• Proceedings of the IEEK Conference
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• 2000.09a
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• pp.207-210
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• 2000

본 논문에서는 신호를 해석하는데 유용한 웨이블렛 변환을 적용하여 장면전환 요소 중 cut과 fade를 검출하는 알고리즘을 제안한다. 제안된 방법은 웨이블렛 저대역 부밴드로부터 각 프레임의 히스토그램을 구한 후 이전 프레임과 현재 프레임사이의 히스토그램 차를 구하여 이 값이 임계값 이상이면 급격한 장면전환(abrut shot transition)인 cut으로 분류한다. 다음으로 페이드인(fade in)이나 페이드 아웃(fade out)등 컷의 지점이 불분명한 점진적 장면전환(gradual scene transition)을 검출하기 위하여 고대역 부밴드에서 추출한 에지성분에 모멘트를 계산하여 인접한 프레임 사이의 변동율을 분석하여 값이 증가하면 페이드 인을 검출하고 반면에 감소하면 페이드 아웃을 검출하게된다. 성능평가를 위하여 실제의 비디오 분할에 적용한 결과 웨이블렛 적용 방법론이 매우 높은 Precision을 갖는다는 것을 알 수 있으며 윤곽정보에 모멘트 정보를 더함으로써 기존의 방법보다 정확한 페이드(fade) 구간을 검출할 수 있었다.

• Proceedings of the IEEK Conference
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• 2000.06d
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• pp.7-10
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• 2000

There are many Problems such as low detection ratio, velocity and increase of false hit ratio on the detection of gradual scene changes with the previous shot transition detection algorithms. In this paper, we Propose an improved dissolve detection method using color information on low-frequency subband and edge elements on high-frequency subband. The Possible dissolve transition are found by analyzing the edge change ratio in the high-frequency subband with edge elements of each direction. Using the double chromatic difference on the lowest frequency subband, we have the improvement of the dissolve detection ratio. The simulation results show that the performance of the proposed algorithm is better than the conventional one for dissolve detection on a diverse set of uncompressed video sequences.

• Proceedings of the Korean Society of Broadcast Engineers Conference
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• 1998.06a
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• pp.135-138
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• 1998

본 논문에서는 비디오 장면 전환 효과 중 디졸브(dissolve)와 카메라 동작에 의한 팬(pan), 줌(zoom)에 의한 점진적인 장면 전환 구간을 검출하는 알고리즘을 제안한다. 디졸브 검출의 처리 속도 향상을 위하여 MPEG 표준에 따라 압축된 영상을 최소한의 복원과정을 거쳐서 얻은 DC 영상을 사용하였다. 디졸브 특성의 효과적 추출을 위하여 공간적 영역 분할을 하였고, 각 영역별 평균값을 제곱하여 이에 대한 프레임별 평균을 전환구간의 특징 요소로 이용하였다. 추출된 요소들을 이용하여 정확한 디졸브 구간의 검출을 위하여 비중첩 윈도우 비교 방식을 사용하였다. 또한 효과적인 카메라 동작 검출을 위해 배경화면을 대표할 수 있는 지역 매크로 블록의 움직임 벡터를 추출하였다. 이를 이용하여 카메라 동작에 의한 효과를 검출하였다.

• Proceedings of the Korea Information Processing Society Conference
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• 2002.11a
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• pp.719-722
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• 2002

비디오 데이터의 효율적인 저장, 관리를 위해서는 장면전환 검출을 통한 비디오 분할 기술에 대한 연구가 필요하다. 기존의 장면전환 검출 알고리즘은 복호화에 의한 연산량 및 프레임들간의 비교에 의한 연산량이 많아 속도에 제한을 받았다. 본 논문에서는 MPEG 압축 비디오에서 효과적인 장면전환 검출을 위해 MPEG 압축도메인에서 B 프레임들의 매크로블록타입의 통계적 특성변화를 이용하여 점진적 장면전환검출을 빠르고 정확하게 할 수 있는 알고리즘을 제안한다.

• Journal of KIISE:Computing Practices and Letters
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• v.10 no.6
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• pp.514-528
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• 2004

An emotion-based video scene retrieval algorithm is proposed in this paper. First, abrupt/gradual shot boundaries are detected in the video clip representing a specific story Then, five video features such as 'average color histogram' 'average brightness', 'average edge histogram', 'average shot duration', and 'gradual change rate' are extracted from each of the videos and mapping between these features and the emotional space that user has in mind is achieved by an interactive genetic algorithm. Once the proposed algorithm has selected videos that contain the corresponding emotion from initial population of videos, feature vectors from the selected videos are regarded as chromosomes and a genetic crossover is applied over them. Next, new chromosomes after crossover and feature vectors in the database videos are compared based on the similarity function to obtain the most similar videos as solutions of the next generation. By iterating above procedures, new population of videos that user has in mind are retrieved. In order to show the validity of the proposed method, six example categories such as 'action', 'excitement', 'suspense', 'quietness', 'relaxation', 'happiness' are used as emotions for experiments. Over 300 commercial videos, retrieval results show 70% effectiveness in average.

• The Journal of Korean Institute of Communications and Information Sciences
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• v.27 no.8A
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• pp.786-795
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• 2002

In this paper, we present a histogram and moment-based vidoe scencd change detection technique using hierarchical Hidden Markov Models(HMMs). The proposed method extracts histograms from a low-frequency subband and moments of edge components from high-frequency subbands of wavelet transformed images. Then each HMM is trained by using histogram difference and directional moment difference, respectively, extracted from manually labeled video. The video segmentation process consists of two steps. A histogram-based HMM is first used to segment the input video sequence into three categories: shot, cut, gradual scene changes. In the second stage, a moment-based HMM is used to further segment the gradual changes into a fade and a dissolve. The experimental results show that the proposed technique is more effective in partitioning video frames than the previous threshold-based methods.

• The Journal of Korean Institute of Communications and Information Sciences
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• v.24 no.8A
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• pp.1208-1217
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• 1999

Being increased the errention and competition for communication business, the economical efficiency and the reliance of communication network were raised. The communication operators are sensitively reactioned to the data related communication. Especially, the trend of hazards related to communication networks and users is broadly deviede into 3 classes in the technical specificatons of foreigners. In this paper, the field data of parameters corresponding to 3 classes was statistically processed and compared to the specified values in the technical specification. The ststistical processes of field data play a role as an objective information for the service quality related to the communication network, and will be helpful for preparing the globalization of communication.

• Journal of Korea Multimedia Society
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• v.14 no.10
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• pp.1252-1261
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• 2011

In this paper, we propose the comparison method of pattern similarity for video segmentation algorithm. The shot boundary type is categorized as 2 types, abrupt change and gradual change. The representative examples of gradual change are dissolve, fade-in, fade-out or wipe transition. The proposed method consider the problem to detect shot boundary as 2-class problem. We concentrated if the shot boundary event happens or not. It is essential to define similarity between frames for shot boundary detection. We proposed 2 similarity measures, within similarity and between similarity. The within similarity is defined by feature comparison between frames belong to same shot. The between similarity is defined by feature comparison between frames belong to different scene. Finally we calculated the statistical patterns comparison between the within similarity and between similarity. Because this measure is robust to flash light or object movement, our proposed algorithm make contribution towards reducing false positive rate. We employed color histogram and mean of sub-block on frame image as frame feature. We performed the experimental evaluation with video dataset including set of TREC-2001 and TREC-2002. The proposed algorithm shows the performance, 91.84% recall and 86.43% precision in experimental circumstance.

• Journal of Digital Contents Society
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• v.16 no.4
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• pp.659-669
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• 2015

Recently, media art is transforming from analogue to 'digital', and from 2D to '3D'. In particular, the range of utilizing 3D Media Art is getting wider through merging with other genres of contents in the digital environments, such as Media façade, Hologram, Virtual reality, App application, and etc. Therefore, by referring to the 3D award-winning works of Pirx Ars Electronica, which are regarded as the most outstanding works of media art of today, factors that affect sensation of visual immersion have been analyzed, through which strategies for maximizing viewers' interests in media arts and heightening their emotions while viewing have been determined. Based on the findings of the study, it has been shown that such works of media arts that involve development of concepts with 'creativity' and 'variability' from the perspective of visual concept, such as 3D modeling and mapping, with 'consistency' through out all concepts, as well as the works with stronger 'restriction' of concept within its animation and postproduction, attracted more interests from the viewer. From the point of view with visual four steps in composition, positioning the change in quality of 3D 'shape' and 'material' following the four-step rule, and gradual increase of change in quantity within the 'number' and 'size', in addition to increased degree of systematization within the change in editing, such as the 'scene change', resulted in more heightened emotions from the viewer. Thus, in order to maximize sensation of visual immersion, strategies for 'developing 3D visual concepts' while 'synchronizing' them, as well as 'strengthening the four steps within 3D visual composition' while 'systematizing' them should be emphasized.