• Progress in Medical Physics
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• v.17 no.4
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• pp.260-267
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• 2006

A retinal ganglion cell's receptive field is defined as that region on the retinal surface In which a light stimulus will produce a response. A retinal ganglion cell peers out at a small patch of the visual scene through its receptive field and encodes local features with action potentials that pass through the optic nerve to higher centers. Therefore, defining the receptive field of a retinal ganglion cell is essential to understand the electrical characteristics of a ganglion cell. Distribution of receptive fields over retinal surface provides us an Insight how the retinal ganglion cell processes the visual scene. In this paper, we provide the details how to reconstruct the receptive field of a retinal ganglion cell. We recorded the ganglion cell's action potential with multielectrode array when the random checkerboard stimulus was applied. After classifying the retinal waveform Into ON-cell, OFF-cell, ON/OFF-cell, we reconstructed the receptive field of retinal ganglion cell with Matlab. Here, we show the receptive fields of ON-cell and OFF-cell.

• The Journal of Korean Institute of Communications and Information Sciences
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• v.29 no.9C
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• pp.1269-1278
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• 2004

While the management of digital contents is getting more and more important, many researchers have studied about scene change detection algorithms to reduce similar scenes in the video contents and to efficiently summarize video data. The algorithms using histogram and pixel information are found out as being sensitive to light changes and motion. Therefore, visual rhythm gets used in recent work to solve this problem, which shows some characteristics of scenes and requires even less computational power. In this paper, a new scene detection algorithm using visual rhythm by direction is proposed. The proposed algorithm needs less computational power and is able to keep good performance even in the scenes with motion. Experimental results show the performance improvement of about 30% comparing with conventional methods with histogram. They also show that the proposed algorithm is able to keep the same performance even to music video contents with lots of motion.

• Proceedings of the Korean Institute of Information and Commucation Sciences Conference
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• 2013.10a
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• pp.1015-1017
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• 2013

Object tracking, in general, is a challenging problem. Difficulties in tracking objects can arise due to abrupt object motion, changing appearance patterns of both the object and the scene, non-rigid object structures, object-to-object and object-to-scene occlusions, and camera motion. Tracking is usually performed in the context of higher-level applications that require the location or the shape of the object in every frame. This paper describes an object tracking system based on active vision with two cameras, into algorithm of single camera tracking system an object active visual tracking and object locked system based on Extend Kalman Filter (EKF) is introduced, by analyzing data from which the next running state of the object can be figured out and after the tracking is performed at each of the cameras, the individual tracks are to be fused (combined) to obtain the final system object track.

• Journal of Digital Convergence
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• v.20 no.1
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• pp.179-184
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• 2022

With the development of information and communication technology, the production and distribution of digital contents is rapidly increasing, and the distribution of illegally copied contents also increases, causing various problems. In order to prevent illegal distribution of contents, a DRM (Digital Rights Management)-based approach can be used, but in a situation where the contents are already copied and distributed, a method of searching and detecting the duplicated contents is required. In this paper, a duplication detection method based on the contents of video content is proposed. The proposed method divides the video into scene units using the visual rhythm extracted from the video, and hierarchically applies the playback time and color feature values of each divided scene to quickly and efficiently detect duplicate videos in a large database. Through experiments, it was shown that the proposed method can reliably detect various replication modifications.

• Korean Journal of Cognitive Science
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• v.19 no.1
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• pp.75-88
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• 2008

Visual scene contains lots of redundant information. To process this redundant information without increasing brain's volume, human visual system may summarize incoming information. If similar but different information are given to visual system, visual system extracts statistical properties of the information. One example of the statistical representation is representation of mean size. The mean representation is accurate and durable. The process of mean representation is suggested to be parallel. However, previous studies on the mean representation mostly used behavioral methods. The purpose of this study was to investigate which neural regions extracted the mean size of a set of circles using fMRI method. According to previous studies, BOLD signal of certain areas that were in charge of cousin stimuli decreased when the same stimuli presented repetitively. We used this paradigm and found that BOLD signal of right occipital area was decreased when same mean site was presented repeatedly. This results suggest that right occipital area is the locus of mean representation of visual stimuli.

• KIEAE Journal
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• v.8 no.2
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• pp.11-21
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• 2008

The purpose of this study is to interpret the visual and auditory images and cognitive characteristics about townscapes in Namwon city. It was acquired the survey results about 8 types of verbal interviews and 2 kinds of sketch maps which are based on urban images from 102 Namwon residents. They held in a variety of images of Namwon in their minds such as Jiri mountain, clean environment, sightseeing, special products, urban/building structures, Korean classical music, historical novel, local sports, and emotional images. The nice streets or places which the residents recommended are the places which have abundant natural areas, psychological peace and rest, available space for physical activity, places for performances and events, and regional attractions. The streets or places which they didn't like are decadent places, and areas of crowded traffic. The transition times of visual and auditory scene can be classified with the Saemaul movement in the 1970's(the rural new community movement) and the improvement of the city in the 1990's. The elements of visual images in Namwon city on the basis of the cognitive maps were expressed such elements as paths, districts, nodes, edges, and landmarks. The elements of auditory images, which are on the basis of the concept of the soundscape, included sounds of narrative musical form unique to Korea; p'ansori, sounds of traditional markets, and sounds of nature. It was found that the imageability of visual and auditory images is relatively clear in specific areas in Namwon city.

• Journal of the Korean Institute of Landscape Architecture
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• v.35 no.4
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• pp.71-80
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• 2007

The purpose of this study is to suggest the criteria for the damaged mountainous landscape based on the shape, location and ratio of damaged landscape. For the study, the preference and landscape adjectives were analyzed on visual images and simulations. The variables for analysis were the amount of the damaged ratio(10%, 30%, 50%), the location of the damage (upper, middle, lower) and the various forms of the damage(spot, line, area). According to the results of this study, in accordance with the amount of damage, the visual preference recorded its lowest with the a rate of 50%. As for the location of the damage, the lower-ridge of the mountain showed the highest preference, and the upper-ridge was recorded as the lowest. The linear damage type showed the highest preference. On the other hand, the spotted damage type showed lowest. The results indicate that the visual preference increases when there is a lower ratio of damage, as the damage locates at the lower-ridge, and also when there is a presence of linear formation development. The group of linear formation-the lower ridge-10% showed the highest preference, and the group of linear formation-the mid ridge-50% was the lowest with the results of 3-way ANOVA. The group of linear formation-lower ridge-10% in particular had virtually no differences of visual preference when it was compared with the original scene. The damage with the spotted formation, on the mid-upper location and the high ratio of damage were analyzed as factors that give negative influence on the mountainous landscape. The main features of mountainous landscape were reduced into two factors, 'total estimation' and 'spatial scale' by the factor analysis with total variance of 65.96%.

• Korean Institute of Interior Design Journal
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• v.22 no.1
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• pp.55-63
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• 2013

The main purpose of (the) performing arts is to efficiently communicate the themes and meanings which performances contain under limited time and place to the audience. Stage design should visually express play writer's scripts and director's interpretations of works, amid limitations. Although it is mostly designed metaphorically, in many cases, it is used only as a tool describing the background of performances but fails to effectively convey the true message of scenes to spectators. On the other hand, Bob Crowley has been recognized for his own design presentation skills to win 'Best Scenic Design of a Musical' of Tony Awards for six times and still exerts great influence on the musical and performing arts fields as a set designer. This study analyzes his reading of scripts and visual metaphor expressions, focusing on the musical, 'Aida' where the skills are mostly notable. To that end, we studied the concept of stage arts and theory of visual metaphoric expression to derive the features of his own technique in visual metaphor. Then, the features were applied to each scene of 'Aida' to see how they are displayed on stage. The result shows that Bob Crowley not only describes the background on stage, but also visualizes characters' personality and emotions in scenes. Such method of his expression is a proof to enhanced performance level by maximizing the atmosphere. Considering that a stage design should be based on the capacity of a designer to reinterpret the space with renewed viewpoints, visual metaphoric expression can serve as an effective tool to deliver clear messages to the audience under limited time and space, which is open to various methods of expressions.

• Design Convergence Study
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• v.14 no.1
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• pp.83-98
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• 2015

This study will examine the visual composition by which Secretly Greatly, in a circumstance that even the good original Manhwas or Webtoon have not made a hit on the market until now, could attract the spectator, in other word, illustrate the analogousness of the images through analysing visual texts. The study draw, first of all, a meaning of the box office performance caused by analogousness of image, that is similarity between the webtoon and film. In addition, the study will come up with an answer to the question that the webtoon, not in a temporary trend but in a sustainable form, can make itself develop. For this, the study suggests a meaning, worth and importance of the transformation, analysing visual components of a webtoon to film adaptation, Secretly Greatly. It primarily ranges over visual components, mise-en-scène identified with its expression formula, frame to frame changes and colour and tone. The examination sets the cinema's visual expression manner against the webtoon's on their concrete components: the size of scene, movement, color and tone, narrative condition and its background, spatial composition and depth, contrast, expression manner and disposition manner.

• Journal of the Korea Computer Graphics Society
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• v.29 no.3
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• pp.21-31
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• 2023

In this paper, we introduce a case study of cinematography using digital human in virtual production. This case study deals with the system overview of virtual production using LEDs and an efficient filming pipeline using digital human. Unlike virtual production using LEDs, which mainly project the background on LEDs, in this case, we use digital human as a virtual actor to film scenes communicating with a real actor. In addition, to film the dialogue scene between the real actor and the digital human using a real-time engine, we automatically generated speech animation of the digital human in advance by applying our Korean lip-sync technology based on audio and text. We verified this filming case by using a real-time engine to produce short drama content using real actor and digital human in an LED-based virtual production environment.