• The Journal of the Convergence on Culture Technology
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• v.7 no.4
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• pp.711-719
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• 2021

EBS has been producing numerous educational contents with traditional virtual studio production systems since the early 2000s and applied AR video production system in October 2020, twenty-years after. Although the basic concept of synthesizing graphic elements and actual image in real time by tracking camera movement and lens information is similar to the previous one but the newly applied AR video production system contains some of advanced technologies that are improved over the previous ones. Marker tracking technology that enables camera movement free and position tracking has been applied that can track the location stably, and the operating software has been applied with Unreal Engine, one of the representative graphic engines used in computer game production, therefore the system's rendering burden has been reduced, enabling high-quality and real-time graphic effects. This system is installed on a crane camera that is mainly used in a crane shot at the live broadcasting studio and applied for live broadcasting programs for children and some of the videos such as program introductions and quiz events that used to be expressed in 2D graphics were converted to 3D AR videos which has been enhanced. This paper covers the effect of introduction and application of the AR video production system on EBS content production and the future development direction and possibility.

• Land and Housing Review
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• v.14 no.3
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• pp.145-155
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• 2023

Recently, with the widespread adoption of Building Information Modeling (BIM) technology in the construction industry, various object detection algorithms have been used to verify errors between 3D models and actual construction elements. Since the characteristics of objects vary depending on the type of construction facility, such as buildings, bridges, and tunnels, appropriate methods for object detection technology need to be employed. Additionally, for object detection, initial object images are required, and to obtain these, various methods, such as drones and smartphones, can be used for image acquisition. The study uses a 360° camera optimized for internal tunnel imaging to capture initial images of the tunnel structures of railway and road facilities. Various object detection methodologies including the YOLO, SSD, and R-CNN algorithms are applied to detect actual objects from the captured images. And the Faster R-CNN algorithm had a higher recognition rate and mAP value than the SSD and YOLO v5 algorithms, and the difference between the minimum and maximum values of the recognition rates was small, showing equal detection ability. Considering the increasing adoption of BIM in current railway and road construction projects, this research highlights the potential utilization of 360° cameras and object detection methodologies for tunnel facility sections, aiming to expand their application in maintenance.

• Journal of The Korean Astronomical Society
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• v.56 no.2
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• pp.169-185
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• 2023

The GMT-Consortium Large Earth Finder (G-CLEF) is the first instrument for the Giant Magellan Telescope (GMT). G-CLEF is a fiber feed, optical band echelle spectrograph that is capable of extremely precise radial velocity measurement. G-CLEF Flexure Control Camera (FCC) is included as a part in G-CLEF Front End Assembly (GCFEA), which monitors the field images focused on a fiber mirror to control the flexure and the focus errors within GCFEA. FCC consists of an optical bench on which five optical components are installed. The order of the optical train is: a collimator, neutral density filters, a focus analyzer, a reimager and a detector (Andor iKon-L 936 CCD camera). The collimator consists of a triplet lens and receives the beam reflected by a fiber mirror. The neutral density filters make it possible a broad range star brightness as a target or a guide. The focus analyzer is used to measure a focus offset. The reimager focuses the beam from the collimator onto the CCD detector focal plane. The detector module includes a linear translator and a field de-rotator. We performed thermoelastic stress analysis for lenses and their mounts to confirm the physical safety of the lens materials. We also conducted the global structure analysis for various gravitational orientations to verify the image stability requirement during the operation of the telescope and the instrument. In this article, we present the opto-mechanical detailed design of G-CLEF FCC and describe the consequence of the numerical finite element analyses for the design.

• Journal of the Korean earth science society
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• v.45 no.2
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• pp.111-120
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• 2024

Cloud coverage is a key factor in determining whether to proceed with observations. In the past, human judgment played an important role in weather evaluation for observations. However, the development of remote and robotic observation has diminished the role of human judgment. Moreover, it is not easy to evaluate weather conditions automatically because of the diverse cloud shapes and their rapid movement. In this paper, we present the development of a cloud monitoring program by applying a machine learning-based Python module "cloudynight" on all-sky camera images obtained at Miryang Arirang Astronomical Observatory (MAAO). The machine learning model was built by training 39,996 subregions divided from 1,212 images with altitude/azimuth angles and extracting 16 feature spaces. For our training model, the F1-score from the validation samples was 0.97, indicating good performance in identifying clouds in the all-sky image. As a result, this program calculates "Cloudiness" as the ratio of the number of total subregions to the number of subregions predicted to be covered by clouds. In the robotic observation, we set a policy that allows the telescope system to halt the observation when the "Cloudiness" exceeds 0.6 during the last 30 minutes. Following this policy, we found that there were no improper halts in the telescope system due to incorrect program decisions. We expect that robotic observation with the 0.7 m telescope at MAAO can be successfully operated using the cloud monitoring program.

• Journal of Advanced Navigation Technology
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• v.28 no.4
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• pp.400-407
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• 2024

The role of unmanned aerial vehicles (UAVs) in modern warfare is increasingly significant, making their capacity for autonomous missions essential. Accordingly, autonomous target detection/identification based on captured images is crucial, yet the effectiveness of AI models depends on image sharpness. Therefore, this study describes how to determine the field of view (FOV) of the camera and the flight position of the UAV considering the required spatial resolution. Firstly, the calculation of the size of the acquisition area is discussed in relation to the relative position of the UAV and the FOV of the camera. Through this, this paper first calculates the area that can satisfy the spatial resolution and then calculates the relative position of the UAV and the FOV of the camera that can satisfy it. Furthermore, this paper propose a method for calculating the effective range of the UAV's position that can satisfy the required spatial resolution, centred on the coordinate to be photographed. This is then processed into a tabular format, which can be used for mission planning.

• Journal of Science of Art and Design
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• v.7
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• pp.64-104
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• 2005

Visual media transmits image and information reproduced in large quantities, such as a photography, film, television, video, advertisement, or computer image. Correspondence to the students' reception and recognition of culture in the future. arrangements for the field of studies of visual culture. 'Visual Culture' implies cultural phenomena of visual images via visual media, which includes not only the categories of traditional arts like a painting, sculpture, print, or design, but the performance arts including a fashion show or parade of carnival, and the mass and electronic media like a photography, film, television, video, advertisement, cartoon, animation, or computer image. In the world of visual media, Image' functions as an essential medium of communication. Therefore, people call the culture of today fra of Image Culture', which has been converted from an alphabet convergence era to an image convergence one. Image, via visual media, has become a dominant means for communication in large part of human life, so we can designate an Image' as a typical aspect of visual culture today. Image, as an essential medium of communication, plays an important role in contemporary society. The one way is the conversion of analogue image like an actual picture, photograph, or film into digital one through the digitalization of digital camera or scanner as 'an analogue/digital commutator'. The other is a way of process with a computer drawing, or modeling of objects. It is appropriate to the production of pictorial and surreal images. Digital images, produced by the other, can be divided into the form of Pixel' and form of Vector'. Vector is a line linking the point of departure to the point of end, which organizes informations. Computer stores each line's standard location and correlative locations to one another Digital image shows for more 'Perfectness' than any other visual media. Digital image has been evolving in the diverse aspects, such as a production of geometrical or organic image compositing, interactive art, multimedia art, or web art, which has been applied a computer as an extended trot of painting. Someone often interprets digitalized copy with endless reproduction of original even as an extension of a print. Visual af is no longer a simple activity of representation by a painter or sculptor, but now is intimately associated with a matter of application of media. There is some problem in images via visual media. First, the image via media doesn't reflect a reality as it is, but reflects an artificial manipulated world, that is, a virtual reality. Second, the introduction of digital effect and the development of image processing technology have enhanced a spectacle of destructive and violent scenes. Third, a child intends to recognize the interactive images of computer game and virtual reality as a reality, or truth. Education needs not only to point out an ill effect of mass media and prevent the younger generation from being damaged by it, but also to offer a knowledge and know-how to cope actively with social, cultural circumstances. Visual media education is one of these essential methods for the contemporary and future human being in the overflowing of image informations. The fosterage of 'Visual Literacy' can be considered as a very purpose of visual media education. This is a way to lead an individual to the discerning, active consumer and producer of visual media in life as far as possible. The elements of 'Visual Literacy' can be divided into a faculty of recognition related to the visual media, a faculty of critical reception, a faculty of appropriate application, a faculty of active work and a faculty of creative modeling, which are promoted at the same time by the education of 'visual literacy'. In conclusion, the education of 'Visual Literacy' guides students to comprehend and discriminate the visual image media carefully, or receive them critically, apply them properly, or produce them creatively and voluntarily. Moreover, it leads to an artistic activity by means of new media. This education can be approached and enhanced by the connection and integration with real life. Visual arts and education of them play an important role in the digital era depended on visual communications via image information. Visual me야a of day functions as an essential element both in daily life and in arts. Students can soundly understand visual phenomena of today by means of visual media, and apply it as an expression tool of life culture as well. A new recognition and valuation visual image and media education is required to cultivate the capability of active, upright dealing with the changes of history of civilization. 1) Visual media education helps to cultivate a sensibility for images, which reacts to and deals with the circumstances. 2) It helps students to comprehend the contemporary arts and culture via new media. 3) It supplies a chance of students' experiencing a visual modeling by means of new media. 4) There are educational opportunities of images with temporality and spaciality, and therefore a discerning person becomes to increase. 5) The modeling activity via new media leads students to be continuously interested in the school and production of plastic arts. 6) It raises the ability of visual communications dealing with image information society. 7) An education of digital image is significant in respect of cultivation of man of talent for the future society of image information as well. To correspond to the changing and developing social, cultural circumstances, and the form and recognition of students' reception of them, visual arts education must arrange the field of studying on a new visual culture. Besides, a program needs to be developed, which is in more systematic and active level in relation to visual media education. Educational contents should be extended to the media for visual images, that is, photography, film, television, video, computer graphic, animation, music video, computer game and multimedia. Every media must be separately approached, because they maintain the modes and peculiarities of their own according to the conveyance form of message. The concrete and systematic method of teaching and the quality of education must be researched and developed, centering around the development of a course of study. Teacher's foundational capability of teaching should be cultivated for the visual media education. In this case, it must be paid attention to the fact that a technological level of media is considered as a secondary. Because school education doesn't intend to train expert and skillful producers, but intends to lay stress on the essential aesthetic one with visual media under the social and cultural context, in respect of a consumer including a man of culture.

• The Korean Journal of Nuclear Medicine Technology
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• v.18 no.1
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• pp.104-109
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• 2014

Purpose: Conventional pinhole scintigraphy offers a high resolution and generally use for thyroid scan or bone scintigraphy. the aim of this study is to evaluate performance of each aperture according to the diameter size. Materials and Methods: In this study 2 mm, 4 mm, 6 mm, 8 mm diameter pinhole collimators were mounted on Siemens E.CAM systems. In order to evaluate performance evaluation of each aperture, we acquired projection image by using SPECT for evaluating FWHM, resolution test and static image for evaluating thyroid phantom test. Results: As a result of FWHM showed 2.2 mm FWHM, 3.2 mm FWHM, 5.4 mm FWHM, 7.5 mm FWHM per each aperture in the resolution test. SNR, uniformity, contrast were acquired result from thyroid phantom test comparing general image and delayed image. as a result of SNR showed 6.55, 8.47, 6.2, 5.23 in case of general image and 5.25, 5.01, 5.38, 5.82 in case of delayed image per each aperture. as a result of uniformity showed 0.152, 0.118, 0.161, 0.19 in case of general image and 0.19, 0.199, 0.185, 0.171 in case of delayed image per each aperture. as a result of contrast showed 1.31, 1.19, 1.15, 1.01 in case of general image and 1.09, 1.08, 1.04, 1 in case of delayed image per each aperture. Conclusion: Resolution and sensitivity were heavily influenced by aperture size. and also we found advantage of delayed image as a result of thyroid phantom test.

• Nuclear Medicine and Molecular Imaging
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• v.41 no.3
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• pp.234-240
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• 2007

Purpose: In this study we propose a block-iterative method for reconstructing Compton scattered data. This study shows that the well-known expectation maximization (EM) approach along with its accelerated version based on the ordered subsets principle can be applied to the problem of image reconstruction for Compton camera. This study also compares several methods of constructing subsets for optimal performance of our algorithms. Materials and Methods: Three reconstruction algorithms were implemented; simple backprojection (SBP), EM, and ordered subset EM (OSEM). For OSEM, the projection data were grouped into subsets in a predefined order. Three different schemes for choosing nonoverlapping subsets were considered; scatter angle-based subsets, detector position-based subsets, and both scatter angle- and detector position-based subsets. EM and OSEM with 16 subsets were performed with 64 and 4 iterations, respectively. The performance of each algorithm was evaluated in terms of computation time and normalized mean-squared error. Results: Both EM and OSEM clearly outperformed SBP in all aspects of accuracy. The OSEM with 16 subsets and 4 iterations, which is equivalent to the standard EM with 64 iterations, was approximately 14 times faster in computation time than the standard EM. In OSEM, all of the three schemes for choosing subsets yielded similar results in computation time as well as normalized mean-squared error. Conclusion: Our results show that the OSEM algorithm, which have proven useful in emission tomography, can also be applied to the problem of image reconstruction for Compton camera. With properly chosen subset construction methods and moderate numbers of subsets, our OSEM algorithm significantly improves the computational efficiency while keeping the original quality of the standard EM reconstruction. The OSEM algorithm with scatter angle- and detector position-based subsets is most available.

• Aerospace Engineering and Technology
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• v.4 no.1
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• pp.211-220
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• 2005

The purpose of this study is to examine the image-based atmospheric correction models using the data from Landsat Enhanced Thermal Mapper Plus (ETM+) that have quite similar spectral characteristics to the forthcoming KOrea Multi-Purpose SATellite (KOMPSAT)-2 Multi-Spectral Camera (MSC), and the in-situ measured surface reflectance data during satellite overflight. The main advantage of this type of correction is that it does not require in-situ measurements during each satellite overflight. While substantial differences are present between Top-Of-the Atmosphere (TOA) reflectance and in-situmeasurements, the results showed that Case 1 based on COST model gives most accurate results among three cases. The accuracy of Case 2_1 is very close to Case 1 and its values are smaller than in-situ data. No notable features appear between some bands in the Case 3_1 and in-situ data. It is expected from this study that if the current methods are applied to the IKONOS high resolution data, we will be able to develop the suitable atmospheric correction methods for MSC data.

• Journal of the HCI Society of Korea
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• v.2 no.2
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• pp.1-9
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• 2007

In this paper, we propose a reconstruction technique of the lost hair region for 3D human actor modeling. An active depth sensor system can simultaneously capture both color and geometry information of any objects in real-time. However, it cannot acquire some regions whose surfaces are shiny and dark. Therefore, to get a natural 3D human model, the lost region in depth image should be recovered, especially human hair region. The recovery is performed using both color and depth images. We find out the hair region using color image first. After the boundary of hair region is estimated, the inside of hair region is estimated using an interpolation technique and closing operation. A 3D mesh model is generated after performing a series of operations including adaptive sampling, triangulation, mesh smoothing, and texture mapping. The proposed method can generate recovered 3D mesh stream automatically. The final 3D human model allows the user view interaction or haptic interaction in realistic broadcasting system.