• Journal of the Korean Society of Surveying, Geodesy, Photogrammetry and Cartography
• /
• v.40 no.2
• /
• pp.69-77
• /
• 2022

The 3D spatial model is an analysis framework for solving urban problems and is used in various fields such as urban planning, environment, land and housing management, and disaster simulation. The utilization of drones that can capture 3D images in a short time at a low cost is increasing for the construction of 3D spatial model. In terms of building a virtual city and utilizing simulation modules, high location accuracy of aerial survey and precision of 3D spatial model function as important factors, so a method to increase the accuracy has been proposed. This study analyzed location accuracy of aerial survey and precision of 3D spatial model by each condition of aerial survey for urban areas where buildings are densely located. We selected Daerim 2-dong, Yeongdeungpo-gu, Seoul as a target area and applied shooting angle, shooting altitude, and overlap rate as conditions for the aerial survey. In this study, we calculated the location accuracy of aerial survey by analyzing the difference between an actual survey value of CPs and a predicted value of 3D spatial Model. Also, We calculated the precision of 3D spatial Model by analyzing the difference between the position of Point cloud and the 3D spatial Model (3D Mesh). As a result of this study, the location accuracy tended to be high at a relatively high rate of overlap, but the higher the rate of overlap, the lower the precision of 3D spatial model and the higher the shooting angle, the higher precision. Also, there was no significant relationship with precision. In terms of baseline-height ratio, the precision tended to be improved as the baseline-height ratio increased.

• Trans-
• /
• v.15
• /
• pp.25-56
• /
• 2023

VR is a dynamic image simulation technology with very high information density. Among them, spatial depth, temporality, and realism bring an unprecedented sense of immersion to the experience. However, due to its high information density, the information contained in it is very easy to be manipulated, creating an illusion of objectivity. Users need guidance to help them interpret the high density of dynamic image information. Just like setting up navigation interfaces and interactivity in games, interactivity in virtual reality is a way to interpret virtual content. At present, domestic research on VR content is mainly focused on technology exploration and visual aesthetic experience. However, there is still a lack of research on interactive storytelling design, which is an important part of VR content creation. In order to explore a better interactive storytelling model in virtual reality content, this paper analyzes the interactive storytelling features of the VR animated version of <Wolves in the walls> through the methods of literature review and case study. We find that the following rules can be followed when creating VR content: 1. the VR environment should fully utilize the advantages of free movement for users, and users should not be viewed as mere observers. The user's sense of presence should be fully considered when designing interaction modules. Break down the "fourth wall" to encourage audience interaction in the virtual reality environment, and make the hot media of VR "cool". 2.Provide developer-driven narrative in the early stages of the work so that users are not confused about the ambiguous world situation when they first enter a virtual environment with a high degree of freedom. 1.Unlike some games that guide users through text, you can guide them through a more natural interactive approach that adds natural dialog between the user and story characters (NPC). Also, since gaze guidance is an important part of story progression, you should set up spatial scene user gaze guidance elements within it. For example, you can provide eye-following cues, motion cues, language cues, and more. By analyzing the interactive storytelling features and innovations of the VR animation <Wolves in the walls>, I hope to summarize the main elements of interactive storytelling from its content. Based on this, I hope to explore how to better showcase interactive storytelling in virtual reality content and provide thoughts on future VR content creation.