• 대한전자공학회논문지SP
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• 제39권3호
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• pp.78-87
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• 2002

본 논문은 MPEG 비디오에서 나타나는 여러 예측 형태의 움직임 벡터를 프레임 타입에 관계없이 단일 예측방향만을 갖도록 새롭게 추정하여 비디오 영상물의 분석에 직접적으로 활용하는 방안에 대해 제시하고 있다. 또한 재추정된 각 프레임에서의 움직임 벡터를 이용한 비디오 시퀀스 내에서의 객체 추출 및 추적 기법 등에 대해서도 새롭게 제안하였다. 제안된 알고리즘은 압축 영상에 대한 전체적인 복원과정을 거치지 않고, 압축 비디오 영역으로부터 쉽게 추출될 수 있는 매크로 블록 영역 상에서 수행되었으며, 실험 결과는 제안된 방법의 높은 성능을 잘 나타내어 주고 있다.

• 미술이론과 현장
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• 제13호
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• pp.185-213
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• 2012

Charles Stankievech's 2011 installation LOVELAND includes a wall-sized screen depicting video footage of a barren arctic landscape in an enclosed room, painted and bathed in white light, that appears as an extension of the imaged environment. A melodic and industrial musical score emanates from multiple sound panels and as the music increases a cloud of purple smoke becomes visible on the horizon line in the distance and gradually advances toward the viewer until it completely fills the screen. The smoke then remains, rushing about madly and lapping at the border between the screen and the room before it suddenly subsides and the spectator is again left with the desolate landscape. The entire process takes a mere five minutes and then, fixed on an endless loop, begins again. This paper positions LOVELAND as an attempt to simulate a sublime experience of the end of the world through a transposition of the Arctic atmosphere into the gallery space. Encompassing a discussion of the historical and contemporary significance of the Arctic in popular culture, aesthetics and environmental politics, it is suggested that Stankievech employs an apocalyptic trope in reference to the unstable position of the North in the current political and ecological climate. Revisiting critiques of modernist exhibition practices and investigating the perceptual and temporal dimensions of the work, this analysis focuses primarily on the experience of the installation's spectator. Visually, aurally and phenomenologically immersed, the viewer is made subject to, and implicated in, the events unfolding on the screen and within the space. Due to the looping of the video footage, this paper argues that the apocalypse imaged in LOVELAND is presented as an endless event - incessantly enacted, yet infinitely deferred - and that the spectator is enveloped in an uncertain and unceasingly extended present moment.

• 복식
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• 제55권8호
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• pp.112-126
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• 2005

The purpose of this study is to analyze the aesthetic characteristics of 'movement' expression in modern fashion(1910-2004) based on a study of modern fine arts which adopted 'movement' element in their work. In this study the meaning of movement was defined as motion, changing position and transformation. Literature survey through books and research papers and demonstrative study with fashion collection photos were undertaken. The results wert as follows ; 1) Kinetic art, optical an, light kinetic art and technology art such as video and computer art have adopted 'movement' element in their work. 2) The plasticities of 'movement' fine arts were identified as mutual penetration, increase of visibility, use of non-traditional materials and dynamism. The internal meanings were identified as expansion of aesthetic experience and the concept of fine art, optimistic attitude on technology, spectator participation and integration of art and life. 3) The 'movement' expression in modern fashion was distinctively found in 1910s-20s(avant-garde fashion), 1960s (kinetic and optical art fashion) and mid 1990s to 2004 (techno-cyber fashion). 4) The plasticities of the 'movement' expression in modern fashion were identified as non-definition, use of non-traditional materials, dynamism. The internal meanings were identified as expansion of aesthetic experience and the concept of dress, optimistic attitude on technology, playfulness through participation. In conclusion, the expression of 'movement' in modern fashion has optimistic viewpoint on the development of modern society and is one of the interesting design points which will be pursued in the fellowing years.

• 한국콘텐츠학회논문지
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• 제7권10호
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• pp.80-88
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• 2007

대중음악 공연에서 영상의 활용빈도가 점차로 늘어나고 있다. 과거에는 영상을 단순히 섞는 비디오 편집기를 이용하는 방식이 주로 사용되었으나 현재는 컴퓨터 기술의 발달로 인해 다양한 소프트웨어를 이용해 제어하기도 쉬워졌으며, 특이하고 개성 있는 표현 방식이 나타나게 되었다. 초창기의 대중음악 공연장에서 영상의 활용은 주로 규모가 큰 공연장에서 비용과 시간이 많이 소모되는 복잡한 장비를 사용해야 했지만 현재는 작은 규모의 클럽에서도 대중음악 공연영상작업을 손쉽게 할 수 있을 정도로 장비가 소형화 되고 발전되었다. 특히 컴퓨터를 주로 이용하게 되면서 단순히 영상을 섞는 브이제잉에서 인터랙티브가 가능한 방향으로 다양하게 발전하고 있다 본 연구에서는 대중음악공연에서 주로 사용되고 있는 브이제잉 중 특히 실시간으로 소리와 시각이미지가 상호 변환하는 인터랙티브 미디어아트가 활용되는 방안을 중심으로 분석하여 정리해 보았다.

• ETRI Journal
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• 제32권4호
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• pp.566-576
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• 2010

In a multiview video system, interactivity is important for users and should be considered in the design of multiview video coding (MVC). In this paper, we present an interactivity evaluation model for MVC schemes by using both weighted random graph and Markov approaches. The main factors that affect both the interactivity and rate-distortion (RD) performances of MVC schemes are analyzed and discussed in detail. By taking these factors into consideration, a new MVC scheme is proposed for high interactivity and RD gains. Experimental results show that the proposed scheme has a significant interactivity gain with little coding loss, compared to the state-of-the-art benchmark. As an extension to RD performance analysis, the interactivity evaluation model can be used as a design tool of alternative schemes for a future interactive multiview video system.

• International Journal of Internet, Broadcasting and Communication
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• 제16권1호
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• pp.86-91
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• 2024

In the field of artistic creation, the iterative development of AI-generated video software has pushed the boundaries of multimedia content creation and provided powerful creative tools for non-professionals. This paper extensively examines two leading AI-generated video software, PIKA Labs and RUNWAY, discussing their functions, performance differences, and application scopes in the video generation domain. Through detailed operational examples, a comparative analysis of their functionalities, as well as the advantages and limitations of each in generating video content, is presented. By comparison, it can be found that PIKA Labs and RUNWAY have excellent performance in stability and creativity. Therefore, the purpose of this study is to comprehensively elucidate the operating mechanisms of these two AI software, in order to intuitively demonstrate the advantages of each software. Simultaneously, this study provides valuable references for professionals and creators in the video production field, assisting them in selecting the most suitable tools for different scenarios, thereby advancing the application and development of AI-generated video software in multimedia content creation.

• 한국정보과학회:학술대회논문집
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• 한국정보과학회 2005년도 가을 학술발표논문집 Vol.32 No.2 (1)
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• pp.280-282
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• 2005

In this paper we propose several mapping schemes for streaming video generated by state-of-the-art H.264 codec over IEEE 802.11e enabled wireless LANs. The schemes take advantage of both 802.11e's QoS mechanism and some novel features of the H.264 codec, so as to protect the most important information in terms of visual quality and reduce distortion under network congestion. The proposed methods are evaluated by means of the H.264 reference software codec, network simulation, and objective video quality measurements. Results show that the proposed methods achieve a robust and error resilient H.264 video streaming over wireless LANs than traditional best-effort streaming.

• KSII Transactions on Internet and Information Systems (TIIS)
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• 제7권11호
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• pp.2754-2768
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• 2013

Video fingerprints generated from global features are usually vulnerable against general geometric transformations. In this paper, a novel video fingerprinting algorithm is proposed, in which a new spatio-temporal gradient is designed to represent the spatial and temporal information for each frame, and a new partition scheme, based on concentric circle and rings, is developed to resist the attacks efficiently. The centroids of spatio-temporal gradient orientations (CSTGO) within the circle and rings are then calculated to generate a robust fingerprint. Our experiments with different attacks have demonstrated that the proposed approach outperforms the state-of-the-art methods in terms of robustness and discrimination.

• 한국방송∙미디어공학회:학술대회논문집
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• 한국방송공학회 2010년도 하계학술대회
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• pp.42-45
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• 2010

This paper proposes an intelligent video surveillance system for human object tracking. The proposed system integrates the object extraction, human object recognition, face detection, and camera control. First, the object in the video signals is extracted using the background subtraction. Then, the object region is examined whether it is human or not. For this recognition, the region-based shape descriptor, angular radial transform (ART) in MPEG-7, is used to learn and train the shapes of human bodies. When it is decided that the object is human or something to be investigated, the face region is detected. Finally, the face or object region is tracked in the video, and the pan/tilt/zoom (PTZ) controllable camera tracks the moving object with the motion information of the object. This paper performs the simulation with the real CCTV cameras and their communication protocol. According to the experiments, the proposed system is able to track the moving object(human) automatically not only in the image domain but also in the real 3-D space. The proposed system reduces the human supervisors and improves the surveillance efficiency with the computer vision techniques.

• 한국콘텐츠학회:학술대회논문집
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• 한국콘텐츠학회 2005년도 추계 종합학술대회 논문집
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• pp.453-455
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• 2005

비디오와 오디오의 정보를 이용한 포스트프로덕션 과정에서의 동시적인 FX 적용을 통해 각 매체 간의 연계성을 높이기 위한 구체적인 표현 방식에 대해 제안하고, 비디오/오디오 데이터에서 얻을 수 있는 정보를 타 매체의 표현에 적용시킬 수 있는 기술적인 면에서의 방법론에 대해 서술한다. 또한 제안한 내용을 실질적으로 영상 제작에 활용할 방법에 대해 연구한다.