• Proceedings of the Korea Contents Association Conference
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• 2013.05a
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• pp.5-6
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• 2013

오늘날 디스플레이 기술의 진화는 건축물의 외벽은 물론 조형물에 영상을 구현할 수 있게 되었다. 프로젝션 맵핑은 입체감 있는 가상영상을 실내외는 물론 조형물에 덧입힘으로서 새로운 공간으로 탈바꿈시키는 영상표현 방법의 하나이다. 본 연구에서는 프로젝션 맵핑 제작과정에 있어서 색보정이 영상의 입체감에 영향이 미치는지 실험을 통해 검증하고 이를 통하여 프로젝션 맵핑제작에 있어서 효과적인 프로세서에 대한 정보를 제공 하고 확립하는 것이 본 연구의 목적이다. 프로젝션 맵핑은 예술뿐만 아니라 산업전반에 영향력을 주고 있다. 이처럼 새로운 디지털 기술에의한 미디어의 발달과 미디어의 발달에 따른 새로운 표현양식의 등장은 앞으로도 계속될 것이다. 본 연구를 토대로 프로젝션 맵핑 제작에 있어서 유익한 연구의 기초로 활용되었으면 한다.

• Proceedings of the Korea Information Processing Society Conference
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• 2020.05a
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• pp.633-634
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• 2020

본 논문에서는 미디어영상을 기반한 무대 공연의 다양한 미디어 효과를 분석하고, 무대 공연을 위한 제스처 기반 동적 프로젝션 맵핑 프레임워크를 설계 구현한다. 이를 위하여, 동적 프로젝션 맵핑 기반 기존 공연에서 공연자의 제스처와 이에 따른 미디어 효과를 분석하고, 동적 프로젝션 맵핑기술을 효율적으로 구현하기 위하여 모션 히스토리 이미지를 이용한 CNN(Convolutional Neural Network) 기반의 제스처 인식 기술을 구현한다. 또한, 구현된 제스처인식 기술을 기반으로 공연자의 서로 다른 제스처와 미디어 효과를 매칭시킬 수 있는 프레임 워크 구현 내용을 소개한다.

• KIPS Transactions on Software and Data Engineering
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• v.9 no.3
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• pp.109-122
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• 2020

In recent, projection mapping, which has attracted high attention in the field of realistic media, is regarded as a technology to increase the users' immersion. However, most existing methods perform projection mapping on static objects. In this paper, we developed a technology to track the movements of users and dynamically map the media contents to the users' bodies. The projected media content is built by predefined gestures just using the user's bare hands without the special devices. An interactive immersive media system has been implemented by integrating these dynamic projection mapping technologies and gesture-based drawing technologies. The proposed realistic media system recognizes the movements and open / closed states of the user 's hands, selects the functions necessary to draw a picture. The users can freely draw the picture by changing the color of the brush using the colors of any real objects. In addition, the user's drawing is dynamically projected on the user's body, allowing the user to design and wear his t-shirt in real-time.

• Journal of Korean Society of Archives and Records Management
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• v.17 no.1
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• pp.93-115
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• 2017

In this study, the RiC-CM (Records in Context-Conceptual Model) draft of the International Council on Archives Expert Group on Archival Description (ICA EGAD) was analyzed, mapped with the descriptive elements of ISAD(G), and the archival description of the record group based on RiC-CM was piloted. This was done to identify trends in the archival descriptive standards and to derive considerations in relation to improving existing descriptive standards. The mapping types of RiC-CM and ISAD(G) include inter-attribute mapping, attribute-entity mapping, and attribute-relation mapping. In addition to the mapping between descriptive elements, a frame for the archival information that can construct a record through the objects, attributes, and relationships of RiC-CM is constructed using the protege, and the example data is inputted for trial. As a result, it was possible to express most of the existing descriptive information of ISAD(G) through RiC-CM. In addition, in RiC-CM, the recording descriptive information is classified in detail, and the characteristic of browsing the relation between individual objects is enhanced.

• KSCI Review
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• v.15 no.1
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• pp.173-177
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• 2007

3D 디스플레이 기술이 발전함에 따라 스테레오 영상의 전송시 요구되는 비트레이트의 감소가 절실히 필요하다. 하지만, 스테레오 영상은 서로 다른 카메라에 의해 취득되기 때문에 잠재적으로 서로 차이가 있고, 이것은 디스패리티 추정시 큰 오차를 유발할 수 있으며 전송될 비트레이트에 영향을 줄 수 있다. 따라서 스테레오 영상들 사이의 밸런싱이 필요하다. 스테레오 영상의 밸런싱을 위해, 본 논문에서는 히스토그램 Specification 방법과 타깃 영상의 국부정보, 스테레오 영상간의 오차 분포를 이용한다. 히스토그램 Specification 방법은 그레이레벨의 맵핑관계를 정의한다. 따라서 이를 통해 맵핑될 레벨의 맵핑 구간을 구할 수 있다. 그 구간에서, 맵핑될 기준영상의 히스토그램 분포와 스테레오 오차값의 분포는 서로 모양이 유사할 것이다. 그러나, 폐색된 영역이나 노이즈에 의해 그 모양이 변하므로 우리는 맵핑될 픽셀들을 오차영상에서 그 픽셀들의 근방에서 구한 평균들과 오른쪽 영상(타깃 영상)에서 맵핑될 픽셀의 근방에서 구한 평균이 최소 값을 갖는 위치 값으로 맵핑한다. 제안된 방법은 실험에서 기존 방법보다 향상된 결과를 나타내는 것을 보여 준다.

• Journal of the Korea Institute of Information and Communication Engineering
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• v.12 no.4
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• pp.611-619
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• 2008

2.5D Mapping system that embody in this paper can make new design by doing draping to live various texture and model picture image of fashion clothes by pattern, and can confirm clothes work to simulation without producing direction sample or product directly. Also, the system can support function that can forecast fabric design and state of end article exactly, and the system can bring competitive power elevation of fashion industry and cost-cutting effect by doing draping using database of fabric and model picture image. 2.5D Mapping system composed and embodied by mesh warp algorithm module, light and shade extraction and application module, mapping path extraction module, mesh creation and transformation module, and 2.5D mapping module for more natural draping. Future work plans to study 3D fashion design system that graft together 3D clothes technology and 3D human body embodiment technology to do based on embodiment technology of 2.5D mapping system and overcomes expression limit of 2.5D mapping technology.

• Journal of the Korea Computer Graphics Society
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• v.29 no.3
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• pp.1-12
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• 2023

Software tools for manual 3D projection mapping have been widely used in theme parks and exhibitions. However, no research has been conducted on detailed utilization methods and usability of those tools yet. This study organizes the entire process of manual 3D projection mapping step by step and analyzes the problems that occurred at each step to identify potential improvements of 3D projection mapping tools. First, we introduce the process, which includes: two methods for creating virtual-physical object pairs to construct a virtual environment that is identical to the real-world target of the 3D projection mapping, the production of video textures for special effects, and mapping methods that use semi-automatic projector calibration. In addition, through experiments comparing and analyzing two widely used tools under various conditions for 3D mapping, we identified the technical limitations, performance differences between tools, and issues that impede usability. Finally, we suggest improvements and future research directions to enhance the usability of the 3D projection mapping technology.

• Journal of Digital Convergence
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• v.16 no.1
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• pp.311-316
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• 2018

Projection mapping is one of the convergence contents combined with digital technology. After entering the Chinese market, with its fantastic shock of visual impact, it becomes China's most shocking, most popular, and most commercial value of marketing means, to be widely used in advertising, construction, tourism and other fields. But in China, the lack of projection mapping professionals and professional will affect the development of the entire industry. The study analysed the case of projection mapping in China, and discovered the future direction development of projection mapping. Projection mapping will keep going based on local cultural environment, and combined with other intelligent technologies, and spreading to daily life, also expanding the using area, creating the manifestation pattern then contributing greatly to the entertainment content industry.

• Korea Science and Art Forum
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• v.26
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• pp.289-299
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• 2016

The range of art has been gradually expanded with the passage of time. Science and technology have also contributed to the arts in the name of media art, and artists and technicians have become collaborative. In this paper, we investigate the meaning of collaboration in art and analyze the case focusing on Projection Mapping which is a field of Media Art. In particular, this study propose the concept and production process of Sequential Collaborative Projection Mapping works, and see the work of making and exhibition as one experiment. Based on this, sequential collaborative procedures are defined in the case of work production, and the underlying technologies and procedures for collaboration are presented. The presented techniques and procedures can be applied to projection mapping exhibitions and festivals as a platform. In this process, we have reviewed the collaborative relationship between artists and technicians, and the issues with regard to giving and receiving the credit of works.

• Journal of Digital Contents Society
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• v.16 no.1
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• pp.113-121
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• 2015

Artifact pattern representation of a method using the digital technology is largely are two digital rubbing technique and digital contrast technique. Digital rubbing technique is clearly with the naked eye to see the original prestigious and difficult to build a digital rubbing data patterns by scanning a prestigious and patterns carved into the artifacts in three dimensions without compromising the circle to represent the three-dimensional effect by contrast it to the objective value refers to a technique that can be represented in digital. Digital contrast technique can not be calculated if the depth information of the object due to the glassy film of artefacts in a three-dimensional surface scanning and the application of this technique refers to a realistic image mapped digital technique for generating digital image contrast. Digital rubbing technique is mainly useful to express the most prestigious and patterns expressed in pottery or tile and stone monument, etc. engraved or embossed, digital contrast techniques can be used effectively to artifacts such as magnetic or glass can not be applied to the digital rubbing technique.