• Journal of Internet of Things and Convergence
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• v.7 no.1
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• pp.21-25
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• 2021

Augmented reality systems are widely used in the fields of entertainment, shopping, education, and training, and the augmented reality technology is gradually increasing in importance. When augmented reality technology is used for education or training, it must be possible to represent different virtual objects depending on the work stage even for the same marker. Also, since the training content varies depending on the situation, it is necessary to describe it using a training scenario. In order to solve this problem, we propose a scenario markup language for an augmented reality system that can create training content based on a scenario and connect it with an augmented reality system. The scenario markup language for augmented reality provides functions such as a method for connecting a scene, a marker and a virtual object, a method for grasping the state of equipment or sensor value, and a method for moving a scene according to conditions. The augmented reality scenario markup language can flexibly increase the usefulness and expandability of the augmented reality system usage method and content usage.

• Trans-
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• v.3
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• pp.29-53
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• 2017

The film scholar Vincent Amiel divides into three types of montage through his book The Aesthetics of Montage ; Montage narratif, Montage discursif, and Montage decorrespondances. These three categories are the concept that encompasses the aesthetic class to which most movies belong. Early films pursued the essential and basic functions of editing, which tend to be modified in the direction of enhancing the director's goals over time. In this way, "Expressive Montage" is one of most important concepts of montage, not as a 'methodology' that combines narrative but as a 'purpose'. In the montage stage, the expressive montage work is done through three steps of decision. The process of 'combining' to combine the selected films in a certain order, after the process of 'selection' which selects only necessary parts of the rush film, and 'connection' to determine the scene connection considering the duration of the shot. The connection is the final stage of the montage. There are exceptions, of course. When fiction films of classical narratives use close-ups, or when using models or objects of neutered animals, the film induces the tendency of a "montage decorrespondances" rather than a "montage narratif" or "montage discursif". This study attempts to analyze the tendency of montage of works with 'uncertain connection' through 'collage' used by close-ups and montage decorrespondances as 'fragmentation tendency of modern films'. The fragmentation of the montage in contemporary film breaks the continuous and structural nature of the film, and confuses the narration structure that is visible on the surface of the film. The tendency of the fragmentation of the montage, which started from this close-up, seems to give an answer to the extensibility of the modern image.

• Cartoon and Animation Studies
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• s.48
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• pp.141-172
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• 2017

The film (2000) and (2016) are based on different time slips from each other. However, these two films have many common elements that make one illusion-based illusion. In the common elements, the main characters (being and thing) are traversed at different times and directed as a cyclical one. Also, among these, the movement link of the time and space has a commonality that it becomes possible through a medium ( - radio, you, there - pill). As a result, a series of scenes expressed in showed that the scene of produced in 2000 was greatly circulated. The reason why two movies have similar structure is that the basic framework of video media based on time slip is similar. Therefore, the purpose of this study is not to analyze the problem of quoting and borrowing of two films as mentioned in the paper. To add up, the material of video media is manifold which is a dynamic object of potential which is unlimited and opened, and by rearranging one media it can be created by escaping from one territory. Also, it is a study of analysis to contribute to producer or researcher as a time slip video creation reference connecting times based on the manifold arrangement from two films.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.33 no.3
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• pp.66-71
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• 2015

Given the recent trend of natural planting, the recognized needs for new landscaping plants that have advantages in terms of climate change and maintenance, and expected increases in demands for grasses in Korea, this study is intended to investigate from the design point of view the techniques to use grasses and their significance through garden design by Piet Oudolf who is attracting international interests with the use of perennial plants and grasses and is leading the trends in modern planting design, thereby answering the question: how to best use grasses in landscaping spaces? The characteristics of Oudolf's garden design using grasses are summarized in the following conclusions: First, Oudolf combines perennial plants and grasses to make one-to-one correspondences or express expanded drifts. Here grasses mainly serve as an element to change over to other spaces or as a connecting element between image transitions. Second, the brown color and texture of grasses represent Oudolf's considerations on the temporal continuity of gardens. They express the lyricism and pictorialism of autumn and winter. Third, grasses serve to set layers in wide areas resulting in discordance between viewpoints and circulations. Oudolf repeatedly cross perennial plants and grasses using matrices, islands and distributed layering. Here grasses are used to express abstractive meanings in the settings of scenes.

• The Journal of the Korea Contents Association
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• v.13 no.6
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• pp.77-85
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• 2013

This study aims to analyze the effects that video image in Seo-an's , claiming to China's first gigantic historic dance drama, has on the performance; it focuses on investigating which video image is used to accomplish the effects in showing specific themes and materials in . Image is meant by 'reflection of object', such as movie, television, dictionary, etc, with its coverage being extensive. The root of a word, image', is founded on imitary, signifying specifically and mentally visual representation. In other words, video image is considered combination of two synonymous words, 'video' and 'image'. Video is not just comprehension of traditional art genre, like literary value, theatrical qualities, and artistry of scenario, but wholeness as product, integrating original functions of all kinds of art and connecting subtle image creation of human being. The effects of video image represented in are as followings; first, expressive effect of the connotative meaning, reflecting the spirit of the age and its culture. Second, imaginary identification. Third, transformation scene. Fourth, dramatic interest through immersion. Last but not least, visual effect by dint of dimension of performance.

• Journal of the Korea Society of Computer and Information
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• v.18 no.3
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• pp.119-126
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• 2013

In this paper, we propose and describe the system to visualize the story of contents such as movies and novels. Character-net is applied as story model in order to visualize story. However, it is the form to be accumulated for total movie story, though it can depict the relationship between characters. We have developed the system that analyzes and shows the variation of Character-net and characters' tendency in order to represent story variation depending on movie progression. This system is composed by two windows that can play and analyze sequential Character-nets by time, and can analyze time variant graph of characters' degree centrality. First window has a function that supports to find important story points like the scenes that main characters appear or meet firstly. Second window supports a function that track each character's tendency or a variation of his tendency through analyzing in-degree graph and out-degree. This paper describes the proposed system and discusses additional requirements.

• The Journal of the Korea Contents Association
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• v.18 no.8
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• pp.82-91
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• 2018

This paper examines the sound of Godard's <$Pr{\acute{e}}nom$ Carmen> from Deleuze's film aesthetics and Merleau-Ponty's phenomenological point of view. The rehearsal scene of a string quartet is a mirror-image that illuminates the music itself, and becomes a crystal-image with the indiscernibility of the present and the past in the break with the main narrative. On the other hand, urban noise and waves are the seeds composed of pure optical (sound) images and grow into pure sound crystals that collide with what is seen through the juxtaposition, substitution, and intentional connection of sound. However, these sound contradictions also lead to the integrated sound category as a 'sole movement' through Merleau-Ponty's dialectical thought, and even the dialectical sound management of pop and classical music is no longer a confrontation of the genre, but is integrated into the materialistic category of sound. This study is differentiated from the existing research by solving the sound aesthetics of the Godard's film through philosophical thought.

• Proceedings of the IEEK Conference
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• 2003.07e
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• pp.1835-1838
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• 2003

Texts in natural images contain significant and detailed informations about the images. Thus, to extract those texts correctly, we suggest a text extraction method using color variance feature. Generally, the texts in images have color variations with the backgrounds. Thus, if we express those variations in 3 dimensional RGB color space, we can emphasize the text regions that can be hard to be captured with a method using intensity variations in the gray-level images. We can even make robust extraction results with the images contaminated by light variations. The color variations are measured by color variance in this paper. First, horizontal and vertical variance images are obtained independently, and we can fine that the text regions have high values of the variances in both directions. Then, the two images are logically ANDed to remove the non-text components with only one directional high variance. We have applied the proposed method to the multiple kinds of the natural images, and we confirmed that the proposed feature can help to find the text regions that can he missed with the following features - intensity variations in the gray-level images and/or color continuity in the color images.

• Journal of the Institute of Electronics Engineers of Korea CI
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• v.39 no.1
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• pp.67-74
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• 2002

A study on image searching and management techniques is actively developed by user requirements for multimedia information that are existing as images, audios, texts data from various information processing devices. If we can automatically detect and segment changing scenes from real-time image sequences, we can improve an effectiveness of image searching systems. In this paper, we propose cut detection techniques based on image color distribution and we evaluated its performance on various real-time image sequences. Results of experiments show that the proposed method are robust on various image patterns than color histogram method using statistical informations of images. Also, these methods can be used for cut detection on real-time image sequences.

• Journal of Korea Entertainment Industry Association
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• v.15 no.5
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• pp.55-68
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• 2021

The purpose of this study is to analyze the characters and narratives of series films and to extract corresponding elements of film music to compare and analyze how musical elements were utilized. The scope of the study was analyzing the story structure and characters of the films "Mary Poppins" and "Mary Poppins Returns" and the corresponding film music. After comparing the contents of the film "Mary Poppins" and "Mary Poppins Returns," the film matched the film music equivalent to the similar scenes of the two films. As a result, seven of the 11 songs of "Mary Poppins" overlap with those used in similar narratives of "Mary Poppins Returns", and eight songs overlap in "Mary Poppins Returns". Seven songs from "Mary Poppins" and eight songs from "Mary Poppins Returns" can be divided into nine scenes in total when connected to a common narrative. Among them, "A Spoonful of Sugar" from "Mary Poppins", "Jolly Holiday", "A cover is not the Book" from "Mary Poppins Returns" and "Triple light fantastic" were overlapping songs with narratives. Based on this, it analyzes leitmotiv film music, focusing on characters from the films "Mary Poppins" and "Mary Poppins Returns." The common leitmotivs in the two films are Mary Poppins leitmotiv, Lesson leitmotiv, Lullaby leitmotiv, World leitmotiv, Chimney Sweeper leitmotiv, Up & Down leitmotiv, Chimney Sweeper leitmotiv, and Sky leitmotiv. The characteristic rhythm and pitch used in Mary Poppins leitmotivs were used in the overall song featuring Mary Poppins. Through this, the elements of music symbolizing Mary Poppins, a key figure, were matched to the films "Mary Poppins" and "Mary Poppins Returns" and modified according to the narrative flow. The analysis results of this work have theoretical significance in that it is necessary to analyze the narratives and film music of series films to discover common features and consider how they are matched in theoretical terms.