• Journal of Broadcast Engineering
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• v.13 no.4
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• pp.427-439
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• 2008

This paper proposes a novel method to convert monoscopic soccer videos to stereoscopic videos. Through the soccer video analysis process, we detect shot boundaries and classify soccer frames into long shot or non-long shot. In the long shot case, the depth mapis generated relying on the size of the extracted ground region. For the non-long shot case, the shot is further partitioned into three types by considering the number of ground blocks and skin blocks which is obtained by a simple skin-color detection method. Then three different depth assignment methods are applied to each non-long shot types: 1) Depth estimation by object region extraction, 2) Foreground estimation by using the skin block and depth value computation by Gaussian function, and 3)the depth map generation for shots not containing the skin blocks. This depth assignment is followed by stereoscopic image generation. Subjective evaluation comparing generated depth maps and corresponding stereoscopic images indicate that the proposed algorithm can yield the sense of depth from a single view images.

• Smart Media Journal
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• v.1 no.3
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• pp.36-42
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• 2012

Recently, the smart applications, such as smart phone and smart TV, become a hot issue in IT consumer markets. In particular, the smart TV provides 3D video services, hence efficient coding methods for 3D video data are required. Three-dimensional (3D) video involves stereoscopic or multi-view images to provide depth experience through 3D display systems. Binocular cues are perceived by rendering proper viewpoint images obtained at slightly different view angles. Since the number of viewpoints of the multi-view video is limited, 3D display devices should generate arbitrary viewpoint images using available adjacent view images. In this paper, after we explain a view synthesis method briefly, we propose a new algorithm to compensate view synthesis errors around object boundaries. We describe a 3D warping technique exploiting the depth map for viewpoint shifting and a hole filling method using multi-view images. Then, we propose an algorithm to remove boundary noises that are generated due to mismatches of object edges in the color and depth images. The proposed method reduces annoying boundary noises near object edges by replacing erroneous textures with alternative textures from the other reference image. Using the proposed method, we can generate perceptually inproved images for 3D video systems.

• Cartoon and Animation Studies
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• s.32
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• pp.1-21
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• 2013

Silhouette Animation has been recognized as a genre of animation since the very beginning of the animation history, and also Its segmental movement and Aesthetic expression has led a variety of semantic interpretations. Especially the French animation director, Michel Ocelot, recently integrated 3-dimensional digital to the silhouettes animation, and it extended the possibility of the silhouettes animation in many aspects. In his latest animation feature, , he showed how he made changes in 3-dimension by creating and evolving his own way and style of silhouette animation. Although mainstream digital animations preferably to show realistic images and motion, Michel Ocelot used very selective movement, subjective digital colors and extended space which couldn't be expressed in the way of creating traditional style of silhouette animation. This alternative slow movement and the unique aesthetics in 3-dimension emphasize the unconscious elements of color, composition, patterns, and it provides digitally enhanced images and pictorial impression. In addition, the acquisition of digital three-dimensional use of space made possible to provides the wider formative imagination to the audience. In this paper, we analyzed aesthetic characteristics of the digital silhouette animation, (2011), specially focusing on the aspects of Movement, Image, Space, which could not be found in the traditional silhouette animation. It is significant to obtain diversity of the future digital animation and its positive development. In addition, this provides opportunity to explore Michel Ocelot's new experiments and animation philosophy.

• Journal of Korea Technical Association of The Pulp and Paper Industry
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• v.40 no.5
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• pp.60-69
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• 2008

The principal reasons for applying a pigment coating to paper are to improve appearance and printability. The pigment coating provides a surface that is more uniform and more receptive to printing ink than are the uncoated fibers and, in turn, both facilitates the printing process and enhances the graphic reproduction. The improvement in print quality is readily apparent, especially in image areas or when multiple colors are involved. Although pigment coating of paper is to improve the printability, coated paper is not completely free from printing defects. Actually there are a number printing defects that are observed only with the coated papers. Among the printing defects that are commonly observed for coated papers, print mottle during multi-color offset printing is one of the most concerned defects, and it appears not only on solid tone area but also half dot print area. There are four main causes of print mottle ranging from printing inks, dampening solution, paper, and printing press or its operation. These indicates that almost every factors associated with lithographic printing can cause print mottle. Among these variation of paper quality influences most significantly on print mottle problems in multicolor offset printing, and this indicates that paper is most often to be blamed for its product deficiency as far as print mottle problems are concerned. Furthermore, most of the print mottle problems associated with paper is observed when coated papers are printed. Uncoated papers rarely show mottling problems. This indicates that print mottle is the most serious quality problems of coated paper products. Overcoming the print mottle is becoming more difficult because the operating speeds of coating and printing machines are increasing, coating weights are decreasing, and the demands on high-quality printing are increasing. Print mottle in offset printing is caused by (a) nonuniform back trap of ink caused by a nonuniform rate of ink drying, referred as "back trap mottle, and (b) nonuniform absorption of the dampening solution. Furthermore, both forms of print mottle have some relationship to the structure of the coated layer. The surest way of eliminating ink mottling is to eliminate unevenness in the base paper. Coating solutions, often easier to put into practice, should, however, be considered. In this paper the principal factors influencing print mottle of coated papers will be discussed. Especially the importance of base paper roughness, binder migration, even consolidation of coating layers, control of the drying rate, types of binders, etc. will be described.

• Journal of Conservation Science
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• v.36 no.5
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• pp.405-420
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• 2020

A convergence research was conducted on glass beads excavated at the ruins of Hapgang-ri, Sejong, using the archeology and conservation approach. The period of appearance of Jugu Towangmyo in the ruins of Hapgang-ri can be estimated to begin in the late 2^nd century; for Jugu Towangmyo No. 15, the period spans from the late 2^nd to early 3^rd century. Form, color, and manufacturing techniques of complete glass beads were examined, and the cross-sections and chemical composition of 16 samples were observed. Based on these analyses, the glass beads were divided into blue, purple, and red colors. The blue-colored beads could be further sub-divided based on their gloss and brightness; in contrast, the red-colored beads were highly uniform with regard to these parameters. Based on the stripe and bubble arrangement on the surface of the glass beads, their drawing technique was identified. Traces of heat treatment or polishing were observed at the ends of the beads. According to their chemical composition, the 16 samples were classified into 3 potash glass and 13 soda glass groups; in the latter, the properties of the stabilizers were divided according to the blue and red bead colors. The stabilizers of the red beads are unique in that they allow the distinction among beads excavated in other areas in South Korea owing to their compositional differences. Colorants in blue- and red-colored beads are cobalt (containing MnO), and copper and iron, respectively.

• Journal of Digital Convergence
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• v.15 no.9
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• pp.533-541
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• 2017

In the rapidly changing 21st century, image management has become more important. Under these circumstances, as a lot of hair colors and beaching agents are used to create diverse hair colors, hair damage resulting from frequent chemical hair coloring has been inevitable. This study investigated how to reduce morphological changes in hair and hair damage after dividing hair into healthy hair('Group A') and damaged hair('Group B'), using the following bleaching agents: basic bleaching agent(a), beaching agent diluted with water(b), oil ingredient-added bleaching agent(c), water-shampoo mixed bleaching agent(d). The results found that even though hair damage can be prevented by a bleaching agent diluted with a mixture of diverse additives, there were better effects on hair texture in both 'Group A(4.83)' and 'Group B(4.41)' at a sensory test when hair was bleached with an addition of Camellia oil, according to blinded experiment, in particular. As a result, hair damage could be reduced. Therefore, this study expects that hair bleaching with an addition of Camellia oil to the mixture of a bleaching agent would bring the development of diverse new materials which can minimize hair damage as well as regulate hair brightness and make a contribution to the development of cosmetology market.

• The Journal of the Korea Contents Association
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• v.18 no.1
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• pp.359-369
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• 2018

When expressing Christ visually in the medieval Christian painting, the most important issue was how to express the divinity as Son of God and the humanity as attribute of human in a balanced manner. The purpose of the study is to examine both formative and symbolic characters of divinity and humanity on the Christ's body and clothes in the Medieval paintings, Transfiguration of Christ. In the paintings, Christ's body is definite evidence to show both his divinity and humanity. In connection with the body, the clothes reveal Christ's humanity and divinity as well. Through this research, the study found that the divinity and humanity on the Christ's clothes in the Transfiguration of Christ were as follows: Blue, gold, purple, white and bleaching effect are the emblem of divinity, and red and color contrast effect with a high chroma stand for humanity of Christ. In addition, unstructured wrinkles of clothes reveal Christ's divinity, on the other hand, structured drapery shows his humanity through emphasizing volume of the body. Finally, divinity of Christ is shown on the gold clavus and red clavus intensify his humanity. Medieval Christian paintings are products planned out to express Christ's dual nature. There is a significance that the paintings represent the profession of painter's faith and the dogma of the era. Furthermore, they suggest the importance of the image to deliver the abstract concepts by visualizing.

• The Journal of the Korea Contents Association
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• v.6 no.11
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• pp.154-160
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• 2006

This study is performance thesis to examine structure of excessive consuming culture of modern people's desire turning away from modern people's original purpose of aiming life that is well-being. Method of the research is theological examination of people's desire into consuming and well-being culture is critically analyzed by creation of meanings and differences of showcase that symbolize consuming culture. Also my piece of work 'Well-buying Shop 1' that above theory is applied is selected for focused analysis of concept realization method in video configuration method and technique. The symbol Showcase in the animation represent laboratory of consuming culture and desire for ownership. The animation runs for 3 minutes and 50 seconds focused on animal characters raised in well-being farm. Through cut out animating environment, animal characters have life in the animation and they are completed with long take method and temperament editing type for effort of liberal devotion between audience and the animation. Lithographic technique is used for characters and background images for trial of pictural density by pressures and variety of colors. This study was conducted with the basis of above animation showing opportunity and it has significance on trial of various color of lithographic expression technique that are not commonly used in animation image production.

• Journal of the Institute of Electronics Engineers of Korea SP
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• v.42 no.6
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• pp.133-140
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• 2005

This paper presents a rapid face shape acquisition system. The system is composed of two cameras and one projector. The technique works by projecting a pattern on the object and capturing two images with two cameras. We use a 'one shot' system which provides 3D data acquired by single image per camera. The system is good for rapid data acquisition as our purpose. We use the 'absolutely coded pattern' using the hue and saturation of pattern lines. In this 'absolutely coded pattern' all patterns have absolute identification numbers. We solve the correspondence problem between the two images by using epipolar geometry and absolute identification numbers. In comparison to the 'relatively coded pattern' which uses relative identification numbers, the 'absolutely coded pattern' helps obtain rapid 3D data by one to one point matching on an epipolar line. Because we use two cameras, we obtain two images which have similar hue and saturation. This enables us to have the same absolute identification numbers in both images, and we can use the absolutely coded pattern for solving the correspondence problem. The proposed technique is applied to face data and the total time for shape acquisition is estimated.

• Journal of the Institute of Electronics Engineers of Korea SP
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• v.45 no.1
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• pp.75-83
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• 2008

We propose a welfare interface using multiple fecial features tracking, which can efficiently implement various mouse operations. The proposed system consist of five modules: face detection, eye detection, mouth detection, facial feature tracking, and mouse control. The facial region is first obtained using skin-color model and connected-component analysis(CCs). Thereafter the eye regions are localized using neutral network(NN)-based texture classifier that discriminates the facial region into eye class and non-eye class, and then mouth region is localized using edge detector. Once eye and mouth regions are localized they are continuously and correctly tracking by mean-shift algorithm and template matching, respectively. Based on the tracking results, mouse operations such as movement or click are implemented. To assess the validity of the proposed system, it was applied to the interface system for web browser and was tested on a group of 25 users. The results show that our system have the accuracy of 99% and process more than 21 frame/sec on PC for the $320{\times}240$ size input image, as such it can supply a user-friendly and convenient access to a computer in real-time operation.