• Title/Summary/Keyword: D2D

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Pattern-based Depth Map Generation for Low-complexity 2D-to-3D Video Conversion (저복잡도 2D-to-3D 비디오 변환을 위한 패턴기반의 깊이 생성 알고리즘)

  • Han, Chan-Hee;Kang, Hyun-Soo;Lee, Si-Woong
    • The Journal of the Korea Contents Association
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    • v.15 no.2
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    • pp.31-39
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    • 2015
  • 2D-to-3D video conversion vests 3D effects in a 2D video by generating stereoscopic views using depth cues inherent in the 2D video. This technology would be a good solution to resolve the problem of 3D content shortage during the transition period to the full ripe 3D video era. In this paper, a low-complexity depth generation method for 2D-to-3D video conversion is presented. For temporal consistency in global depth, a pattern-based depth generation method is newly introduced. A low-complexity refinement algorithm for local depth is also provided to improve 3D perception in object regions. Experimental results show that the proposed method outperforms conventional methods in terms of complexity and subjective quality.

Seamless 2D-3D Switching Transmission System for Dual-Stream 3D TV Terrestrial Broadcasting (지상파 듀얼 스트림 3DTV 방송을 위한 2D와 3D 서비스 Seamless 전환 송출시스템)

  • Park, Sung-Hwan;Lee, Seung-Hyun
    • The Journal of Korean Institute of Communications and Information Sciences
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    • v.38C no.11
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    • pp.1010-1018
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    • 2013
  • The dual-stream based stereoscopic 3D broadcasting standard was developed in 2011. EBS broadcasted 3DTV experimental service according to this standard in April 2012. Dual-stream based 3DTV broadcasting is service-compatible and backward-compatible, so viewers who have legacy 2D HDTV can watch the broadcasting content as 2D. And 3DTV viewers can select watching 2D or 3D. Since 3D content production is not usual yet for terrestrial broadcasters, only some particular programs in specific periods will be broadcasted as 3D at the initiatory stage. For it, stable viewing condition is strongly required for both 2D viewers and 3D viewers. This paper suggests broadcasting transmission system structure and effective switching scheme for stable 2D and 3D viewing conditions in the case of dual-stream based terrestrial 3DTV broadcasting.

Feasibility Study for Device-to-Device Communications Using Unlicensed Bands in a Cellular Network (셀룰러 네트워크에서 비면허 대역을 활용한 단말 간 직접통신 타당성 연구)

  • Kim, Hyeon-Min;Kang, Gil-Mo;Shin, Oh-Soon
    • The Journal of Korean Institute of Electromagnetic Engineering and Science
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    • v.27 no.2
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    • pp.208-211
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    • 2016
  • Device-to-Device communication(D2D) enables devices in proximity to communicate directly without going through the network infrastructure. In particular, D2D communications in a cellular network can improve the spectral efficiency by allowing the reuse of cellular resources. However, it is not easy to maintain the channel quality of the D2D links and to protect the cellular links from the D2D interferences, since the resource allocations for the cellular users will change with time due to the time-varying nature of the cellular channels. To mitigate the performance degradation of D2D links, we propose to exploit unlicensed bands as auxiliary resources when the D2D links share the uplink cellular resources. The effectiveness of the proposed scheme is verified through simulations.

Studies on the Production of L-Ascorbic Acid; Examination of the Metabolites Produced by Gluconobacter spp. from L-Sorbitol, L-Sorbose or D-Glucose (L-Ascorbic Acid 생산에 관한 연구; Gluconobacter spp.의 L-sorbitol, L-sorbose, 포도당 대사물에 관한 연구)

  • 김공환;정종경구양모
    • KSBB Journal
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    • v.5 no.1
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    • pp.1-8
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    • 1990
  • G. Melanogenus metabolized D-sorbitol to L-sorbose, and to 2-keto-L-gulonic acid. G. cerinus oxidized D-glucose to accumulate 2-keto-D-gluconic acid, 5-keto-D-gluconic acid and 2,5-diketo-D-gluconic acid. 2,5-Diketo-D-gluconc acid was confirmed to be the further oxidized product of 2-keto-D-gluconic acid. The amount of calcium carbonate added to the culture broth increased the relative amount of 5-keto-D-gluconate. When, instead of calcium carbonate, other bases were employed to neutralize the oxidized products, 2-keto-D-gluconate was produced only.

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Comparative Experiment of 2D and 3D DCT Point Cloud Compression (2D 및 3D DCT를 활용한 포인트 클라우드 압축 비교 실험)

  • Nam, Kwijung;Kim, Junsik;Han, Muhyen;Kim, Kyuheon;Hwang, Minkyu
    • Journal of Broadcast Engineering
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    • v.26 no.5
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    • pp.553-565
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    • 2021
  • Point cloud is a set of points for representing a 3D object, and consists of geometric information, which is 3D coordinate information, and attribute information, which is information representing color, reflectance, and the like. In this way of expressing, it has a vast amount of data compared to 2D images. Therefore, a process of compressing the point cloud data in order to transmit the point cloud data or use it in various fields is required. Unlike color information corresponding to all 2D geometric information constituting a 2D image, a point cloud represents a point cloud including attribute information such as color in only a part of the 3D space. Therefore, separate processing of geometric information is also required. Based on these characteristics of point clouds, MPEG under ISO/IEC standardizes V-PCC, which imitates point cloud images and compresses them into 2D DCT-based 2D image compression codecs, as a compression method for high-density point cloud data. This has limitations in accurately representing 3D spatial information to proceed with compression by converting 3D point clouds to 2D, and difficulty in processing non-existent points when utilizing 3D DCT. Therefore, in this paper, we present 3D Discrete Cosine Transform-based Point Cloud Compression (3DCT PCC), a method to compress point cloud data, which is a 3D image by utilizing 3D DCT, and confirm the efficiency of 3D DCT compared to V-PCC based on 2D DCT.

Analysis of Tendency of 3D Computer Graphic Techniques in 2D Animations: Majorly in Japanese Animations (2D 애니메이션 작품에서 활용되고 있는 3D 컴퓨터그래픽스 기술 경향 분석 : 일본 장편애니메이션 중심으로)

  • Park, Sea-Young
    • Cartoon and Animation Studies
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    • s.10
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    • pp.121-135
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    • 2006
  • At present, it is very common to use techniques beyond the 2D (two-dimensional) in animations which are found in motion pictures, OVA and TV series. As you can see, PIXAR and Disney have reduced their 2D departments and recently put more effort into 3D (three-dimensional) animation. There is no doubt that producing 3D animation is the big trend. Along with this trend, the national education institutions and the national support policies are also changing to be supportive of 3D animations. We, however, should ask ourselves, if we are on the right track with this change. Through the analysis of the methods of creating 2D animation which we should keep as it is, but instead we import and incorporate with 3D techniques of Japanese 2D animation, I would like to present the importance and the significance of the 2D animation and also to suggest an effective way to create 2D fused with 3D computer graphics techniques.

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Design of Variable Cutoff Frequency Two-Dimensinal FIR Filters (가변차단 주파수 2차원FIR필터의 설계)

  • Sang-Uk Lee
    • The Transactions of the Korean Institute of Electrical Engineers
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    • v.32 no.12
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    • pp.427-434
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    • 1983
  • Singular Value Decomposition of 2-D Finite Impulse Response was used to design a variable cutoff 2-D FIR filters. Basically this approach allows to use 1-D techniques while dealing with 2-D filters. In this paper, our aim is to provide away of easily tuning 2-D FIR filters. For example, one would like to adjust interactively the cutoff frequency of a 2-D Circular Symmetric low-pass filter on an image processing system. The decomposition of 2-D FIR filters along with techniques available for tuning 1-D FIR filters allows such adjustment. Several design examples are shown.

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A study of refraction state of middle aged & manhood in Daegu (대구지역 중·장년층의 굴절상태 연구)

  • Choi, Gei-Hun
    • Journal of Korean Ophthalmic Optics Society
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    • v.9 no.2
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    • pp.323-332
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    • 2004
  • This study researched the visual acuity test object and Auto-refractormeter, visual of near power. The object were composed of middle aged, the old men and women who in habit Daegu. The results were as follows : 1. The subjects consisted of 537 people, 29.98% men, 70.02% women. 2. The emmetropia was 1.12% for myopia, 2.79% for hyperopia, 96.09% for astigmatism. 3. The abnormal refraction was composition for myopic compound astigmatism(16.57%), hyperopia compound astigmatism(45.62%), Mixed astigmatism(33.89%). 4. On the Myopic Spherical Equivalent(S.E) power, the range of -0.50D ${\leq}$ M.S.E < -1.00D was 21.67%, -1.00D ${\leq}$ M.S.E < -2.00D was 48.89%, -2.00D ${\leq}$ M.S.E < -6.00D was 29.44%. 5. On the Hyperopic Spherical Equivalent(S.E) power, the range of +0.50D ${\leq}$ H.S.E < +1.00D was 28.57%, +1.00D ${\leq}$ H.S.E < +2.00D was 49.30%, +2.00D ${\leq}$ H.S.E < +6.00D was 23.13%. 6. The addition power was 1.00D(8.01%), 1.50D(8.57%), 2.00D(13.78%), 2.50D(16.57%), 3.00D(16.95%), 3.50D(17.88%), 4.00D(18.25%).

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A study on convergence of 2D and 3D animation : Focused on character and expression technique (2D 애니메이션과 3D 애니메이션의 융합: 캐릭터와 제작 기법을 중심으로)

  • Kim, Min-Jung;Kwak, No-Jun
    • Cartoon and Animation Studies
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    • s.48
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    • pp.45-67
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    • 2017
  • Many of the modern animations have 3D technology, and as time goes by, their production technology becomes more diverse and sophisticated. When John Alan Lasseter insisted on studying CG animation technology, he might have taken our jobs to the computer in the near future, as many people were worried about. It may be premature to worry that an unstable future may become a reality at this point, but I do not think there will be any difference in the fact that many animations are being produced using 3D technology. Since the Toy Story was screened in 1995, the 3D animation production technology has started to develop rapidly and now it has been elaborately developed so that it can not distinguish the part where computer graphics technology is applied from the live film. On the other hand, Disney's 2D animation part falls into the decline path because the appearance of 3D animation was perceived as a new expression technique at that time, and the efficiency of the work process was superior to the 2D animation in addition to receiving the attention from the audience. Is it necessary to accept the retrogression of 2D animation technology, reflecting the environment of the animation industry that 3D animation production technology has become mainstream in the first 20 years since the first theatrical works appeared? Since 2D animation technology has a long history and is still attractive to the audience, it is not hard to find an attempt to combine 2D and 3D animation technology. In this paper, I want to study 2D hand - drawn character in 3D animation. Through this, it is hoped that animation convergence technology will be applied more actively in the future.

Access Control for D2D Systems in 5G Wireless Networks

  • Kim, Seog-Gyu;Kim, Jae-Hyun
    • Journal of the Korea Society of Computer and Information
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    • v.26 no.1
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    • pp.103-110
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    • 2021
  • In this paper, we compare two access control mechanisms for D2D(Device-to-Device) systems in 5G wireless networks and propose an effective access control for 5G D2D networks. Currently, there is no specified access control for 5G D2D networks but there can be two access control approaches for 5G D2D networks. One is the UE-to-Network Relay based access control and the other is the Remote UE(User Equipment) based access control. The former is a UE-to-Network Relay carries out the access control check for 5G D2D networks but the latter is a Remote UE performs the access control check for 5G D2D networks. Through simulation and evaluation, we finally propose the Remote UE based access control for D2D systems in 5G wireless networks. The proposed approach minimizes signalling overhead between the UE-to-Network Relay and the Remote UE and more efficiently performs the access control check, when the access control functionalities are different from the UE-to-Network Relay in 5G D2D networks.