• Journal of the Korean Society of Radiology
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• v.12 no.3
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• pp.409-415
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• 2018

The development of smart devices has brought about significant changes in daily life and one of the most significant changes is the virtual reality zone. Virtual reality is a technology that creates the illusion that a 3D high-resolution image has already been created using a display device just like it does in itself. Unrealized subjects are forced to rely on audiovisual materials, resulting in a decline in the concentration of practices and the quality of classes. It used virtual reality to develop effective teaching materials for radiology students. In order to produce a video clip bridge using virtual reality, a radiology clinic was selected to conduct two exposures from July to September 2017. The video was produced taking into account the radiology and work flow chart and filming was carried out in two separate locations : in the computerized tomography unit and in the LINAC room. Prior to filming the scenario and the filming route were checked in advance to facilitate editing of the video. Modeling and mapping was performed in a PC environment using the Window XP operating system. Using two leading virtual reality camera Gopro Hero, CC pixels were produced using a 4K UHD, Adobe, followed by an 8 megapixel resolution of $3,840{\times}2,160/4,096{\times}2,160$. Total regeneration time was performed in about 5 minutes during the production of using virtual reality to prevent vomiting and dizziness. Currently developed virtual reality radiation and educational contents are being used to secure the market and extend the promotion process to be used by various institutions. The researchers will investigate the satisfaction level of radiation and educational contents using virtual reality and carry out supplementary tasks depending on the results.

• Journal of dental hygiene science
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• v.10 no.3
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• pp.177-183
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• 2010

This study was begun to search effect of contact angles of elastic rubber impression materials on the surface of working cast. Of elastic rubber impression materials with a Type III consistency, such as polysulfide, polyether and addition silicone, we selected one and then measured the contact angle after dripping a distilled water 3.3ml. Then, after pouring a dental anhydrite in three types of impression materials, we prepared a working cast and then examined its surface. Contact angle was measured using a full automatic contact angle measuring system (DM-700, KYOWA, Japan), and the surface of working cast was observed using a field emission scanning electron microscope (JSM-6700F, JEOL Ltd., JAPAN). The following results were obtained: 1) $Mean{\pm}SD$ (SD: standard deviation) of the initial contact angles were $91.3{\pm}20.5^{\circ}$ in the addition silicone materials, $90.0{\pm}2.2^{\circ}$ in the polyethers and $101.5{\pm}2.3^{\circ}$ in the polysulfides. These results indicate that mean values were similar but standard deviations of the three materials showed a great discrepancy. 2) As the time elapsed, addition silicone materials were found to have a contact angle decreased abruptly as compared with the remaining two types. That is, the initial contact angle was $91.3^{\circ}$ and it was abruptly decreased to $29.4^{\circ}$ after 25 seconds. 3) In the polyethers, the initial contact angle was $101.5^{\circ}$ and it was decreased to $90.7^{\circ}$ after 25 seconds. In the polysulfides, however, the initial contact angle was $90.0^{\circ}$ and it was $84.2^{\circ}$ after 25 seconds. This showed almost no changes in the initial contact angles. Moreover, its magnitude was greater than that seen in additional silicones. 4) There were significant differences in the contact angles between the three types of elastic rubber impression materials as the time elapsed (p<0.001). On an observation on the surface of working cast, addition silicone materials were found to have the most dense surface. This was followed by polysulfides and polyethers in a descending order.

• (The) Research of the performance art and culture
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• no.18
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• pp.171-199
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• 2009

This paper started with my effort to find connections between Empty Hands, which was put on the stage at the Mime House in Chuncheon, Gangwon Province, and Jindo Ssitgimgut. The mimist Yu Jin-gyu(58) adopted so many elements from Jindo Ssitgimgut for his performance that I felt that it was the pantomime version of Jindo Ssitgimgut. Of course, the pantomime took the form of gut based on shamanism in terms of story. Watching the pantomime, I once again saw the possibility of developing Korea's cultural archetypes into cultural contents. Helen Lannaghan, the art director of London International Mime Festival of 2005, saw his performance at the conference of Chuncheon International Mime Festival and invited it to the London International Mime Festival praising that it's full of Korean elements, minimalist, and modern at the same time. In fact, Empty Hands, which boasts great harmony among the Korean objet, Oriental thoughts, Samulnori, and Western contemporary mime, was invited to many foreign festivals including the Mimos International Mime Festival in 2000, Polish International Mime Festival in 2001, Mongol's International Mime Festival in 2002, and Belgium's International Mime Festival in 2003. In addition, it's recognized for its artistic values and had a chance to shine in another international setting at the London International Mime Festival whose reputations have been worldwide. All those achievements are the result of Yu's constant effort to reflect Korean elements through his movements. What I saw in his pantomime was the possibility that plays based on Korea's cultural archetypes such as Jindo Ssitgimgut could play an important role as a global content of performance culture. Pursuing the possibility further, I analyzed the factors that brought the worldwide recognition to Empty Hands and searched for the ways to create solid storytelling with Jindo Ssitgimgut and make a huge hit on the international stage. It should be noted once more that the pantomime Empty Hands launched Korea's unique performance culture to the world stage by making great use of the traditional Korean cultural contents.

• 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.