• The Journal of the Korea Contents Association
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• v.22 no.8
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• pp.73-80
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• 2022

Facial expression is an important means of representing characteristics in movies and animations, and facial capture technology can support the production of facial animation for 3D characters more quickly and effectively. Blendshape techniques are the most widely used methods for producing high-quality 3D face animations, but traditional blendshape often takes a long time to produce. Therefore, the purpose of this study is to achieve results that are not far behind the effectiveness of traditional production to reduce the production period of blend shape. In this paper, in order to make a blend shape, the method of using the cross-model to convey the blend shape is compared with the traditional method of making the blend shape, and the validity of the new method is verified. This study used kit boy developed by Unreal Engine as an experiment target conducted a facial capture test using two blend shape production techniques, and compared and analyzed the facial effects linked to blend shape.

• Proceedings of the Korean Society of Computer Information Conference
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• 2023.07a
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• pp.163-164
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• 2023

실시간 3D 렌더링 게임의 제작 환경에서 캐릭터의 움직임은 모션 캡처(motion capture)를 통해 만들거나 애니메이터에 의해 제작된다. 걷기나 달리기 등 일정한 속도로 캐릭터가 움직이는 모션은 캐릭터가 제자리(in place)에서 움직이도록 한 뒤에 게임에서 프로그램에 의해 일정한 속도로 움직임으로써 구현할 수 있다. 하지만 일정하지 않은 속도로 움직이는 모션을 같은 방식으로 적용하면 캐릭터의 이동이 어색해진다. 이런 어색함을 보완하기 위해 언리얼이나 유니티 3D 등의 엔진에서는 루트 모션(root motion) 기능을 사용하고 있다. 그런데 루트 모션을 위한 계층 구조는 애니메이터의 작업 효율을 위한 계층 구조와 다른 측면이 있다. 본 논문에서는 3ds Max를 사용하여 애니메이터 친화적이고 루트 모션에도 적합한 캐릭터 리깅을 제시한다.

• Journal of the Korea Computer Graphics Society
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• v.28 no.5
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• pp.1-11
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• 2022

Game engines have the advantage of enabling efficient content production, such as reducing development time, with minimal visual quality guarantees and support for multi-platforms. Recently, game engines have provided various functions that can easily, quickly, and effectively produce immersive content using virtual reality (VR) HMD. Therefore, this study conducts a comparative study on the development environment in VR content production using Oculus Quest 2 HMD, focusing on Unity and Unreal game engines, which are widely used in the content production industry, including games. First, we compare the basic setup process of building a development environment using Oculus Quest 2 HMD and a dedicated controller based on a VR template project that includes the minimum functions and settings provided by each engine. Next, we present a simple experience environment that can interact in a virtual environment and compare the development environment to use a dedicated controller and the process of building a development environment that directly utilizes hands through the hand tracking function provided by Oculus Quest 2. Through this process, we will understand the basic process of building a VR development environment, and at the same time, we will check the characteristics and differences of the engine and use it as a research that can be applied to various immersive content production.

• Journal of Industrial Convergence
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• v.20 no.11
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• pp.19-25
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• 2022

In the development of existing games, it is judged that virtual world production was done by arranging game elements one by one. What is noteworthy here is the question of whether quality virtual worlds were efficiently produced in preparation for investment. In this study, we propose a methodology that can build an efficient virtual world based on the concept of modularization in an unreal engine. First, precedents were analyzed and five reference elements for modularization were extracted. In addition, the concept of an instance production pipeline was proposed by dividing it into four stages, and the minimum-unit instance modules for urban virtual world production were compressed into four. Finally, an urban virtual world constructed based on the minimum unit module and reference elements was implemented and presented. In conclusion, research on the production method centered on this efficiency is thought to be able to focus the time that designers or artists had to spend on production only on ideas and creativity. The limitations of the research are that the basic minimum module is limited to the city, and the derived reference elements and production pipelines have not been verified when implementing them with an unreal engine. Therefore, it is expected that various virtual world creation plans will be derived through more advanced modular research.

• Broadcasting and Media Magazine
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• v.27 no.4
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• pp.59-65
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• 2022

최근 미디어 발달은 융합된 형태로 구성되고 있으며, 실감 혹은 사실감에 입각한 체험의 양질의 성장이 필요한 시대를 영위하고 있다. 공간을 기반으로 다양한 랜드마크로 미디어의 장르를 표현하고 있으며, 실감미디어는 무한 확장의 개념에서 발달하고 있다. XR(eXtended Reality)의 성장에 따른 융합된 H/W와 S/W를 기반으로 대규모 공간과 다중체험 그리고 수준 높은 그래픽 퀄리티를 요구하고 있으며, 이에 기반한 국내 최초 공간기반 XR 콘텐츠 국립광주박물관의 신한선의 여정의 제작 과정을 소개한다.

• Journal of the Korea Society of Computer and Information
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• v.25 no.11
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• pp.75-82
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• 2020

In this paper, we propose a training method to efficiently create prototypes using 'core mechanical diagram' to make game design easier and 'BluePrint', a visual scripting tool of Unreal that enables relatively easy functionality without programming knowledge. With the development of game engines, game development is becoming faster and easier, and using this, non-programmers without knowledge of game development are clearly showing a tendency to participate in game development. However, existing game development methodologies and game implementation methods require complex design processes and specialized knowledge. In order to make it easier for non-programming experts to develop games, they will simplify the complexity of existing game development methodologies, and propose educational methods that can focus on and implement the essence of game design based on cases where non-programmers have implemented prototypes themselves.

• Proceedings of the Korea Water Resources Association Conference
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• 2023.05a
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• pp.432-432
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• 2023

한국건설기술연구원(Korea Institute of Civil Engineering and Building Technology, KICT)의 안동하천연구센터(Andong River Experiment Center, REC)는 다양한 하천 관련 실규모 실험을 수행하기 위해 3개의 수로를 보유하고 있다. 본 연구의 주목적인 실증 실험 계측 결과를 기반으로 3D 게임엔진을 이용하여 물 흐름을 재현하기 위해 A1 수로를 대상구간으로 설정하였다. 실증 실험의 경우 2개의 수문 개도율 조건에서 ADV와 ADCP를 활용하여 계측된 유량 및 유속 결과들을 비교하였으며, 추가적으로 영상 데이터로 부터 표면유속(LS-PIV)을 산정하였다. 3D 게임 엔진은 렌더링 엔진, 물리 엔진, 오디오 엔진, UI 시스템, 게임플레이 프레임워크 등이 잘 융합된 소스코드들과 개발자들이 이용하기 쉬운 방식으로 변환된 툴(tool)로 제공하여 현실 세계를 가상 세계에 시각화하여 구현하는데 큰 장점을 가지고 있다. 또한 기존의 흐름 재현이 가능한 수리/수문 모델링의 경우 특정한 목적으로만 이용가능하고 연산에 소용되는 시간 때문에 실시간 흐름재현이 어렵지만, 3D 게임엔진을 이용하는 경우 다양한 목적과 여러 분야와의 고려가 동시에 가능하며 연산의 단순화를 통해 실시간 흐름 재현이 가능하다는 장점이 있다. 본 연구에서는 언리얼 엔진의 Niagara Fluids와 Fluid flux 툴들을 활용하여 하천실증실험 시설 일부 구간에 대해 물 흐름을 재현하였다. 먼저 하천실험실증시설을 드론과 RTK-GPS를 이용하여 촬영된 결과를 정합하여 3D 게임엔진 기반 흐름 재현을 위한 지형 기초 자료를 구축하였다. 지형 계측 결과를 기반으로 A1 수로 전체 구간을 대상구간으로 설정한 이후 수문 조절을 통해 흐름 조건을 제어할 수 있도록 제작하였으며, 실제 흐름에 대한 계측 결과를 기반으로 재현된 흐름을 대상으로 material 값의 조정(방향 X, Y값을 RGB값으로 변환한 뒤 벡터 길이 값으로 환산)을 통해 0~100 사이 값을 이용하여 유속을 표현하였다. 최근 가상공간 (i.e. 디지털트윈) 관련 시장 성장이 매우 빠르고 다양한 사업에서 해당 기술의 수요가 증가하고 있으며, 본 연구를 통해 물 흐름의 디지털 트윈화를 위한 수단으로서 3D 게임 엔진의 활용 가능성을 확인하였다. 다만 실제 하천의 적용과 하천관리를 위한 실용화를 위해서는 추가적인 연구와 분석이 이루어져야 할 것이다.

• Journal of Cadastre & Land InformatiX
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• v.52 no.2
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• pp.171-187
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• 2022

Recently, the demand and development for non-face-to-face services are rapidly progressing due to the pandemic caused by the COVID-19, and attention is focused on the metaverse at the center. Entering the era of the 4th industrial revolution, Metaverse, which means a world beyond virtual and reality, combines various sensing technologies and 3D reconstruction technologies to provide various information and services to users easily and quickly. In particular, due to the miniaturization and economic increase of convergence sensors such as unmanned aerial vehicle(UAV) capable of high-resolution imaging and high-precision LiDAR(Light Detection and Ranging) sensors, research on digital-Twin is actively underway to create and simulate real-life twins. In addition, Game engines in the field of computer graphics are developing into metaverse engines by expanding strong 3D graphics reconstuction and simulation based on dynamic operations. This study constructed a mirror-world type metaverse that reflects real-world coordinate-based reality using Unreal Engine 5, a recently announced metaverse engine, with accurate 3D spatial information data of convergence sensors based on unmanned aerial system(UAS) and LiDAR. and then, spatial information contents and simulations for users were produced based on various public data to verify the accuracy of reconstruction, and through this, it was possible to confirm the construction of a more realistic and highly utilizable metaverse. In addition, when constructing a metaverse that users can intuitively and easily access through the unreal engine, various contents utilization and effectiveness could be confirmed through coordinate-based 3D spatial information with high reproducibility.

• Cartoon and Animation Studies
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• s.47
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• pp.1-29
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• 2017

360-degree virtual reality has been a technology that has been available for a long time and has been actively promoted worldwide in recent years due to development of devices such as HMD (Head Mounted Display) and development of hardware for controlling and executing images of virtual reality. The production of the 360 degree VR requires a different mode of production than the traditional video production, and the matters to be considered for the user have begun to appear. Since the virtual reality image is aimed at a platform that requires enthusiasm, presence and interaction, it is necessary to have a suitable cinematography. In VR, users can freely enjoy the world created by the director and have the advantage of being able to concentrate on his interests during playing the image. However, the director had to develope and install the device what the observer could concentrate on the narrative progression and images to be delivered. Among the various methods of transmitting images, the director can use the composition of the short. In this paper, we will study how to effectively apply the technique of directing through the composition of this shot to 360 degrees virtual reality. Currently, there are no killer contents that are still dominant in the world, including inside and outside the country. In this situation, the potential of virtual reality is recognized and various images are produced. So the way of production follows the traditional image production method, and the shot composition is the same. However, in the 360 degree virtual reality, the use of the long take or blocking technique of the conventional third person view point is used as the main production configuration, and the limit of the short configuration is felt. In addition, while the viewer can interactively view the 360-degree screen using the HMD tracking, the configuration of the shot and the connection of the shot are absolutely dependent on the director like the existing cinematography. In this study, I tried to study whether the viewer can freely change the cinematography such as the composition of the shot at a user's desired time using the feature of interaction of the VR image. To do this, 3D animation was created using a game tool called Unreal Engine to construct an interactive image. Using visual scripting of Unreal Engine called blueprint, we create a device that distinguishes the true and false condition of a condition with a trigger node, which makes a variety of shorts. Through this, various direction techniques are developed and related research is expected, and it is expected to help the development of 360 degree VR image.

• Proceedings of the Korea Information Processing Society Conference
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• 2017.04a
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• pp.1093-1095
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• 2017

아두이노[1]와 라즈베리파이[2]의 개발 이후로 누구나 쉽게 인터랙티브 장비를 만들어보고 여러 프로젝트를 진행할 수 있게 되었다. 그리고 대표적인 게임 엔진으로 뽑히고 있는 유니티 (Unity)[3]와 언리얼 엔진 (Unreal Engine)[4] 덕분에 컴퓨터 전공자가 아니더라도 게염을 쉽게 만들 수 있는 시대가 되었다. 본 프로젝트에서는 아두이노를 이용한 인터랙티브 장비를 만들어보고 개발한 장비를 활용하여 플레이 할 수 있는 게임을 유니티로 제작하였으며 이를 어떠한 분야에 활용하면 긍정적인 효과를 줄 수 있을지에 대해서 고찰하였다.