• 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.

• Journal of the Institute of Electronics Engineers of Korea SP
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• v.38 no.1
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• pp.104-115
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• 2001

A new content-based color image retrieval method integrating the features of the color adjacency and the gradient is proposed in this paper. As the most used feature of color image, color histogram has its own advantages that it is invariant to the changes in viewpoint and the rotation of the image etc., and the computation of the feature is simple and fast. However, it is difficult to distinguish those different images having similar color distributions using histogram-based image retrieval, because the color histogram is generated on uniformly quantized colors and the histogram itself contains no spatial information. And another shortcoming of the histogram-based image retrieval is the storage of the features is usually very large. In order to prevent the above drawbacks, the gradient that is the largest color difference of neighboring pixels is calculated in the proposed method instead of the uniform quantization which is commonly used at most histogram-based methods. And the color adjacency information which indicates major color composition feature of an image is extracted and represented as a binary form to reduce the amount of feature storage. The two features are integrated to allow the retrieval more robust to the changes of various external conditions.

• Journal of Korean Society of Forest Science
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• v.76 no.1
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• pp.41-50
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• 1987

The various conditions of photographs, especially kinds of films, combinated filters and seasons are important factors for forestry purpose aerial photography. In this paper the variations of tones were compared between color and color infrared, panchromatic black and white and infrared black and white, and among false color photographic images created by using 3 kinds of filters when prints are made. Color infrared film was good for identifying tree species, for its spectral signatures had a greater range of tones and hues than color signatures. In that case taken in May were more effective than taken April. False color photographs were not so good as color photographs because they were mostly dark and indistinct. Infrared black and white film with medium red filter showed potential for separating broad-leaved forests from conifers. MSS composed photographs, when composed with proper bands and densities, were proved useful for distinguishing land use types but not applicable to more detailed practices such as forest type separation and tree species identification.

• Journal of the Institute of Electronics Engineers of Korea SP
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• v.42 no.5 s.305
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• pp.1-10
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• 2005

Content-based image retrieval systems are being actively investigated owing to their ability to retrieve images based on the actual visual content rather than by manually associated textual descriptions. In this paper, we propose a novel approach for image retrieval based on edge structural features using edge correlogram and color coherence vector. After color vector angle is applied in the pre-processing stage, an image is divided into two image parts (high frequency image and low frequency image). In low frequency image, the global color distribution of smooth pixels is extracted by color coherence vector, thereby incorporating spatial information into the proposed color descriptor. Meanwhile, in high frequency image, the distribution of the gray pairs at an edge is extracted by edge correlogram. Since the proposed algorithm includes the spatial and edge information between colors, it can robustly reduce the effect of the significant change in appearance and shape in image analysis. The proposed method provides a simple and flexible description for the image with complex scene in terms of structural features of the image contents. Experimental evidence suggests that our algorithm outperforms the recently histogram refinement methods for image indexing and retrieval. To index the multidimensional feature vectors, we use R*-tree structure.

• Proceedings of the KSMRM Conference
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• 2002.11a
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• pp.133-133
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• 2002

Purpose： The purpose of paper is to implement software to visualize brain fiber tract using a 24-bit color coding scheme and to test its feasibility. Materials and Methods： MR imaging was performed on GE 1.5 T Signa scanner. For diffusion tensor image, we used a single shot spin-echo EPI sequence with 7 non-colinear pulsed-field gradient directions： (x, y, z)：(1,1,0),(-1,1,0),(1,0,1),(-1,0,1),(0,1,1),(0,1,-1) and without diffusion gradient. B-factor was 500 sec/$\textrm{mm}^2$. Acquisition parameters are as follows： TUTE=10000ms/99ms, FOV=240mm, matrix=128${\times}$128, slice thickness/gap=6mm/0mm, total slice number=30. Subjects consisted of 10 normal young volunteers (age：21∼26 yrs, 5 men, 5 women). All DTI images were smoothed with Gaussian kernel with the FWHM of 2 pixels. Color coding schemes for visualization of directional information was as follows. HSV(Hue, Saturation, Value) color system is appropriate for assigning RGB(Red, Green, and Blue) value for every different directions because of its volumetric directional expression. Each of HSV are assigned due to (r,$\theta$,${\Phi}$) in spherical coordinate. HSV calculated by this way can be transformed into RGB color system by general HSV to RGB conversion formula. Symmetry schemes： It is natural to code the antipodal direction to be same color(antipodal symmetry). So even with no symmetry scheme, the antipodal symmetry must be included. With no symmetry scheme, we can assign every different colors for every different orientation.(H =${\Phi}$, S=2$\theta$/$\pi$, V=λw, where λw is anisotropy). But that may assign very discontinuous color even between adjacent yokels. On the other hand, Full symmetry or absolute value scheme includes symmetry for 180$^{\circ}$ rotation about xy-plane of color coordinate (rotational symmetry) and for both hemisphere (mirror symmetry). In absolute value scheme, each of RGB value can be expressed as follows. R=λw｜Vx｜, G=λw｜Vy｜, B=λw｜Vz｜, where (Vx, Vy, Vz) is eigenvector corresponding to the largest eigenvalue of diffusion tensor. With applying full symmetry or absolute value scheme, we can get more continuous color coding at the expense of coding same color for symmetric direction. For better visualization of fiber tract directions, Gamma and brightness correction had done. All of these implementations were done on the IDL 5.4 platform.

• Journal of Korea Multimedia Society
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• v.23 no.7
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• pp.812-818
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• 2020

Cervical cancer is the second most common female cancer in the world. In Korea, cervical cancer accounts for 13 percent of female cancers and 4,200 cases occur annually[1]. The purpose of this study is to use a deep learning model to identify the possibility of lesions in the cervix and to evaluate the efficient image preprocessing in order to diagnose diverse types of cervix in form. The study used 4,107 normal photographs of uterine cervix and 6,285 abnormal photographs of uterine cervix. Two types of image preprocessing were resized to square. The methods are cropping based on height and filling the space up and down with black images. In addition, all images were resampled to 256×256. The average accuracy of cropped cases is 94.15%. The average accuracy of the filled cases is 93.41%. According to the study, the model performance of cropped data was slightly better. But there were several images that were not accurately classified. Therefore, the additional experiment with pre-treatment process based on cropping is needed to cover images of the cervix in more detail.