• Science of Emotion and Sensibility
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• v.21 no.1
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• pp.115-128
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• 2018

Understanding the process of spatial perception plays a significant role in the design process as well as in the use of actual spaces. The perception of spatial depth can vary according to the space composition and design even there is no change in the actual size of the space. The properties of 3-dimensional space are its width, height, and depth; however, compared to the perception of spatial width and height, little research and theories exist on spatial depth perception. The reasons may be there less interest lies in the effect of spatial depth perception than that of spaciousness or height of space. This study is an investigation of the process of spatial depth perception using an eye-tracking device with stimuli developed through Computer Graphics. A total of 44 interior design major students participated in the eye tracking experiment; and they looked at three images comprised of an identical room with only changes in the rear wall condition. The results show that a significant difference in the fixation duration per stimulus exists. In addition, a significant difference exists on the fixation duration per stimulus according to the participants' answer of the deepest space. The result of this study can help identify factors for spatial depth perception, validate the assumption on it, and provide knowledge on how to acquire desirable spatial depth by utilizing the research result.

• Science of Emotion and Sensibility
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• v.22 no.4
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• pp.3-14
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• 2019

The café has become an important representative "third place" where people study and rest. Hence, it is worthwhile for researchers to understand the needs of individual users as well as the requirements of people who visit such venues in groups. The identification of strategies that can help achieve larger, wider, higher, or deeper interior spaces in small and compact locations can generate benefits for both users and designers. In this study, where 56 interior design students participated, we used an eye-tracker and images of cafes to explore the relationships between spatial depth and the intention to visit a cafe space. The researchers digitally developed fifteen different conditions of space and measured the eye movements of the participants using an eye-tracker when they examined images that appeared to convey the most depth. Participants were also asked to imagine the proposed space images as cafes and to select one of the 15 images as the location that they would be most likely to visit individually and one that they would frequent in the company of other people. The research results revealed that certain ways of using interior design elements altered the participants' perceptions of spatial depth without any change being effected to the actual volume or the size of the space. The participants tended to perceive a space with a small decorative artwork on a dark toned wall with unconnected furniture as deeper than a space with no or large artwork on a light toned wall with contiguous furniture. Spatial depth was a more important consideration for an individual visit than for a group visit. The results of this exploratory study will help scholarly understanding of the role played by spatial depth in customer intentions to visit a cafe.

• Journal of Broadcast Engineering
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• v.19 no.1
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• pp.44-55
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• 2014

The goal of 3D stereoscopy is not only to maximize positive experiences (such as sense of realism) by adding depth information to 2D video but to also minimize negative experiences (such as fatigue). This study examines the impact of different depth levels induced by adjusting 3D camera convergences on positive and negative experiences and finds an optimal parameter for viewers. The results show that there are significant differences among depth levels on spatial involvement, realistic immersion, presence, depth perception, screen transmission, materiality, shape perception, spatial extension and display perception. There are also significant differences for fatigue and unnaturalness. This study suggests that reducing the camera convergence angle of an object by $0.17^{\circ}$ behind the object is the optimal parameter in a 3D stereoscopic setting.

• Journal of The Korean Digital Architecture Interior Association
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• v.3 no.1
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• pp.1-8
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• 2003

Perceiving the depth of space in the spatial organization of architecture is perceiving spaces as well three dimensions as the fourth dimensions -perceive the time-. Physical depth in architectural space differs from perceptional depth in aspects of not only dimension but also perceptional effects. In this study, the perceptional depth is defined as visual depth and physical depth is depth of space. These purposes of this study are classifying the perceptional effects of visual depth -visual access, sense of variety, dynamic and cubic effect... - and the methods of spatial composition which causes visual depth in architectural space.

• Cartoon and Animation Studies
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• s.43
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• pp.343-362
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• 2016

The purpose of this study is to analyze the 'depth of the film image' and to discuss its aesthetic implications in the Wes Anderson's films. In this study, I have analysed his two recent representative films, (2014) and (2012). As a result, it is found that Wes Anderson created a symmetrical composition with the depth by placing symmetrically things on the Z axis or using one-point perspective. In general, symmetrical composition is a two-dimensional form. The symmetrical composition in these two films, however, has the depth perception. It gives a sense of the fantastic world, not the real world. Thus, it is the unique way of Wes Anderson's expressing the world of the fairy tale on his films. It is also found that he used the camera work, emphasizing the depth of the image. Through these devices, Wes Anderson has created his own sensational mise-en-scene for a storyline like a fairy tale.

• Proceedings of the Korean Society of Computer Information Conference
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• 2023.07a
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• pp.183-184
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• 2023

스토리를 제대로 전달하려는 관점에서 제작자는 관객들이 무엇을 보게 할 것인가에 대한 고민이 필요하다. 즉, 관객의 시선을 시종일관 끌고 다녀야 한다. 그러한 관점과 더불어 관객이 일상에서 익숙한 공간감을 스크린 내에서도 확보해 줄 필요가 있다. 그러기 위해서는 영상의 깊이를 충분히 고려해야 하는데 이는 관객의 시선을 유도하는 반면에 현실 공간감을 확보하는 것이다. 스크린 내의 물체들을 자연 그대로의 원근감을 갖도록 촬영 환경을 구성하는 것도 필요하지만 스토리를 전개하는 피사체를 배경과 분리시킴으로써 자연스럽게 초점과 영점을 맞출 수 있도록 장면을 구현하는 것이다. 이를 위해서 제작(production) 단계에서는 촬영기법으로, 후반작업(post-production) 단계에서는 아웃 포커싱 등의 효과를 적용하는 방법 등이 고려될 수 있다. 본 논문에서는 영상의 깊이를 확보해야만 하는 이유와 이의 방법 등을 고찰해 본다.

• Journal of Digital Contents Society
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• v.11 no.2
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• pp.177-184
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• 2010

These days, as digital producing technique has been developed, 3D imaging technique is used in high-tech computer and T.V. Also study for 3D producing technique is actively in progress. Moreover, as James Cameron's movie, 'Avatar' released in 2009 was a box office hit, the issue about 3D image came to the fore again. At this point, I decided to study the effect of the visual depth caused by the color correction during the post-production stage. The purpose of this study is to offer information about processing effective images through data about the effect of the visual depth that applies the color correction during the post-production stage. Basically, I supposed that color and contract would have effects on depth of 3D image. As a result, I could find out the changes of visual depth, space perception and sense of depth throughout the experiment. Applying this result,, I produced the 15 minutes of 3D advertisement movie and I found out that the color correction during the post-production stage was very effective for 3D depth. The left image and the right image by beam splitter based rig and parallel rig were used for this study. Also I adjusted the strong contrast by the color correction during the post-production stage after correcting convergence and visual depth during editing. As a result, I could produce images which had strong sense of space and sense of depth.

• Proceedings of the Korean Society of Broadcast Engineers Conference
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• 2009.11a
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• pp.77-80
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• 2009

3차원 영상 처리 기술과 3차원 디스플레이의 발전은 3차원 영상 시장의 빠른 발전을 가져왔고 차세대 방송 기술로 큰 관심을 받고 있다. 하지만 3차원 영상은 시청할 때 눈의 피로, 어지럼증과 같은 현상이 일어날 수 있으며, 왜곡된 3차원 영상이 인체에 해로운 영향을 미칠 수도 있다. 이는 3차원 영상 산업의 활성화를 위해서 가장 시급히 해결되어야 할 문제이다. 현재 3차원 디스플레이는 스테레오 방식과 함께 1view 1depth 다시점 방식이 개발되었다. 특히 1view 1depth 다시점 디스플레이에서 깊이 영상의 공간적/시간적으로 복잡한 정도는 피로감을 일으키는 주요 요소이며 이는 1view 1depth 영상을 통해 직접 연구할 수 있다. 본 논문에서는 1view 1depth 디스플레이에서 주관적인 피로도와 큰 상관도를 가지는 깊이 영상의 특성 측정 방법을 제안한다. 1view 1depth 디스플레이에서 view 영상은 양호한 화질을 가정하였으며 피로감에 큰 영향을 미치는 깊이 영상 정보만 사용하여 공간적, 시간적인 특성을 분석한다. 공간적 복잡도는 각 프레임에 대하여 깊이 영상 내 화소 값의 분산 값을 취하여 공간적으로 깊이 값의 분포와 구조의 복잡한 정도를 측정하고, 시간적 복잡도는 연속적인 프레임에 대하여 동일한 화소위치에서 화소 값 차이의 분산 값을 사용한다. 또한 공간적/시간적 평균값의 측정하여 피로감에 영향을 주는 요인으로 사용하였다. 결과적으로 측정한 값들을 바탕으로 주관적인 피로도 평가와 유사성을 가지도록 모델링하여 3차원 영상의 피로도를 예측한다.

• Information Display
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• v.16 no.4
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• pp.35-45
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• 2015

• Journal of Broadcast Engineering
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• v.16 no.6
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• pp.916-926
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• 2011

It is well known that high-resolution 3D movie contents frequently do not deliver the identical 3D perception to low-resolution 3D images. For solving this problem, we propose a novel method that produces a new stereoscopic image based on depth map transformation using the spatial complexity of an image. After analyzing the depth map histogram, the depth map is decomposed into multiple depth planes that are transformed based upon the spatial complexity. The transformed depth planes are composited into a new depth map. Experimental results demonstrate that the lower the spatial complexity is, the higher the perceived video quality and depth perception are. As well, visual fatigue test showed that the stereoscopic images deliver less visual fatigue.