• KIPS Transactions on Software and Data Engineering
• /
• v.12 no.2
• /
• pp.83-90
• /
• 2023

Blurred image is an important factor in lowering image recognition rates in Computer vision. This mainly occurs when the camera is unstablely out of focus or the object in the scene moves quickly during the exposure time. Blurred images greatly degrade visual quality, weakening visibility, and this phenomenon occurs frequently despite the continuous development digital camera technology. In this paper, it replace the modified building module based on the Deep multi-patch neural network designed with convolution neural networks to capture details of input images and Attention techniques to focus on objects in blurred images in many ways and strengthen the image. It measures and assigns each weight at different scales to differentiate the blurring of change and restores from rough to fine levels of the image to adjust both global and local region sequentially. Through this method, it show excellent results that recover degraded image quality, extract efficient object detection and features, and complement color constancy.

• KIPS Transactions on Software and Data Engineering
• /
• v.11 no.12
• /
• pp.509-516
• /
• 2022

Accurate pose prediction of objects in 3D space is an important visual recognition technique widely used in many applications such as scene understanding in both indoor and outdoor environments, robotic object manipulation, autonomous driving, and augmented reality. Most previous works for object pose estimation have the limitation that they require an exact 3D CAD model for each object. Unlike such previous works, this paper proposes a novel neural network model that can predict the poses of unknown objects based on only their RGB color images without the corresponding 3D CAD models. The proposed model can obtain depth maps required for unknown object pose prediction by using an adaptive depth estimator, AdaBins,. In this paper, we evaluate the usefulness and the performance of the proposed model through experiments using benchmark datasets.

• Korean Journal of Cognitive Science
• /
• v.24 no.1
• /
• pp.49-69
• /
• 2013

While we interact with other people or objects, the brain continuously updates our own body schema to recognize the agent of observed actions. The Extrastriate Body Area (EBA) provides an initial interface for the sense of agency by integrating visual inputs of body parts with internal signals related to self-generated body movements. Less is known, however, about how the functional use of tools contributes to such processes. Here, we investigated whether tool-specific affordance would differentially affect the neural responses in the EBA depending on the agency of imaginary actions. In each trial we presented a picture of an object in a rectangular frame. Objects were either the tools typically brought towards the body (body tools; e.g., telescope, earphones) or away from the body (world tools; e.g., pen, dice; Rueschemeyer, Pfeiffer, & Bekkering, 2010). Depending on the color of the frame, participants imagined either themselves or the other person using the tool (self vs. other conditions). These four types of trials were randomly intermixed with blank trials. As results, independently localized right EBA regions of interest showed greater activation when participants imagined themselves using body tools than using world tools whereas no such differential activations were found when they imagined the other person using the tools. The postscan test revealed no significant difference in vividness of imagery between the self and other conditions. Our results suggest that the EBA incorporates functional affordance of tools into the body schema in order to enhance the sense of agency and to guide our own actions.

• Cartoon and Animation Studies
• /
• s.22
• /
• pp.17-30
• /
• 2011

This paper analyzes Blood: the Last Vampire (2009) in comparison with the original Blood: the Last Vampire (2000). This digital movie, released in 2009, faithfully re-presents the visual of the original animation using more budget and more developed technology. Though these two movies share very similar visual style, they have slightly different modes of expression that can be easily detected in their opening scenes. The original Blood chooses to tell its story in more indirect way. Some shots are intentionally vague and forcefully separated by black credit screen, leaving audience guessing exactly what happened. The remake version of Blood provides faster, more diverse, and more sophisticated images. It also uses invisible and slick editing, leaving no room to guess. These differences comes mainly from the difference of media. However, since the differences between two movies lie mainly in their narratives, we can ascribe the box office slump of the digital movie version of Blood: the Last Vampire to its narrative flaws. The heroin's inner conflicts were not convincing enough, supporting roles were not probable enough, and the whole story was not unique enough. As a result, the new Blood: the Last Vampire became another bad example that shows the importance of narrative in films.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.38 no.2
• /
• pp.125-131
• /
• 2020

In this study, the author comparatively analyzed the effects and applicability of drifts, one of planting design methods based on the principle of visual harmony, to look into the definition and characteristics in planing techniques with examples of drifts in gardens designed by Gerturde Jekyll and Piet Oudolf. Sites chosen for the case studies included Jekyll's Upton grey and Hestercomb garden and Oudolf's At Scampston Hall and Trentham Estate Garden. The results showed that Jekyll set layers for vertical and horizontal structures by using plants of different height to make flowers look like floating with their stems unseen and appear in turn over time. Assemble planting of groups was used to conceal rigid, irregular lines so that the plants are recognized as mass with smoother horizontal lines. Clearly visible, repeated drifts creates a sense of unity. Oudolf, in combining grass and perennial plants, used one-to-one correspondence or expansion to express drifts. Grass serves roles as a connecting material inserted when changing space or making transitions of images. Blocks in single species are repeatedly crossed to set scenes, and overlapping and mixing makes them more lively.

• Journal of Digital Convergence
• /
• v.17 no.6
• /
• pp.373-380
• /
• 2019

In this study, I examined the visual elements for narrative structure and the symbols, scene components and visual styles in the images through analyze the flat staging in Tomm Moore's animated feature film, . As a research method, I figure out the general theories about staging and analyze extracted scenes which revealed flat staging in the , then summarize and clarify the flat staging production elements and features of Tomm Moore. As a result, in , the composition of the screen using the basic shapes, the screen composition containing the spiral which is symbol of the Celtic traditional pattern, the stable and flat frame expression through the balanced screen composition, expression of spatial sensation using perspective, appearance of the period by using the inverted perspective, and composition that can emphasize the flat formability are appeared as a characteristic. Through this, the two-dimensional planarity was maximized to convey the feeling of appreciating the illustrations of fairy tales. Tomm Moore, who produced animation based on folk tales in order to inherit the traditional culture of Ireland, has been attracting worldwide attention because of its flat staging to help narrative, enhancing the original expression and performance of animation. I hope that this study will be used as basic data for industry workers and researchers who make unique and excellent animated feature film.

• Journal of the Korean Society of Surveying, Geodesy, Photogrammetry and Cartography
• /
• v.39 no.3
• /
• pp.141-148
• /
• 2021

This paper presents a method to detect zebra-crossing using deep learning which combines SegNet and ResNet. For the blind, a safe crossing system is important to know exactly where the zebra-crossings are. Zebra-crossing detection by deep learning can be a good solution to this problem and robotic vision-based assistive technologies sprung up over the past few years, which focused on specific scene objects using monocular detectors. These traditional methods have achieved significant results with relatively long processing times, and enhanced the zebra-crossing perception to a large extent. However, running all detectors jointly incurs a long latency and becomes computationally prohibitive on wearable embedded systems. In this paper, we propose a model for fast and stable segmentation of zebra-crossing from captured images. The model is improved based on a combination of SegNet and ResNet and consists of three steps. First, the input image is subsampled to extract image features and the convolutional neural network of ResNet is modified to make it the new encoder. Second, through the SegNet original up-sampling network, the abstract features are restored to the original image size. Finally, the method classifies all pixels and calculates the accuracy of each pixel. The experimental results prove the efficiency of the modified semantic segmentation algorithm with a relatively high computing speed.

• Journal of Korea Entertainment Industry Association
• /
• v.13 no.2
• /
• pp.101-110
• /
• 2019

Filmic spaces are not only a core expressive factors that can embody both internal and external meanings of films, but also play an important role for initiating dramatic context in terms of narratives. They establish visible environment in which provocative incidents occur and characters' behaviors are induced, include characters' psychology or emotional meanings of narratives and provoke tensions through symbolic meanings and the implicit function of surface background. This paper, therefore, analyzes the film, , by focusing on the dramatic function of narrative space. This film provides insights and thoughts through deep philosophical reflection, by escaping from the convention of such a genre, through deep philosophical reflection, by escaping from the convention of such a genre, though it belongs seemingly to the crime thriller genre using Mexico's drug cartel as it main material. In the film, narrative spaces are responsible for emotions invoking dramatic tensions beyond provocative incidents and the elaborately planned and controlled mise-en-scene absorbed audiences' attention by organizing ultimate suspense. In conclusion, flow and dramatic lingering imagery of this film might be achieved by power of scenes rather than plot factors. This study thus explained the correlation between narrative spaces and dramatic immersion, by analyzing spaces appearing in and visualized construction. It is hoped that this will further extends the pattern of researches on dramatic immersion, which have been primarily focused on plots and characters.

• Journal of Broadcast Engineering
• /
• v.19 no.6
• /
• pp.877-895
• /
• 2014

It is common sense that providing specific odor can increase the video reality when video scene has an object having specific odor. However, people still do not know how to increase video reality and emotional immersion when there is no information on specific odor in the scene. So, present study explores how we improve video reality and immersion when the scene has no concrete odor information from some objects. Especially, this research focuses on diverse previous studies about matching between odor and color and then we expect providing odor can increase video reality if the odor is well-matched with the video's color. To do this, we collected 48 odors and investigated which color was well-matched with each odor. As a result, we get 5 odors which had clearly well-matched colors and decide ill-matched colors of those 5 odors as complementary colors of well-matched colors (Experiment 1). After that, we organize 3 conditions such as coloring image and video clip with well-matched color (color-odor match condition), coloring those with ill-matched color (color-odor mismatch condition), and coloring those with achromatic color by removing color saturation (color-odor neutral condition). Under each of these three conditions, image-odor matching, increment of reality with the odor, increment of immersion with the odor, and odor preference are asked (Experiment 2; 3). The results showed that the scores of all 4 questions in color-odor match condition were higher than color-odor mismatch condition and neutral condition. These results mean that providing matching odor with the scene's color in video is very effective to increase video reality and immersion. We expect experiencing better reality and immersion with olfactory information by adding various future research.

• Journal of Korea Entertainment Industry Association
• /
• v.15 no.8
• /
• pp.145-159
• /
• 2021

is a contemporary experimental film that forms ambiguity in the narrative and the psychological motivation of the characters, destroys linear temporality, and reminds of manipulation possibilities in digital images through varied techniques, and it carries implication by the fact that the transformation process of human subjects and self-awareness are connected to social trauma and makes way to infer by comparing it to the historical contexts of other nations or societies. centers on the space outside the screen, absent space, and the intrinsic meaning within the space and the frame and shares the information in the visible space and the space outside the screen and arouses an active perceptual process so that the audience can deduce the information that is not presented. The film visualized the historical meaning without describing the background of the times in detail and aimed to express the conflicts and worries between the god, a transcendental existence, with humans, which are marginal beings, within the conflicting structure among humans. Moreover, attempted to resolve the sadness of loss and absence through the spatial aesthetics and the film presented the progression of the situation through the contrast of the characters and also the comparison between light and darkness. This study intends to make an attempt of interpreting the realm involving personal (characters) stories and the social and historical backgrounds together with the religious sphere and discuss the visualization of the semantic context. In addition, this study analyzed the sequence of the scenes in , which reconstructs identity and historical cases and religious values to observe the meaning and characteristics and closely analyze the general meaning pursued by the film. discussed the issues of trauma that individuals, regions, and nations confront as a representation and interpretation of the trauma connoted in the film, and consideration can be provided about the implication concerning the situation and context in South Korea. Furthermore, the film placidly discusses the growth and agony in humans and the society without expressing it excessively, so it will be a valuable research result to inspire the trend of creating films that incorporate new imaging technology and original visualization techniques.