• The Journal of Korean Institute of Communications and Information Sciences
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• v.24 no.9B
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• pp.1731-1741
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• 1999

Color images are often corrupted by the noise due to noisy sensors or channel transmission errors. Some filters such as vector media and vector $\alpha$-trimmed mean filter have bee used for color noise removal. In this paper, We propose the fuzzy cluster filters based on the possibilistic c-means clustering, because the possibilistic c-means clustering can get robust memberships in noisy environments. Also, we propose weighted vector $\alpha$-trimmed mean filter to improve the conventional vector $\alpha$-trimmed mean filter. In this filter, the central data are more weighted than the outlying data. In this paper, we implemented the color noise generator to evaluate the performance of the proposed filters in the color noise environments. The NCD measure and visual measure by human observer are used for evaluation the performance of the proposed filters. In the experiment, proposed fuzzy cluster filters in the sense of NCD measure gave the best performance over conventional filters in the mixed noise. Simulation results showed that proposed weighted vector $\alpha$-trimmed mean filters better than the conventional vector $\alpha$-trimmed mean filter in any kinds of noise.

• Journal of the Korea Institute of Information and Communication Engineering
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• v.17 no.12
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• pp.2927-2936
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• 2013

In this paper, we propose a noise reduction and hole removal algorithm in order to improve the quality of depth images when they are used for creating 3D contents. In the proposed algorithm, the depth image and the corresponding color image are both used. First, an intensity image is generated by converting the RGB color space into the HSI color space. By estimating the difference of distance and depth between reference and neighbor pixels from the depth image and difference of intensity values from the color image, they are used to remove noise in the proposed algorithm. Then, the proposed hole filling method fills the detected holes with the difference of euclidean distance and intensity values between reference and neighbor pixels from the color image. Finally, we apply a parallel structure of GPGPU to the proposed algorithm to speed-up its processing time for real-time applications. The experimental results show that the proposed algorithm performs better than other conventional algorithms. Especially, the proposed algorithm is more effective in reducing edge blurring effect and removing noise and holes.

• Korean Journal of Remote Sensing
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• v.26 no.2
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• pp.175-188
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• 2010

A new correction method is required for the Geostationary Ocean Color Imager (GOCI), which is the world's first ocean color observing sensor in geostationary orbit. In this paper we introduce a new method of atmospheric and the Bidirectional Reflectance Distribution Function(BRDF) correction for GOCI. The Spectral Shape Matching Method(SSMM) and the Sun Glint Correction Algorithm(SGCA) were developed for atmospheric correction, and BRDF correction was improved using Inherent Optical Property(IOP) data. Each method was applied to the Sea-Viewing Wide Field-of-view Sensor(SeaWiFS) images obtained in the Korean sea area. More accurate estimates of chlorophyll concentrations could be possible in the turbid coastal waters as well as areas severely affected by aerosols.

• Korean Journal of Remote Sensing
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• v.22 no.2
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• pp.123-129
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• 2006

High-resolution aerial color image offers great possibilities for geometric and semantic information for spatial data generation. However, shadow casts by buildings and trees in high-density urban areas obscure much of the information in the image giving rise to potentially inaccurate classification and inexact feature extraction. Though many researches have been implemented for solving shadow casts, few studies have been carried out about the extraction of features hindered by shadows from aerial color images in urban areas. This paper presents a asphalt road boundary extraction technique that combines information from aerial color image and LIDAR (LIght Detection And Ranging) data. The following steps have been performed to remove shadow effects and to extract road boundary from the image. First, the shadow regions of the aerial color image are precisely located using LEAR DSM (Digital Surface Model) and solar positions. Second, shadow regions assumed as road are corrected by shadow path reconstruction algorithms. After that, asphalt road boundary extraction is implemented by segmentation and edge detection. Finally, asphalt road boundary lines are extracted as vector data by vectorization technique. The experimental results showed that this approach was effective and great potential advantages.

• Journal of the Korea Society of Computer and Information
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• v.18 no.11
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• pp.167-174
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• 2013

TIn this paper, we find the face in color images and the ability to track the face was implemented. Face tracking is the work to find face regions in the image using the functions of the computer system and this function is a necessary for the robot. But such as extracting skin color in the image face tracking can not be performed. Because face in image varies according to the condition such as light conditions, facial expressions condition. In this paper, we use the skin color pixel extraction function added lighting compensation function and the entire processing system was implemented, include performing finding the features of eyes, nose, mouth are confirmed as face. Lighting compensation function is a adjusted sine function and although the result is not suitable for human vision, the function showed about 4% improvement. Face features are detected by amplifying, reducing the value and make a comparison between the represented image. The eye and nose position, lips are detected. Face tracking efficiency was good.

• Journal of Information Technology Applications and Management
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• v.28 no.3
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• pp.77-87
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• 2021

The color gray in the cinema expresses the private or public memory and oblivion in the reminiscence scenes. The aesthetic function and meaning of gray that interacts with other elements in cinematic time and space are expanded in various ways. This study was analyzed the cases in which gray was used as the main visual style by limiting the scope to Korean films. Based on the traditional cultural symbolic meaning of gray, I analyzed how it was applied and transformed in films, and interpreted the cultural-social meaning by the interaction between gray and other elements. In film history starting from monochrome, gray has been used as a visual device suitable for realizing cinematic or imaginary reality. Gray is adopted when dreams or recollections are visualized as imaginary reality, and it is used when dreamy imaginations of daydreaming are demonstrated. Gray, which reproduces the dreamlike reality of imagination, is the concrete and realistic way of expression. First, in Korean films, gray is a flashback visual device that recalls the past, and is an intermediary visual form that materializes the imaginary. In films such as Ode to My Father (2014), DongJu (2015), A Resistance(2019) and The Battle : Roar to Victory (2019), the gray of the past is a visual device for cultural memory that builds the homogeneity and identity of the group. In the era of hyper-visibility, gray in black and white images is intended to be clearly remembered by unfamiliarity rather than blurry oblivion by familiarity. Second, in genre films with disaster materials such as Train To Busan (2016) and Ashfall (2019), the grays of rain, fog, clouds, shadows and smoke highlight other elements, and the gray color causes anxiety and fear. In war films such as TaeGukGi: Brotherhood Of War (2003) and The Front Line (2011), gray shows a more intense brutality than the primary color. In sports films such as 4th Place (2015), Take Off (2009) and Forever The Moment (2007), gray expresses uncertainty and immaturity. Third, gray visualizes the historical memory of A Petal (1996), the oblivion in Oh! My Gran (2020) and Poetry (2010), and the reality of daydreaming Gagman (1988) and Dream (1990). At the boundary between imagination and reality, gray is a visual form of dreams, memories and forgetfulness.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.22 no.3
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• pp.439-445
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• 2021

Low-cost, ultra-high-speed cameras, made possible by the development of image sensors and small displays, can be very useful in image processing and pattern recognition. This paper introduces an algorithm that corrects irregular lighting from a high-speed image that is continuously input with a slight time interval, and which then obtains an exposed skin color region that is the area of interest in a person from the corrected image. In this study, the non-uniform lighting effect from a received high-speed image is first corrected using a frame blending technique. Then, the region of interest is robustly obtained from the input high-speed color image by applying an elliptical skin color distribution model generated from iterative learning in advance. Experimental results show that the approach presented in this paper corrects illumination in various types of color images, and then accurately acquires the region of interest. The algorithm proposed in this study is expected to be useful in various types of practical applications related to image recognition, such as face recognition and tracking, lighting correction, and video indexing and retrieval.

• The Journal of the Korea Contents Association
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• v.21 no.3
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• pp.364-374
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• 2021

In a fiercely competitive market, brands have become an important foundation for people to choose their products, and brands are also symbols of people's status and strength. Therefore, the importance of brand image design is growing. And color is an expression of emotion and can improve the communication and marketing environment of brand image as an important element of brand image. In this study, Interbrand selected Korea-China TOP 50 brand as a survey target in 2019 and downloaded brand CI from each brand's homepage to data images through Adobe Photoshop program and HSB system, and analyzed the color of the brand. There is no big difference in analyzing the color characteristics of Korean and Chinese brands, and the I.R.I color image scale analysis shows that the overall design of Korean brands is vibrant, elegant and warm to consumers. On the other hand, the overall design of the Chinese brand offers consumers a solemn, modern and sophisticated emotional adjective. Based on the results, this study can provide practical implications for companies to select colors and forms when launching their own brands and developing products.

• Journal of the HCI Society of Korea
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• v.10 no.1
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• pp.29-41
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• 2015

Technologies for video reality (e.g., 3D displays, vibration, surround sound, etc.) utilize various sensory input and many of them are now commercialized. However, when it comes to the use of olfaction for video reality, there has not been much progress in both practical and academic respects. Because olfactory sense is tightly associated with human emotion, proper use of this sense is expected to help to achieve a high degree of video reality. This research tested the effects of a video's color-temperature related scent on reality improvement when the video does not have apparent object (e.g., coffee, flower, etc.) which suggest specific smell. To this end, we had participants to rate 48 scents based on a color-temperature scale of 1,500K (warm)-15,000K (cold) and chose 8 scents (4 warm scents, 4 cold scents) which showed clear correspondence with warm or cold color-temperatures (Expt. 1). And then after applying warm (3,000K), neutral (6,500K), or cold (14,000K) color-temperatures to images or videos, we presented warm or cold scents to participants while they rate reality improvement on a 7-point scale depending on relatedness of scent vs. color-temperature (related, unrelated, neutral) (Expts. 2-3). The results showed that participants experienced greater reality when scent and color-temperature was related than when they were unrelated or neutral. This research has important practical implications in demonstrating the possibility that provision of color-temperature related scent improves video reality even when there are no concrete objects that suggest specific olfactory information.

• The Journal of the Korea Contents Association
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• v.20 no.5
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• pp.261-270
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• 2020

In film, color is a tool for storytelling and a metaphor for a story's theme. This study constructs efficient and objective data by analyzing color images of movies delivered to the audience. This Research the visual perception process of color in films and studies the processes accepted by the audience. Through this research process, we examine the emotional response caused by the visual stimulus of film color and quantify the visual factor through color in the film as a factor that effectively induces the emotional response of viewers who watch the movie. This study analyzes the mise-en-scene of Wes Anderson's film, Royal Tenenbaum, and studies the role of communication in cinematic colors. Quantitative analysis of color distribution data is performed using computer color analysis program on the colors displayed through 10 chapters of mise en scene. Through color analysis, it was analyzed that Anderson composed the movie scenes in red and yellow red (YR) with low saturation and medium brightness. Through this analysis, we study how color is used throughout the film and how the quantitative form of its use is to be used as the psychological factor controlling audience's emotion.