• Journal of Digital Contents Society
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• v.12 no.4
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• pp.449-456
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• 2011

UCC (User Created Contents) video rapidly rose as key contents of internet pop culture as a medium of 'sensibility delivery' that is created by a user without a commercial purpose. 'Sensibility delivery' is the ultimate purpose of UCC video and it can only be completed with 'well composed' storytelling. However, it is difficult to expect high degree of completion from noncommercial UCC videos due to an instable production environment and many variables. Thus, this study has been suggested 'detailed storytelling editing' process from editing phase in order to minimize problems of instable UCC videos. This suggestion based on actual results and award winning works of UCC videos of a team of research will raise a bond of sympathy, lead creative change, and expand the function of 'sensibility delivery' by increasing the degree of completion of work with unified final cut.

• Proceedings of the Korea Contents Association Conference
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• 2005.11a
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• pp.137-143
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• 2005

The popularization of IEEE1394(firewire) configuration in Desktop PC have done much to popularize Non-Linear video editing. DVD has been taking the lead in an age as the movie storage medium which represents a recent decade the place because of decreasing in cost of DVD-RW. But, it is the actual condition which has been had any research data about the process which produces the high quality movie of DVD to most ordinary people. Taking into account to capture the image with Avid Xpress DV and Adobe Premiere Pro which are representative video editing softwares in Desktop PC in general, we would like to close by proposing that DVD Authoring Process is available to keep high quality image in Desktop PC by the using of comparison and analysis of the image quality and export data which are able to be happened to the procedure of digitalization of video Authoring using of Adobe Encore.

• Proceedings of the Korean Society of Broadcast Engineers Conference
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• 1997.06a
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• pp.75-81
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• 1997

A new DTPP (Desk-Top Program Production) system has been developed that enables multiple program producers (directors) working at different locations to collaborate over a computer network and prepare a single program for broadcasting. In this system, information is shared among users by exchanging data edited on non-linear editing terminals in program post-production work over a network in real time. In short, the new DTPP system provides a collaborative work space for producing TV programs. The system does not make use of a special server for collaborative work but rather multiple interconnected editing terminals having the same functions. In this configuration, data at a terminal which has just been edited by some operation is forwarded to all other connected terminals for updating. This form of information sharing, however, requires that some sort of data synchronizing method be established since multiple terminals are operating on the same data simultaneously. We therefore adopt a method whereby the system synchronizes the clocks on each terminal at the time of connection and sends an operation time stamp together with edited data. This enables most recently modified data to be identified and all information on all terminals to be updated appropriately. This paper provides an overview of this new collaborative DTPP system and describes the techniques for exchanging edited data and synchronizing data.

• Journal of Korea Multimedia Society
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• v.11 no.6
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• pp.729-736
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• 2008

Using video synthesis to depict flowing water is useful in virtual reality, computer games, digital movies and scientific computing. This paper presents a novel algorithm for synthesizing dynamic water scenes through a sample video based on a dynamic texture model. In the paper, we treat the video sample as a 2-D texture image. In order to obtain textons, we analyze the video sample automatically based on dynamic texture model. Then, we utilize a linear dynamic system (LDS) to describe the characteristics of each texton. Using these textons, we synthesize a new video for dynamic flowing water which is prolonged and non-fuzzy in vision. Compared with other classical methods, our method was tested to demonstrate the effectiveness and efficiency with several video samples.

• Journal of Korea Multimedia Society
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• v.13 no.9
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• pp.1373-1381
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• 2010

Current flight maneuver diagram used by pilots is based on 2D spatial presentation, so it has limitation on display 3D flight information and hard to understand it instinctively. Flight animation authoring tools for this diagram are complex to use and lack useful features like non-linear editing of flight path and real-time interactivity on multiple aircrafts. This research focuses on 3D flight path generation method in the animation system for flight maneuver education. This research combines initial sketch input on 2D diagram with the thrust of an aircraft to generate 3D linear spline as close as to real flight. Using suggested linear spline creation method, the flight path can be visualized, edited, and animated in real-time at the flight maneuver briefing and debriefing.

• Journal of the Korea Computer Graphics Society
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• v.18 no.1
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• pp.23-28
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• 2012

In this paper, we present a new method for automatically synchronize captured facial expression data with its corresponding motion data. In a usual optical motion capture set-up, a detailed facial expression can not be captured simultaneously in the motion capture session because its resolution requirement is higher than that of the motion capture. Therefore, those are captured in two separate sessions and need to be synchronized in the post-process to be used for generating a convincing character animation. Based on the patterns of the actor's neck movement extracted from those two data, we present a non-linear time warping method for the automatic synchronization. We justify our method with the actual examples to show the viability of the method.

• KSII Transactions on Internet and Information Systems (TIIS)
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• v.13 no.8
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• pp.4300-4314
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• 2019

With the development of video-related applications, media content has increased dramatically through applications. There is a substantial amount of near-duplicate videos (NDVs) among Internet videos, thus NDVR is important for eliminating near-duplicates from web video searches. This paper proposes a novel NDVR system that supports large-scale retrieval and contributes to the efficient and accurate retrieval performance. For this, we extracted keyframes from each video at regular intervals and then extracted both commonly used features (LBP and HSV) and new image features from each keyframe. A recent study introduced a new image feature that can provide more robust information than existing features even if there are geometric changes to and complex editing of images. We convert a vector set that consists of the extracted features to binary code through a set of hash functions so that the similarity comparison can be more efficient as similar videos are more likely to map into the same buckets. Lastly, we calculate similarity to search for NDVs; we examine the effectiveness of the NDVR system and compare this against previous NDVR systems using the public video collections CC_WEB_VIDEO. The proposed NDVR system's performance is very promising compared to previous NDVR systems.

• KSII Transactions on Internet and Information Systems (TIIS)
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• v.15 no.12
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• pp.4326-4344
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• 2021

The SinGAN is one of generative adversarial networks that can be trained on a single nature image. It has poor ability to learn more global features from nature image, and losses much local detail information when it generates arbitrary size image sample. To solve the problem, a non-linear function is firstly proposed to control downsampling ratio that is ratio between the size of current image and the size of next downsampled image, to increase the ratio with increase of the number of downsampling. This makes the low-resolution images obtained by downsampling have higher proportion in all downsampled images. The low-resolution images usually contain much global information. Therefore, it can help the model to learn more global feature information from downsampled images. Secondly, the attention mechanism is introduced to the generative network to increase the weight of effective image information. This can make the network learn more local details. Besides, in order to make the output image more natural, the TVLoss function is introduced to the loss function of SinGAN, to reduce the difference between adjacent pixels and smear phenomenon for the output image. A large number of experimental results show that our proposed model has better performance than other methods in generating random samples with fixed size and arbitrary size, image harmonization and editing.

• Journal of Microbiology and Biotechnology
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• v.33 no.11
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• pp.1506-1512
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• 2023

Quantitative analysis of adenosine triphosphate (ATP) has been widely used as a diagnostic tool in the food and medical industries. Particularly, the pathogenesis of a few diseases including inflammatory bowel disease (IBD) is closely related to high ATP concentrations. A bioluminescent D-luciferin/luciferase system, which includes a luciferase (FLuc) from the firefly Photinus pyralis as a key component, is the most commonly used method for the detection and quantification of ATP. Here, instead of isolating FLuc produced in recombinant Escherichia coli, we aimed to develop a whole-cell biocatalyst system that does not require extraction and purification of FLuc. To this end, the gene coding for FLuc was introduced into the genome of probiotic Saccharomyces boulardii using the CRISPR/Cas9-based genome editing system. The linear relationship (r² = 0.9561) between ATP levels and bioluminescence generated from the engineered S. boulardii expressing FLuc was observed in vitro. To explore the feasibility of using the engineered S. boulardii expressing FLuc as a whole-cell biosensor to detect inflammation biomarker (i.e., ATP) in the gut, a colitis mouse model was established using dextran sodium sulfate as a colitogenic compound. Our findings demonstrated that the whole-cell biosensor can detect elevated ATP levels during gut inflammation in mice. Therefore, the simple and powerful method developed herein could be applied for non-invasive IBD diagnosis.

• Journal of Korean Theatre Studies Association
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• no.53
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• pp.167-202
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• 2014

When video composes mise-en-scene during the performance, it reflects the aspect of contemporary image culture, where the individual as creator joins in the image culture through the device of cell phone and computer remediating the former video technology. It also closely related with the contemporary theatre culture in which 1960's and 1970's video art was weaved into the contemporary performance theatre. With these cultural background, theatre practitioners regarded media-friendly mise-en-scene as an alternative facing the cultural landscape the linear representational narrative did not correspond to the present culture. Nonetheless, it can not be ignored that video in the performance theatre is remediating its historical function: to criticize the social reality. to enrich the aesthetic or emotional reality. I focused video in the performance theatre could feature the object with the image by realizing the realtime relay, emphasizing the situation within the frame, and strengthening the reality by alluding the object as a gesutre. So I explored its two historical manuel. First, video recorded the spot, communicated the information, and arose the audience's recognition of the object to its critical function. Second, video in performance theatre could redistribute perceptual way according to the editing method like as close up, slow motion, multiple perspective, montage and collage, and transformation of the image to the aesthetic function. Reminding the historical function of video in contemporary performance theatre, I analyzed two shows, Schaubuhne's Hamlet and Lenea de Sombra's Amarillo which were introduced to Korean audiences during the 2010 Seoul Theatre Olympics. It is known to us that Ostermeir found real social reality as a text and made the play the context. In this, he used video as a vehicle to penetrate the social reality through the hero's perspective. It is also noteworthy that Ostermeir understood Hamlet's dilemma as these days' young generation's propensity. They delayed action while being involved in image culture. Besides his use of video in the piece revitalized the aesthetic function of video by hypermedial perceptual method. Amarillo combined documentary theatre method with installation, physical theatre, and video relay on the spot, and activated aesthetic function with the intermediality, its interacting co-relationship between the media. In this performance theatre, video has recorded and pursued the absent presence of the real people who died or lost in the desert. At the same time it fantasized the emotional aspect of the people at the moment of their death, which would be opaque or non prominent otherwise. As a conclusion, I found the video in contemporary performance theatre visualized the rupture between the media and perform their intermediality. It attempted to disturb the transparent immediacy to invoke the spectator's perception to the theatrical situation, to open its emotional and spiritual aspect, and to remind the realities as with Schaubuhne's Hamlet and Lenea de Sombra's Amarillo.