• Journal of Broadcast Engineering
• /
• v.14 no.2
• /
• pp.210-218
• /
• 2009

The 3D shape as well as the depth of an object presented on a 3D display is perceptually distorted depending on viewing distance. It is quite undesirable that different observers perceive different depth and shape from an object displayed on a 3D monitor. To resolve the problem of perceptual distortion of 3D depth and shape, the degree of the distortion should be measured appropriately. As a basis for resolving these problems, the present research suggests an instrument for measuring the degree of the perceptual distortion of 3D depth and shape.

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

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

• Proceedings of the Korean Society of Broadcast Engineers Conference
• /
• 2011.07a
• /
• pp.301-302
• /
• 2011

최근 3D 디스플레이가 3DTV는 물론 스마트폰이나 태블릿PC와 같이 작은 디스플레이 사이즈와 해상도를 가지는 휴대용 기기들에도 적용되어 다양한 형태로 사용자들에게 보급되어 보다 많은 관심을 받고 있다. 2D+Depth 형태의 입체영상에서 사용자에게 입체감을 주는 데는 깊이맵이 큰 영향을 준다. 또한 깊이맵이 복잡하게 구성되어 있을수록 사용자에게 보다 다양한 입체감을 제공할 수 있지만 실제로 사용자가 느끼는 입체감의 지각은 그렇지 못한 경우가 많기 때문에 사용자가 느끼는 임체감의 개선이 필요하다. 이에 본 논문에서는 깊이맵의 히스토그램을 기반으로 하여 깊이 평면과 깊이 편차를 이용하여 입체감을 개선하는 방법을 제안하고 주관적 실험을 통해 입체감의 변화를 확인하였다.

• The Journal of Korean Institute of Communications and Information Sciences
• /
• v.34 no.11B
• /
• pp.1320-1327
• /
• 2009

In stereoscopy using stereo camera system, the representative factors inducing stereoscopic depth distortions have been reported such as the inter camera distance, the convergence angle and the depth resolution. The image distance is just known to us as a factor related in optical system. In a point of view of depth distortion, it will be a factor inducing a stereoscopic depth distortion. In this paper, we focused on the proof of our opinion that the image distance is one of the weighted factors inducing depth distortion under orthostereoscopic condition.

• Journal of Broadcast Engineering
• /
• v.13 no.6
• /
• pp.796-803
• /
• 2008

In this paper, we present a depth scaling method for multiview images that could provide an 3D depth that a user prefers. Unlike previous works that change a camera configuration, the proposed method utilizes depth data in order to carry out the scaling of a depth range requested by users. From multivew images and their corresponding depth data, depth data is transformed into a disparity and the disparity is adjusted in order to control the perceived depth. In particular, our method can deal with multiview images captured by multiple cameras, and can be expanded from stereoscopic to multiview images. Based upon a DSCQS subjective evaluation test, our experimental results tested on an automultiscopic 3D display show that the perceived depth is appropriately scaled according to user's preferred depth.

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

• The Journal of the Institute of Internet, Broadcasting and Communication
• /
• v.18 no.4
• /
• pp.37-42
• /
• 2018

With advancements in digital image production technology, the branch of stereoscopic image technology has also been undergoing active development. Accordingly, research and development on cutting-edge display products for mounting stereoscopic images are currently being pursued. There are various problems that can occur when viewing 3D images. Because viewers feel visual fatigue while perceiving the depth of the images provided via an artificial method, a negative human factor such as visual fatigue has become one of the most prominent concerns, especially as it is a factor that affects the ongoing maintenance of 3D images. Therefore, by identifying the factors affecting the depth of the graphic images provided in 2D images, and subsequently using this information to develop an image processing method, we conducted depth-related experiments and analysed them under the assumption that stereoscopic images could be reproduced without visual fatigue. Thus, we analysed the most significant factors related to depth and verified the interactions by performing depth-related factors-based ANOVA variance analysis by differentially applying the texture, colour temperature, and contrast ratio to graphic images. We determined the significance of the factors related to depth and proposed a method to improve depth based on an analysis of the results of the experiments conducted in this study.

• Science of Emotion and Sensibility
• /
• v.16 no.1
• /
• pp.29-42
• /
• 2013

In this paper, we analyze the effect of the depth perception, volume perception and visual discomfort according to the change of the quality of the depth image and the depth of the major object. For the analysis, a 2D image was converted to eighteen 3D images using depth images generated based on the different depth position of a major object and background, which were represented in three detail levels. The subjective test was carried out using eighteen 3D images so that the degrees of the depth perception, volume perception and visual discomfort recognized by the subjects were investigated according to the change in the depth position of the major object and the quality of depth map. The absolute depth position of a major object and the relative depth difference between background and the major object were adjusted in three levels, respectively. The details of the depth map was also represented in three levels. Experimental results showed that the quality of the depth image differently affected the depth perception, volume perception and visual discomfort according to the absolute and relative depth position of the major object. In the case of the cardboard depth image, it severely damaged the volume perception regardless of the depth position of the major object. Especially, the depth perception was also more severely deteriorated by the cardboard depth image as the major object was located inside the screen than outside the screen. Furthermore, the subjects did not felt the difference of the depth perception, volume perception and visual comport from the 3D images generated by the detail depth map and by the rough depth map. As a result, it was analyzed that the excessively detail depth map was not necessary for enhancement of the stereoscopic perception in the 2D-to-3D conversion.

• 한국벤처창업학회:학술대회논문집
• /
• 2020.11a
• /
• pp.109-113
• /
• 2020

본 연구는 창업동아리 구성원들을 대상으로 창업교육의 전문성(깊이)과 다양성(폭)이 창업동아리 구성원의 기업가정신에 미치는 영향을 자기효능감의 조절효과를 중심으로 실증분석하고 있다. 12개 대학교에서 수집된 657부의 설문지를 바탕으로 실증분석을 수행한 결과는 다음과 같다. 첫째, 창업교육의 전문성(깊이)은 진취성과 혁신성에 유의한 정(+)의 영향을 미치는 것으로 나타났다. 둘째, 창업교육의 다양성(폭)은 위험감수성, 진취성, 혁신성 모두에 유의한 정(+)의 영향을 미치는 것으로 나타났다. 셋째, 자기효능감의 조절효과를 분석한 결과 자기효능감은 창업교육 전문성(깊이)과 진취성 간의 관계와 창업교육 전문성(깊이)과 혁신성 간의 관계를 정(+)의 방향으로 조절하는 것으로 나타났다. 본 연구는 창업교육을 전문성(깊이)과 다양성(폭)의 측면으로 구분하고 대학교 창업동아리 구성원들의 기업가정신 간 연관성을 규명하고 있다는 점, 그리고 그 관계에서 자기효능감의 조절효과가 상이하게 나타나고 있다는 증거를 제시하고 있다는 점에서 창업교육 연구 분야에 의미 있는 시사점을 제시할 수 있을 것이다.