• The Journal of the Korea Contents Association
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• v.21 no.1
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• pp.147-161
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• 2021

Through photogrammetry techniques, what current researches can achieve at present is rough 3D mesh and color map of objects, rather than usable photo-realistic 3D assets. This research aims to propose a new method to create photo-realistic 3D assets that can be used in the field of visualization applications. The new method combines photogrammetry with computer graphics modeling. Through the description of the production process of three objects in the real world - "Bullet Box", "Gun" and "Metal Beverage Bottle," it introduces in details the concept, functions, operating skills and software packages used in the steps including the photograph object, white balance, reconstruction, cleanup reconstruction, retopology, UV unwrapping, projection, texture baking, De-Lighting and Create Material Maps. In order to increase the flexibility of the method, alternatives to the software packages are also recommended for each step. In this research, 3D assets are produced that are accurate in shape, correct in color, easy to render and can be physically interacted with dynamic lighting in texture. The new method can obtain more realistic visual effects at a faster speed. It does not require large-scale teams, expensive equipment and software packages, therefore it is suitable for small studios and independent artists and educational institutions.

• Journal of Broadcast Engineering
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• v.26 no.6
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• pp.714-724
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• 2021

The point cloud content is immersive content recorded by acquiring points and colors corresponding to the real environment and objects having three-dimensional location information. When a point cloud content consisting of three-dimensional points having position and color information is enlarged and rendered, the gap between the points widens and an empty hole occurs. In this paper, we propose a method for improving the quality of point cloud contents through inverse transformation-based interpolation using depth information for holes by finding holes that occur due to the gap between points when expanding the point cloud. The points on the back are rendered between the holes created by the gap between the points, acting as a hindrance to applying the interpolation method. To solve this, remove the points corresponding to the back side of the point cloud. Next, a depth map at the point in time when an empty hole is generated is extracted. Finally, inverse transform is performed to extract pixels from the original data. As a result of rendering content by the proposed method, the rendering quality improved by 1.2 dB in terms of average PSNR compared to the conventional method of increasing the size to fill the blank area.

• The Journal of the Convergence on Culture Technology
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• v.8 no.5
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• pp.713-721
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• 2022

In order to use the LED video wall in the broadcasting studio, there are a few things to be aware of. First, since the pixels are closely arranged, a moire phenomenon may occur due to a short arrangement period, and second, the distance between pixels (pixel pitch) may be recorded on the image sensor of the broadcasting camera. When moire occurs or pixel pitch is observed, viewers feel uncomfortable. Moire effect can be reduced by adjusting the shooting distance or angle of the camera, but in order to prevent the pixel pitch from being recorded on the image sensor, secure a sufficient distance between the LED video wall and camera. even when the distance secured, the zoom lens used in the broadcasting studio must be operated by appropriately changing the magnification. If the focal length is changed by changing the magnification to obtain a desired angle of view, the pixel pitch may be unintentionally recorded. In this study we propose the range that the pixel pitch is not observed while changing the magnification ratio of the zoom lens when the distance from the video wall is sufficiently secured. The content was played back on the LED video wall and the LED video wall was recorded on the server using an HD camera equipped with a B4 mount zoom lens

• Journal of the Institute of Electronics Engineers of Korea CI
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• v.44 no.2 s.314
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• pp.37-46
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• 2007

In this paper, we propose technologies for enhancing the immersive realization of virtual objects in AR-based product design. Generally, multimodal senses such as visual/auditory/tactile feedback are well known as a method for enhancing the immersion in case of interaction with virtual objects. By adapting tangible objects we can provide touch sensation to users. A 3D model of the same scale overlays the whole area of the tangible object so the marker area is invisible. This contributes to enhancing immersion. Also, the hand occlusion problem when the virtual objects overlay the user's hands is partially solved, providing more immersive and natural images to users. Finally, multimodal feedback also creates better immersion. In our work, both vibrotactile feedback through page motors, pneumatic tactile feedback, and sound feedback are considered. In our scenario, a game-phone model is selected, by way of proposed augmented vibrotactile feedback, hands occlusion-reduced visual effects and sound feedback are provided to users. These proposed methodologies will contribute to a better immersive realization of the conventional AR system.

• Journal of Broadcast Engineering
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• v.20 no.2
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• pp.310-339
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• 2015

In this paper, the possibility of a terrestrial fixed 4K UHD (Ultra High Definition) and mobile HD (High Definition) convergence broadcasting service through a single channel employing the FEF (Future Extension Frame) multiplexing technique in DVB (Digital Video Broadcasting)-T2 (Second Generation Terrestrial) systems is examined. The performance of such a service is also investigated. FEF multiplexing technology can be used to adjust the FFT (fast Fourier transform) and CP (cyclic prefix) size for each layer, whereas M-PLP (Multiple-Physical Layer Pipe) multiplexing technology in DVB-T2 systems cannot. The convergence broadcasting service scenario, which can provide fixed 4K UHD and mobile HD broadcasting through a single terrestrial channel, is described, and transmission requirements of the SHVC (Scalable High Efficiency Video Coding) technique are predicted. A convergence broadcasting transmission system structure is described by employing FEF and transmission technologies in DVB-T2 systems. Optimized transmission parameters are drawn to transmit 4K UHD and HD convergence broadcasting by employing a convergence broadcasting transmission structure, and the reception performance of the optimized transmission parameters under AWGN (additive white Gaussian noise), static Brazil-D, and time-varying TU (Typical Urban)-6 channels is examined using computer simulations to find the TOV (threshold of visibility). From the results, for the 6 and 8 MHz bandwidths, reliable reception of both fixed 4K UHD and mobile HD layer data can be achieved under a static fixed and very fast fading multipath channel.

• Journal of Popular Narrative
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• v.27 no.3
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• pp.95-124
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• 2021

As the symbolic images of girls besides its definition have varied according to the age and society, a posthuman girl character recently appears in the digital cinema. This study aims to analyze its cinematic representations and the social contexts in which they are created. For this purpose, the study focuses on what extent the society allows its imagined figurations as a future female body and the meanings revolving around the image of 'technologically body-enhanced female fighter'. Current digital visualization technology has developed to the extent any imaged future humans can be represented, but posthuman girls' representations have its limitation that only a human-like figuration can be allowed in accord with the traditionally idolized image of girls. It is because of the representation logic in which digital cinema is visualized based on perceptual realism that values audiences' experiences. Despite such less critical figuration which does not dare to cross the boundary between the image of human and inhuman, the posthuman girl characters create a new category of the 'dangerous girls' who are both void of sexual femininity and independent of motherhood and heterosexual romance narrative. Of course, they support the modern human-centered belief that humans can take entire control of technology with their moral behaviors and dispel the fear about the negative impact the nature of technology may have on society at large by showing their child-like figuration protecting ethical values. However, the new character of 'unruly girl' exerts her subversive act that seeks to fight against the human-centered liberal humanistic values and melancholic feeling and vulnerability that the neoliberalism and technocracy enforce. When posthuman girl characters are considered to be a marker through which we can see how different social forces are intervening and competing each other in the upcoming posthuman age, the limited figuration of the posthuman girl characters in South Korean movies illustrates the opinionated thoughts toward the instrumentalism in technology but their bloodshed struggles reveal how the corporate or state-governed techno-biopower has oppressively treated and appropriated the human body as the technology-object and also provide a meaningful opportunity to rethink its unethical violence.

• 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.