• 한국HCI학회:학술대회논문집
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• 2006.02a
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• pp.1277-1282
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• 2006

본 논문에서는 배경과 오브젝트 합성 시 사실적인 그림자 효과를 표현하기 위해 HDR 영상을 기반으로 한 소수의 방향성 광원을 추정하는 기법을 제안한다. 실 세계 정보를 모두 포함하는HDR 영상을 가시화 하기 위해 톤 맵핑(tone mapping)하여 그 영상으로부터 광원의 위치가 되는 밝은 영역들을 찾아내고 그 위치들로부터 방향성 광원을 추정한다. 카메라의 노출시간을 짧게 하여 촬영한 영상에서 나타나는 부분을 실제 광원이 위치하는 부분으로 볼 수 있으므로 톤 맵핑한 영상을 이미지 프로세싱을 거쳐 노출 시간을 짧게 하여 촬영한 영상과 비슷한 결과를 얻을 수 있도록 한 후 밝은 영역만 표현 되도록 한다. 전 처리를 거친 영상을 기반으로 밝은 영역을 추정하기 때문에 보다 정확한 광원의 위치 추정이 가능하며, 추정된 밝은 영역과 일치하는 HDR 영상의 데이터를 사용하기 때문에 정확한 광원의 위치와 데이터를 얻을 수 있다. 또한 추정된 광원은 실제 렌더링에 곧바로 사용이 가능하며, 이를 통해 사실적인 shadowing 효과를 얻을 수 있다.

• Cartoon and Animation Studies
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• s.51
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• pp.391-411
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• 2018

The purpose of this thesis is to examine ontology of digital photo image based on a Simulacre concept of Gilles Deleuze & Jean Baudrillard. Traditionally, analog image follows the logic of reproduction with a similarity with original target. Therefore, visual reality of analog image is illuminated, interpreted, and described in a subjective viewpoint, but does not deviate from the interpreted reality. However, digital image does not exist physically but exists as information that is made of mathematical data, a digital algorithm. This digital image is that newness of every reproduction, that is, essence of subject 'once existing there' does not exist anymore, and does not instruct or reproduce an outside target. Therefore, digital image does not have the similarity and does not keep the index instruction ability anymore. It means that this digital image is converted into a virtual area, and this is not reproduction of already existing but display of not existing yet. This not-being of digital image changes understanding of reality, existence, and imagination. Now, dividing it into reality and imagination itself is meaningless, and this does not make digital image with technical improvement but is a new image that is basically completely different from existing image. Eventually, digital image of the day passes step to visualize an existent target, nonexistent things have been visualized, and reality operates virtually. It means that digital image does not reproduce our reality but reproduces other reality realistically. In other words, it is a virtual reproduction producing an image that is not related to a target, that is to say Simulacre. In the virtually simulated world, reality has an infinite possibility, and it is not a picture of the past and present and has a possibility as the infinite virtual that is not fixed, is infinitely mutable, and is not actualized yet.

• 기호학연구
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• no.57
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• pp.59-90
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• 2018

This paper examines the discussions related to image and signification through the theories of Roland Barthes. We have already been able to see through the studies of Semiotics and Anne H?nault that the denotation is distinguished from the connotation in the linguistic dimension. Through the analysis of the advertising image of Barthes, we have seen that the syntagmatic relationship can make the sense of the image objective. From this study, we also emphasized that it is possible to subjectively interpret images that deviate from the syntagmatic relationship. In addition, we examined the concepts of Studium and Punctum by Barthes. With this we have found that the definition of a personal meaning to objects has a theoretically clear position. Finally, we have been able to understand the concept of 'le sens obtus' through the article ${\ll}$ Le troisi?me sens ${\gg}$. The notion of 'sens obtus' makes it possible to realize that the objective and clear sense of object is not the one chosen primarily from the subject. By facing an object such as an image to be interpreted, the subject is placed in a situation where he is not compelled to choose a meaning but rather he chooses one of the possible senses. This makes it clear that the semantic levels provided by semiotic theories are limited to the analytic dimension.

• 가정의 벗
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• v.37 no.6 s.430
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• pp.28-29
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• 2004

여성에 대한 긍정적인 연구와 이해가 있어왔지만 여전히 우리나라에서는 남아선호 대한 인식이 뿌리깊게 남아있는 것이 사실이다. 각종 대중매체를 통해 다루어지는 부정적인 여성의 이미지에서 벗어나 사회 각 분야에서 노력하고 있는 여성에 대한 긍정적인 메시지가 많이 다루어지길 기대한다.

• The Journal of the Korea Contents Association
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• v.16 no.12
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• pp.27-34
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• 2016

The application of computer graphics, which is characterized by reality, has even reinforced reality of image and motion expression in digital animation. But reality of digital animation succeeds to traditional aesthetic characteristics of animation for overcoming physical limitations of the real world and realizing imagination through transformation, rather than copying actuality as it is. But it does not succeed to drawing animation wholly. Digital animation adds cartoonish transformation, based on three-dimensional realistic expression and those animation situations look as if they get over realistic restrictions, while drawing animation constantly reminds of mediality in drawing motion, based on two-dimensional plane and handwork. n other words, cartoonish exaggeration that is intermittently inserted between these reinforced realities, expresses digital animation's own aesthetic characteristics as a dialectical sum by crashing into contrast coming from a cross between reality and imagination.

• Journal of KIISE:Computer Systems and Theory
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• v.29 no.5
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• pp.245-256
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• 2002

Shadows are important elements in producing a realistic image. Generation of exact shapes and positions of shadows is essential in rendering since it provides users with visual cues on the scene. It is also very important to be able to create soft shadows resulted from area light sources since they increase the visual realism drastically. In spite of their importance. the existing shadow generation algorithms still have some problems in producing realistic shadows in real-time. While image-based rendering techniques can often be effective1y applied to real-time shadow generation, such techniques usually demand so large memory space for storing preprocessed shadow maps. An effective compression method can help in reducing memory requirement, only at the additional decoding costs. In this paper, we propose a new image-barred shadow generation method based on image warping. With this method, it is possible to generate realistic shadows using only small sizes of pre-generated shadow maps, and is easy to extend to soft shadow generation. Our method will be efficiently used for generating realistic scenes in many real-time applications such as 3D games and virtual reality systems.

• Proceedings of the Korea Information Processing Society Conference
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• 2012.11a
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• pp.685-687
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• 2012

현재 스마트폰에서 제공되고 있는 모바일 광고들은 많은 애플리케이션에 포함되어 애플리케이션을 이용하는 다양한 사용자들에게 광고 정보를 노출 시키고 있다. 그러나 현재 서비스 되고 있는 모바일 광고는 제품의 이미지를 사용하여 제작된 단순한 2D 이미지 광고이기 때문에 사용자들에게 광고 정보를 전달하는데 한계가 있는 상황이다. 이에 본 논문은 2D 이미지 보다 사실적인 표현 및 흥미 있는 정보 전달이 가능한 3D 모델을 이용하여 광고 정보를 제공할 수 있는 엔진을 아이폰 기반으로 설계 및 구현하였다. 또한 원활한 3D 광고의 효과 표현을 위해서 애니메이션 기능의 구현과 다양한 종류의 아이폰 기반 디바이스에서 3D모델들의 렌더링 프레임 측정을 통하여 광고 엔진의 적용 가능성 여부를 분석하였다.

• Health and Mission
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• s.2
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• pp.28-30
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• 2004

본당 가정간호 수혜자의 97.7%가 성당에 긍정적인 이미지를 갖게 되었다는 사실은 본당연계 가정간호제도가 산업화 및 도시화의 구조적 문제에 대한 해결책일 뿐만 아니라 효과적인 선교방법임을 말해준다.

• Journal of the Korea Computer Graphics Society
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• v.20 no.4
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• pp.1-7
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• 2014

The volume rendering has become an important technique in many applications along with hardware development. Understanding and perception of volume visualization benefit from visual cues which are available from shading. Better visual cues can be obtained from global illumination models but it's huge amount of computation and extra GPU memory need cause a lack of interactivity. In this paper, in order to improve visual cues on volume rendering, we propose an image space occlusion shading model which requires no additional resources.

• Proceedings of the Korean Institute of Information and Commucation Sciences Conference
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• 2018.10a
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• pp.126-127
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• 2018

Whether it is an online game or a stand alone game, research will ultimately never stop to increase the degree of realistic expression of visual effects. Recently, realistic characters are appearing in games. Particularly, due to the development of virtual reality technology, RPG games with simulation-based realistic images are becoming popular. The player can experience the story of the game in the game and experience difficulty level by level. As other players, teammates, or enemy characters appear as realistic characters, and the episode of the game expands, the importance of realistic game characters is growing so that they can play more. Adding a realistic game character to a game based on a classic movie character gives the player a more realistic and interesting visual experience. The purpose of this study is to investigate the effect of realistic character style on the fun and visual effects of games.