• The KIPS Transactions:PartA
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• v.13A no.4 s.101
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• pp.305-316
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• 2006

Current rendering processors are organized mainly to process a triangle as fast as possible and recently parallel 3D rendering processors, which can process multiple triangles in parallel with multiple rasterizers, begin to appear. For high performance in processing triangles, it is desirable for each rasterizer have its own local pixel cache. However, the consistency problem may occur in accessing the data at the same address simultaneously by more than one rasterizer. In this paper, we propose a parallel rendering processor architecture resolving such consistency problem effectively. Moreover, the proposed architecture reduces the latency due to a pixel cache miss significantly. For the above two goals, effective memory organizations including a new pixel cache architecture are presented. The experimental results show that the proposed architecture achieves almost linear speedup at best case even in sixteen rasterizers.

• Journal of the Korea Computer Graphics Society
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• v.3 no.1
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• pp.57-67
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• 1997

The navigation of virtual space comes down to the manipulation of the virtual camera. The movement of the virtual cameras has 6 degrees of freedom. However, input devices such as mouses and joysticks are 2D. So, the movement of the camera that corresponds to the input device is 2D movement at the given moment. Therefore, the 3D movement of the camera can be implemented by means of the combination of 2D and 1D movements of the camera. Many of the virtual space navigation browser use several navigation modes to solve this problem. But, the criteria for distinguishing different modes are not clear, somed of the manipulations in each mode are repeated in other modes, and the kinesthetic correspondence of the input devices is often confusing. Hence the user has difficulty in making correct decisions when navigating the virtual space. To solve this problem, we use a single navigation metaphore in which different modes are organically integrated. In this paper we propose a helicopter pilot metaphor. Using the helicopter pilot metaphore means that the user navigates the virtual space like a pilot of a helicopter flying in space. In this paper, we distinguished six 2D movement spaces of the helicopter: (1) the movement on the horizontal plane, (2) the movement on the vertical plane,k (3) the pitch and yaw rotations about the current position, (4) the roll and pitch rotations about the current position, (5) the horizontal and vertical turning, and (6) the rotation about the target object. The six 3D movement spaces are visualized and displayed as a sequence of auxiliary windows. The user can select the desired movement space simply by jumping from one window to another. The user can select the desired movement by looking at the displaced 2D movement spaces. The movement of the camera in each movement space is controlled by the usual movements of the joystick.

• Journal of the Korea Society of Computer and Information
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• v.16 no.11
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• pp.67-76
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• 2011

This paper describes the development of interactive visualization techniques and a program that allow us to visualize the structure of the volume data and interactively select and visualize the isosurface components using contour tree. The main characteristic of this technique is to provide an algorithm that draws the contour tree in 2D plane in a way that users easily understand the tree, and to provide an algorithm that can efficiently extract an isosurface component utilizing GPU's parallel architecture. The main characteristic of the program we developed through implementing the algorithms is to provide us with an interactive user interface based on the contour tree for extracting an isosurface component and visualization that integrates with previous isosurface and volume rendering techniques. To show the excelland vof our methods, we applied 3D biomedical volume data to our algorithms. The results show that we could interactively select the isosurface components that represent a polypeptide chain, a ventricle and a femur respectively using the user interface based on our contour tree layout method, and extract the isosurface components with 3x-4x higher speed compared to previous methods.

• Cartoon and Animation Studies
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• s.33
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• pp.31-53
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• 2013

In the early twentieth century, history of animation began by modern artists, they produced various experimental images with the newly invented film and cameras. Artists in the field of movie, photography, paintings and others manipulated images in motion. But as some animated movies won industrial success and popularity, they became the trend but experimental style of early animation preserved by so-called non-mainstreamers or experimental animators, counteracting commercialism. Disney animation also followed the trend by applying realistic Hollywood film style, the worse critics placed a low value on the animation and it tarnished the image, although it was profitable investment from a business standpoint. To make images realistic, they opened a drawing class that animators developed skills to imitate motions and forms from subjects in real life. Also some techniques and gizmos were used to mimic and simulate three dimensional objects and spaces, multiplane camera and compositing 3D CG images with 2D drawings. Moreover, they brought animation stories from fairly tales or folk tales, and Walt's personal interest in live-action movies, they applied Hollywood-film-like narratives and realistic visual, and harsh criticism ensued. On the surface early disney animations' potential seems to be weakened, but in reality it still exists by simplifying and exaggerating forms and color as modern arts. Disney animation employs concepts of the modernism paintings such as simplified shapes and colors to a character design, when their characters are placed together in a scene, that visual elements cause mental reaction. This modification gives a new internal experience to audiences. As conceptual colors in abstract paintings make images appeared to be flat, coloring characters with no shading make them look flat and comparing to them, background images are also appeared to be flat. On top of that, multi-perspective at background images recalls modernist paintings. This essay goes in details with the animation pioneers' works and how Disney animation developed its techniques to emulate real life and analyses color schemes, forms, and spaces in Disney animation compared with modern artists' works, in that the visual language of Disney animation reminds of impression from abstract paintings in the beginning of the twentieth centuries.