaks in the center occupy an overwhelming proportion of the picture plane. However, the vertical stone pillars fail to form an organic relation and are segmented and flat. The painter of Chongseokjeong Pavilion had not yet developed a three-dimensional or natural spatial perception. The white lower and dark upper portions of the stone pillars emphasize their loftiness. The textures and cracks of the dense stone pillars were rendered by first applying light ink to the surfaces and then adding fine lines in dark ink. Here, the tip of the brush is pressed at an oblique angle and pulled down vertically, which shows an early stage of the development of axe-cut texture strokes. The contrast of black and white and use of vertical texture strokes signal the forthcoming trend toward the Zhe School painting style. Each and every contour and crack on the stone pillars is unique, which indicates an effort to accentuate their actual characteristics. The birds sitting above the stone pillars, waves, and the foam of breaking waves are all vividly described, not simply in repeated brushstrokes. The configuration of natural features shown in the above-mentioned Gyeongpodae Pavilion and Chongseokjeong Pavilion changes in other later paintings of the two scenic spots. In the Gyeongpodae Pavilion, Jukdo Island is depicted in the foreground, Gyeongpoho Lake in the middle-ground, and Gyeongpodae Pavilion and Odaesan Mountain in the background. This composition differs from the typical configuration of other Gyeongpodae Pavilion paintings from the eighteenth century that place Gyeongpodae Pavilion in the foreground and the sea in the upper section. In Chongseokjeong Pavilion, stone pillars are illustrated using a perspective viewing them from the sea, while other paintings depict them while facing upward toward the sea. These changes resulted from the established patterns of compositions used in Jeong Seon(1676~1759) and Kim Hong-do(1745~ after 1806)'s paintings of Gwandong regions. However, the configuration of the sixteenth-century Gyeongpodae Pavilion, which seemed to have no longer been used, was employed again in late Joseon folk paintings such as Gyeongpodae Pavilion in Gangneung. Famous scenic spots in the Gwandong region were painted from early on. According to historical records, they were created by several painters, including Kim Saeng(711~?) from the Goryeo Dynasty and An Gyeon(act. 15th C.) from the early Joseon period, either on a single scroll or over several panels of a folding screen or several leaves of an album. Although many records mention the production of paintings depicting sites around the Gwandong region, there are no other extant examples from this era beyond the paintings of Gyeongpodae Pavilion and Chongseokjeong Pavilion discussed in this paper. These two paintings are thought to be the earliest works depicting the Gwandong regions thus far. Moreover, they hold art historical significance in that they present information on the tradition of producing folding screens on the Gwandong region. In particular, based on the contents of the colophon written for Chongseokjeong Pavilion, the original folding screen is presumed to have consisted of eight panels. This proves that the convention of painting eight views of Gwangdong had been established by the late sixteenth century. All of the existing works mentioned as examples of sixteenth-century real scenery landscape painting show only partial elements of real scenery landscape painting since they were created as depictions of notable social gatherings or as a documentary painting for practical and/or official purposes. However, a primary objective of the paintings of Gyeongpodae Pavilion and Chongseokjeong Pavilion was to portray the ever-changing and striking nature of this real scenery. Moreover, Park Chung-gan wrote a colophon and added a poem on his admiration of the scenery he witnessed during his trip and ruminated over the true character of nature. Thus, unlike other previously known real-scenery landscape paintings, these two are of great significance as examples of real-scenery landscape paintings produced for the simple appreciation of nature. Gyeongpodae Pavilion and Chongseokjeong Pavilion are noteworthy in that they are the earliest remaining examples of the historical tradition of reflecting a sightseeing trip in painting accompanied by poetry. Furthermore, and most importantly, they broaden the understanding of Korean real-scenery landscape painting by presenting varied forms, compositions, and perspectives from sixteenth-century real-scenery landscape paintings that had formerly been unfound.