• Journal of Broadcast Engineering
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• v.14 no.5
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• pp.551-560
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• 2009

This paper proposes a method for efficient lossless depth map coding for MPEG 3D-Video coding. In general, the conventional video coding method such as H.264 has been used for depth map coding. However, the conventional video coding methods do not consider the image characteristics of the depth map. Therefore, as a lossless depth map coding method, this paper proposes a bit-plane based lossless depth mar coding method by using the MPEG-4 Part 2 shape coding scheme. Simulation results show that the proposed method achieves the compression ratios of 28.91:1. In intra-only coding, proposed method reduces the bitrate by 24.84% in comparison with the JPEG-LS scheme, by 39.35% in comparison with the JPEG-2000 scheme, by 30.30% in comparison with the H.264(CAVLC mode) scheme, and by 16.65% in comparison with the H.264(CABAC mode) scheme. In addition, in intra and inter coding the proposed method reduces the bitrate by 36.22% in comparison with the H.264(CAVLC mode) scheme, and by 23.71% in comparison with the 0.264(CABAC mode) scheme.

• Cartoon and Animation Studies
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• s.14
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• pp.165-176
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• 2008

In the future there would be many kinds of digital images for many industrial markets. 3D stereoscopic images for variable fields; medical operation, film and animation, broadcasting, internet, game, or design for art and architecture. And many people to work about computer programming, and digital image making will concern about it more and more. However, these kinds works and studies are focused on the professional technical fields like 3D display or computer programming technology so far. To revitalize the market of a variable stereoscopic contents, there should build up the foundation for easy processing of the making stereoscopic images. This paper is based on stereoscopic making skills for anaglyph system. An anaglyph system has an old history about making stereoscopic images, and very simple method to produce the stereoscopic images. Particularly this study is focused on color compositing technique, and camera positioning on the compositing system. It will help optimization of the environments to create 3D motion graphic and animation contents.

• Cartoon and Animation Studies
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• s.50
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• pp.215-237
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• 2018

I analyze orange that is consistently used, even though not consciously, in the films whose function and meaning are clear. In detail, there are examples of color in films, psychological phenomena of colors expressed in posters and opening titles, color characteristics of clothes and costumes, and semiotic analysis of color names in film titles. (1) Fact and Truth; civilization and criticism. The film tries to tell the truth than the fact. It represents facts as it is, but it presupposes truth. This is a unique characteristic of media films. The truth of the fact is not important. The film tells the truth believing and wanting to show off. The film, which has inherent characteristics of the gap between fact and truth, represents nature and civilization. It carries nature as it is and criticizes the harm of civilization. Orange is nature and civilization. Realistic films such as Hong Sang Soo and Kim Ki Duk, fall into this category. For example, there are A Taxi Driver(2017) and I Can Speak(2017). (2) Virtual History; fake images and memories. In Hollywood SF genres like The Matrix(1999), orange was dealt with virtual reality. However, in Korean films they are replaced by historical dramas. The representation of history becomes a virtual reality. Films such as The Fortress(2017), Masquerade(2012), and Roaring Currents(2014) deal with virtual history. In these films, orange is a fake image and memory. (3) Light=color; Aura. The color and light of orange is aura. At sunrise and sunset, the orange of the incandescent light is almost similar to that of the artificial light. Orange of tungsten makes the real characters surrealistic and mysterious. For example, there are The City of Madness(2016), The Man from Nowhere(2010), and Coinlocker Girl(2014). (4) Fantasy; communication with other worlds. Orange is a sweet fantasy. In our daily life, we go to a supermarket, share a chat with friends in a coffee shop, and spend time in front of a television. Orange makes our life free and dreams. It is the communication between the former being and the other world. This can be found in the sexual fantasy scenes of all genres. For example, there are Sunny(2011), Welcome To Dongmakgol(2005), and 200 Pounds Beauty(2006).

• Journal of Korean Home Economics Education Association
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• v.23 no.2
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• pp.1-16
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• 2011

This study investigates the relationship between the purchasing behavior for hair-care products and the attitude toward hair-care products by adolescents. A total of 412 middle and high school students located in Seoul and Gyunggi-do province participated in this research. SPSS 12.0 for Windows Program was utilized for statistical analysis. As a result, the hair concerns and the satisfaction of adolescents as well as their attitudes towards hair-care products were significantly affected by gender, school level, and educational experiences. Female high school students with some degree of educational experiences had a more rational and brand-oriented attitude. Students having a higher rational and brand-oriented attitude bought hair-care products in regards to the quality of the product and environmental impact. On the other hand, those having a conspicuous and fashion pursuit attitude showed an image and fashion concern purchasing behavior. Adolescents usually purchased styling and dyeing products at a cosmetic specialty store and hair-care cleaning products from a discount store. They obtained the information about hair-care products from relatives, personal experiences, and TV advertisements.

• The Journal of Art Theory & Practice
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• no.13
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• pp.35-71
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• 2012

The purpose of this essay is to examine the responses of artists on nuclear experiences through an analysis of the nuclear images represented in contemporary Japanese art. Japan has previously as twice experienced nuclear disaster in 20th century. The first atomic bombs were dropped in 1945 as well as the 5th Fukuryumaru, Japanese pelagic fishing boat, exposed by hydrogen bomb test operated by the US in 1954 nearby Bikini atoll. Due to Tsunami taken place by the great earthquake that caused the meltdown of Fukushima Nuclear Power Plant in March 2010, Japan is being experienced a nuclear disaster again. Despite practical experiences, comtemporary Japanese art has avoided the subject of nuclear disasters since the end of the Asia-Pacific War for a variety of reasons. Firstly, GHQ prohibited to record or depict the terrible effect of atomic bomb until 1946. Secondly, Japanese government has tried to sweep the affair under the carpet quite a while a fact of nuclear damage to their people. Because Japan has produced numerous war record paintings during the Second World War, in the aftermath of the defeated war, most of Japanese artists thought that dealing with politics, economics, and social subject was irrelevant to art as well as style of amateur in order to erase their melancholic memory on it. In addition, silence that was intended to inhibit victims of nuclear disasters from being provoked psychologically has continued the oblivion on nuclear disasters. For these reasons, to speak on nuclear bombs has been a kind of taboo in Japan. However, shortly after the atomic bomb dropped on Hiroshima, the artist couple Iri and Toshi Maruki visited to ruin site as a volunteer for Victim Relief. They portrayed the horrible scenes of the legacy of nuclear bomb since 1950 based on their observation. Under the condition of rapid economical growth in 1960s and 1970s, Japanese subculture such as comics, TV animations, plastic model, and games produced a variety of post apocalyptic images recalling the war between the USA and Japanese militarism, and battle simulation based on nuclear energy. While having grown up watching subculture emerged as Japan Neo-Pop in 1990s, New generation appreciate atomic images such as mushroom cloud which symbolizes atomic bomb of Hiroshima. Takashi Murakami and other Neo-Pop artists appropriate mushroom cloud image in their work. Murakami curated three exhibitions including and persists in superflat and infantilism as an evidence in order to analyze contemporary Japanese society. However, his concept, which is based on atomic bomb radiation exposure experience only claimed on damage and sacrifice, does not reflect Japan as the harmer. Japan has been constructing nuclear power plants since 1954 in the same year when the 5th Fukuryumaru has exposed until the meltdown of Fukushima Nuclear Plant although took place of nuclear radiation exposures of Three Mile and Chernobyl. Due to the exploding of Fukushima Nuclear Power Plant, Japan reconsiders the danger of nuclear disaster. In conclusion, the purpose of this paper may be found that the sense of victim which flowed in contemporary art is able to inquire into the response of artist on the subject of nuclear as well as the relationship between society, politics, culture, and modern history of Japan and international political situation.

• Journal of Broadcast Engineering
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• v.16 no.2
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• pp.274-292
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• 2011

This paper proposes an efficient coding method of the depth-map which is different from the natural images. The depth-map are so smooth in both inner parts of the objects and background, but it has sharp edges on the object-boundaries like a cliff. In addition, when a depth-map block is decomposed into bit planes, the characteristic of perfect matching or inverted matching between bit planes often occurs on the object-boundaries. Therefore, the proposed depth-map coding scheme is designed to have the bit-plane unit coding method using the adaptive XOR method for efficiently coding the depth-map images on the object-boundary areas, as well as the conventional DCT-based coding scheme (for example, H.264/AVC) for efficiently coding the inside area images of the objects or the background depth-map images. The experimental results show that the proposed algorithm improves the average bit-rate savings as 11.8 % ~ 20.8% and the average PSNR (Peak Signal-to-Noise Ratio) gains as 0.9 dB ~ 1.5 dB in comparison with the H.264/AVC coding scheme. And the proposed algorithm improves the average bit-rate savings as 7.7 % ~ 12.2 % and the average PSNR gains as 0.5 dB ~ 0.8 dB in comparison with the adaptive block-based depth-map coding scheme. It can be confirmed that the proposed method improves the subjective quality of synthesized image using the decoded depth-map in comparison with the H.264/AVC coding scheme. And the subjective quality of the proposed method was similar to the subjective quality of the adaptive block-based depth-map coding scheme.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.20 no.12
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• pp.546-554
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• 2019

Typically, closed-circuit television (CCTV) monitoring is mainly used for post-processes (i.e. to provide evidence after an incident has occurred), but by using a streaming video feed, machine-based learning, and advanced image recognition techniques, current technology can be extended to respond to crimes or reports of missing persons in real time. The multi-CCTV cooperation technique developed in this study is a program model that delivers similarity information about a suspect (or moving object) extracted via CCTV at one location and sent to a monitoring agent to track the selected suspect or object when he, she, or it moves out of range to another CCTV camera. To improve the operating efficiency of local government CCTV control centers, we describe here the partial automation of a CCTV control system that currently relies upon monitoring by human agents. We envisage an integrated crime prevention service, which incorporates the cooperative CCTV network suggested in this study and that can easily be experienced by citizens in ways such as determining a precise individual location in real time and providing a crime prevention service linked to smartphones and/or crime prevention/safety information.

• Journal of Digital Convergence
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• v.13 no.7
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• pp.1-8
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• 2015

To identify the satisfaction level towards Gwangju regional TV broadcasting company's program, "I Like the Market" and the effect of market vitalization on the market merchants' public relationships, this study carried out survey targeting 256 merchants who are residing at the region. The research results demonstrated that the satisfaction level towards the program and market vitalization via the program exert significant effect on the public relationships. Specifically, satisfaction level towards the program for the vitalization of regional broadcast exert effect in the following order; devotion, relationship and reliability. Meanwhile, market vitalization exert positive effect on the relationship, reliability and devotion, in the order mentioned. This implies that the development of quality program for the regional residents plays an important role in the convergence of regional broadcast and in increasing broadcasting company's brand image. Accordingly, positive interaction via regional vitalization when it comes to the formation of regional broadcast program going forth may be needed for regional broadcast policies.

• The Journal of Korean Institute of Communications and Information Sciences
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• v.26 no.11A
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• pp.1908-1924
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• 2001

Interoperability and inter-working in the various network and media environment with different technology background is very important to enlarge the opportunity of service access and to increase the competitive power of service. The ITU-T and advanced counties are planning ahead for provision of GII enabling user to access advanced global communication services supporting multimedia communication applications, embracing all modes of information. In this paper, we especially forced the heterogeneity of end user applications for multimedia networking. The heterogeneity has several technical aspects, like different medium access methods, heterogeneous coding algorithms for audio-visual data and so on. Among these elements, we have been itemized bit rate shaping algorithm on the compressed moving video. Previous manipulations of video has been done on the uncompressed signal domain. That is, compressed video should be converted to linear PCM signal. To do such a procedures, we should decode, manipulate and then encode the video to compressed signal once again. The traditional approach for processing the video signa1 has several critical weak points, requiring complexity to implement, degradation of image quality and large processing delay. The bit rate shaping algorithm proposed in this paper process the manipulation of moving video on the completely compressed domain to cope with above deficit. With this algorithms. we could realized efficient video bit rate shaping and the result of software simulation shows that this method has significant advantage than that of pixel oriented algorithms.

• Journal of Broadcast Engineering
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• v.10 no.3
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• pp.270-285
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• 2005

A joint design scheme is proposed to optimize the up/down scaler and the motion vector estimation module in the transcoder system. The proposed scheme first optimizes the resolution scaler for a fixed motion vector, and then a new motion vector is estimated for the fixed scaler. These two steps are iteratively repeated until they reach a local optimum solution. In the optimization of the scaler, we derive an adaptive version of a cubic convolution interpolator to enlarge or reduce digital images by arbitrary scaling factors. The adaptation is performed at each macroblock of an image. In order to estimate the optimal motion vector, a temporary motion vector is composed from the given motion vectors. Then the motion vector is refined over a narrow search range. It is well-known that this refinement scheme provides the comparable performance compared to the full search method. Simulation results show that a jointly optimized system based on the proposed algorithms outperforms the conventional systems. We can also see that the algorithms exhibit significant improvement in the minimization of information loss compared with other techniques.