• Trans-
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• v.15
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• pp.25-56
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• 2023

VR is a dynamic image simulation technology with very high information density. Among them, spatial depth, temporality, and realism bring an unprecedented sense of immersion to the experience. However, due to its high information density, the information contained in it is very easy to be manipulated, creating an illusion of objectivity. Users need guidance to help them interpret the high density of dynamic image information. Just like setting up navigation interfaces and interactivity in games, interactivity in virtual reality is a way to interpret virtual content. At present, domestic research on VR content is mainly focused on technology exploration and visual aesthetic experience. However, there is still a lack of research on interactive storytelling design, which is an important part of VR content creation. In order to explore a better interactive storytelling model in virtual reality content, this paper analyzes the interactive storytelling features of the VR animated version of <Wolves in the walls> through the methods of literature review and case study. We find that the following rules can be followed when creating VR content: 1. the VR environment should fully utilize the advantages of free movement for users, and users should not be viewed as mere observers. The user's sense of presence should be fully considered when designing interaction modules. Break down the "fourth wall" to encourage audience interaction in the virtual reality environment, and make the hot media of VR "cool". 2.Provide developer-driven narrative in the early stages of the work so that users are not confused about the ambiguous world situation when they first enter a virtual environment with a high degree of freedom. 1.Unlike some games that guide users through text, you can guide them through a more natural interactive approach that adds natural dialog between the user and story characters (NPC). Also, since gaze guidance is an important part of story progression, you should set up spatial scene user gaze guidance elements within it. For example, you can provide eye-following cues, motion cues, language cues, and more. By analyzing the interactive storytelling features and innovations of the VR animation <Wolves in the walls>, I hope to summarize the main elements of interactive storytelling from its content. Based on this, I hope to explore how to better showcase interactive storytelling in virtual reality content and provide thoughts on future VR content creation.

• Journal of Advanced Navigation Technology
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• v.16 no.5
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• pp.864-870
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• 2012

Voice pattern recognition technology to solve the problems of the existing problems and common issues that you may have in language learning content analysis. This is the first problem of language-learning content, online learning posture. Game open another web page through the lesson, but the concentration of the students fell. Have not been able to determine the second issue according Speaking has made the learning process actually reads. Third got a problem with the mechanical process by a learning management system, as well by the teacher in the evaluation of students and students who are learning progress between the difference in the two. Finally, the biggest problem, while maintaining their existing content made to be able to solve the above problem. Speaking learning dedicated learning programs under this background, voice pattern recognition technology learning process for speech recognition and voice recognition capabilities for learning itself has been used in the recognition process the data of the learner's utterance as an audio file of the desired change to a transfer to a specific location of the server or SQL server may be easily inserted into any system or program, any and all applicable content that has already been created without damaging the entire component because the new features were available. Contributed to this paper, active participation in class more interactive teaching methods to change.

• Cartoon and Animation Studies
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• s.46
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• pp.181-206
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• 2017

In the near future, we are expected to live in a Mixed Reality environment where reality and virtuality coexist as today we live using the Internet and smartphones in our daily lives. The relevant content based on the idea of Mixed Reality crystallizing is currently expanding, and it is time for research on it. This study examines the current situation and the development direction of mixed reality contents. Typical mixed reality contents can be classify by wearability. We analyzed HoloLens, a mixed reality wearable device that is worn on a head, which is a example of wearable device. As an example of unwearable device, we also analyzed the Room2Room which is a communication system that combines video with augmented reality-based telepresence avatar. Mixed Reality content will develop in the direction of implementing expanded use of information and more natural realism through the interactive combination of Reality, Virtual Reality, and Augmented Reality. As head-mounted wearable technology develops, Mixed Reality content is expected to become popular by increasing the number of Mixed Reality device users if convenience and price competitiveness are secured. The way of unifying Mixed Reality wearable devices must be established in order to increase convenience, and the environment based on Mixed Reality will be created through diversifying leisure activity content. Telepresence Avatar is expected to develop into Mobile Hologram Avar as Mixed Reality content accessible anywhere and at anytime beyond space limits. Another potential for development of Telepresence Avatar is the combination of Avatar moving on user's thought, Augmented Human technology and Mixed Reality.

• Journal of Digital Contents Society
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• v.13 no.1
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• pp.119-127
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• 2012

In this study, it was witnessed that a variety of tests are implemented in a type of convergence of multimedia such as photos, sounds, and videos as well as letters and drawings, components of existing traditional comics as comics are digitalized and are converted to various devices. Therefore, we studied the concept of multimedia comics as a basis of this study by judging that new barometer to comics lies in convergence with such multimedia. After recognizing components of multimedia comics which are currently emerging, we categorized them into three types depending on how to use these elements. First, convergence type webtoon has a very similar format with existing vertical scrolling webtoon and has characteristics that background & effects sounds are added to emphasize the features of webtoon, or photos or videos are inserted in part, and there is no function to control these elements; Second, motion comic, a medium format between comic and animation has a characteristic that sound, video, paging are auto-played like watching animation but it keeps the format of comics within one frame; Third, interactive comic has a characteristic that effects sound, motion, and story are made by active participation of viewers. As a result of analyzing comics which having above multimedia characteristics, its implications are as followings: First, multimedia elements should be used depending on genre, age, and media; Second, high level of control technology considering the features of comic-viewers is needed. In other words, in continuously evolving media environments, comic contents being proper to targets and use purposes of viewers should be developed. For this, multimedia elements of comics should be used in order that comic-viewers can have active & interactive communication with contents.

• Journal of KIISE
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• v.43 no.5
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• pp.516-523
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• 2016

For old-age makeups, makeup artists first make a mold cast of an actor's face using plaster and then sculpt wrinkles in clay on the plaster mold. After finishing the clay sculpture, its negative plaster mold is fabricated and silicone skin patches are finally made for application to the actor's face. This process takes a few days and is tedious for actors and makeup artists. With recent advances in 3D printing and scanning technology, it is becoming easier to scan and fabricate 3D faces. This paper presents a new pipeline composed of facial scanning, interactive wrinkle modeling, and mold printing stages to easily and efficiently fabricate silicone masks for old-age makeups without the use of plaster and clay. An intuitive sketch interface based on a normal map is proposed for the creation of wrinkles in real time, even with a high-resolution face model. Then the geometry of the final wrinkles is reconstructed using a depth map and the negative mold of the wrinkled face is printed. We also show that the presented pipeline can fabricate a silicone mask more conveniently than the traditional one that consists of pouring silicone into the prepared negative mold and then overlapping the mold with the original positive one.

• Journal of the Korea Computer Graphics Society
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• v.23 no.3
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• pp.1-8
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• 2017

In this paper, we introduce a technique to retarget human motion data to the humanoid body in a constrained environment. We assume that the given motion data includes detailed interactions such as holding the object by hand or avoiding obstacles. In addition, we assume that the humanoid joint structure is different from the human joint structure, and the shape of the surrounding environment is different from that at the time of the original motion. Under such a condition, it is also difficult to preserve the context of the interaction shown in the original motion data, if the retargeting technique that considers only the change of the body shape. Our approach is to separate the problem into two smaller problems and solve them independently. One is to retarget motion data to a new skeleton, and the other is to preserve the context of interactions. We first retarget the given human motion data to the target humanoid body ignoring the interaction with the environment. Then, we precisely deform the shape of the environmental model to match with the humanoid motion so that the original interaction is reproduced. Finally, we set spatial constraints between the humanoid body and the environmental model, and restore the environmental model to the original shape. To demonstrate the usefulness of our method, we conducted an experiment by using the Boston Dynamic's Atlas robot. We expected that out method can help the humanoid motion tracking problem in the future.

• Cartoon and Animation Studies
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• s.45
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• pp.259-282
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• 2016

Documentaries are being recreated into a new genre and the Web Documentary is the typical case. Web Documentaries are the documentaries those comprise creators and users and they are the novel type of text that the interaction with users is absolute. In this research, two Web Documentaries and are analyzed for examining how Web utilizes its features as expressive media inducing users to experience reality. Web Documentaries have dual and spatial structure that allows user interaction and make users to face with various information and knowledge about reality by its encyclopedic characteristics. Also, Web Documentaries give the role of progressing documentary and expanding text to users and that is, they stimulate users' consciousness reminding that they are the ones who explore through reality. In this process, users of Web Documentaries get potentiality of critically examining the reality suggested by documentaries and grasping the meanings beneath it. These features make Web Documentaries special contrast to traditional documentaries not only with their way of pursuing the reality but also with their meanings. This makes the innovative position of Web Documentaries phenomenon clear, issuing the necessity of the discussion about Web Documentaries more strongly. Web Documentaries are not just new media technological phenomenon, and they have their significance as a fundamental challenge toward traditional documentaries.

• Asia-pacific Journal of Multimedia Services Convergent with Art, Humanities, and Sociology
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• v.7 no.6
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• pp.897-906
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• 2017

Projection Mapping, also known as Spatial Augmented Reality(SAR) has attracted much attention recently and used for many division, which can augment physical objects with projected various virtual replications. However, conventional approaches towards projection mapping have faced some limitations. Target objects' geometric transformation property does not considered, and movements of flexible objects-like paper are hard to handle, such as folding and bending as natural interaction. Also, precise registration and tracking has been a cumbersome process in the past. While there have been many researches on Projection Mapping on static objects, dynamic projection mapping that can keep tracking of a moving flexible target and aligning the projection at interactive level is still a challenge. Therefore, this paper propose a new method using Unity3D and ARToolkit for high-speed robust tracking and dynamic projection mapping onto non-rigid deforming objects rapidly and interactively. The method consists of four stages, forming cubic bezier surface, process of rendering transformation values, multiple marker recognition and tracking, and webcam real time-lapse imaging. Users can fold, curve, bend and twist to make interaction. This method can achieve three high-quality results. First, the system can detect the strong deformation of objects. Second, it reduces the occlusion error which reduces the misalignment between the target object and the projected video. Lastly, the accuracy and the robustness of this method can make result values to be projected exactly onto the target object in real-time with high-speed and precise transformation tracking.

• 기호학연구
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• no.56
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• pp.45-70
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• 2018

Criticism of the postmodern philosophy of the system of representation, which has continued since the Renaissance, is based on a critique of the dichotomy that separates the subjects and objects and the environment from the human being. Interactivity, highlighted in a series of works emerging as postmodern trends in the 1960s, was transmitted to an interactive aspect of digital art in the late 1990s. The key feature of digital art is the possibility of infinite variations reflecting unpredictable changes based on public participation on the spot. In this process, the importance of computer programs is highlighted. Instead of using the existing program as it is, more and more artists are creating and programming their own algorithms or creating unique algorithms through collaborations with programmers. We live in an era of paradigm shift in which programming itself must be considered as a creative act. Simulation technology and VR technology draw attention as a technique to represent the meaning of reality. Simulation technology helps artists create experimental works. In fact, Baudrillard's concept of Simulation defines the other reality that has nothing to do with our reality, rather than a reality that is extremely representative of our reality. His book Simulacra and Simulation refers to the existence of a reality entirely different from the traditional concept of reality. His argument does not concern the problems of right and wrong. There is no metaphysical meaning. Applying the concept of simulation to algorithmic art, the artist models the complex attributes of reality in the digital system. And it aims to build and integrate internal laws that structure and activate the world (specific or individual), that is to say, simulate the world. If the images of the traditional order correspond to the reproduction of the real world, the synthesized images of algorithmic art and simulated space-time are the forms of art that facilitate the experience. The moment of seeing and listening to the work of Ian Cheng presented in this article is a moment of personal experience and the perception is made at that time. It is not a complete and closed process, but a continuous and changing process. It is this active and situational awareness that is required to the audience for the comprehension of post-representation's forms.

• Journal of the Korean Institute of Landscape Architecture
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• v.38 no.3
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• pp.15-22
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• 2010

Today's rapid shifts toward a new paradigm are combining city spaces with reality and technology, which is known as a ubiquitous environment. An ubiquitous environment means that 'whenever' and 'wherever' become connected. It is a great possibility that this will change our future lifestyle. Korea has the biggest advantage in the implementation of this new environment, such as having an excellent network infrastructure. Using these attributes of a ubiquitous environment, changes are being made toward ubiquitous cities within developing fields of construction, landscaping, streets, art, and the environment. This research is based on background of research that activated media pole in public city space has been done research about reality of digital skill, fusion, and sense of ubitizen, and Kang-Nam U-street applied by ubiquitous technique. While reflecting an environment that can be utilized in a modern digital society, the application of ubiquitous technology to media pole can be a space for the two-way communication of the current paradigm. It would also be meaningful to create a new cultural space through media pole. Through evaluation, citizens of the ubiquitous age are going to interact to raise the satisfaction that media pole in city space can prevent giving direction to develop and trial and error about service ability, identity, and publicity. Finally, the media pole can be used as a fundamental element to suggest directions for change when viewed as future development.