• Proceedings of the Korean Institute of Information and Commucation Sciences Conference
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• 2015.10a
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• pp.171-173
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• 2015

This paper proposes a design method of an authoring tool for making 3D e-book using DirectX development tools. There are several functions such as generation and modification of 3D objects, modification of textures, stereoscopic modes and pictures, video export and so on in the proposed authoring tool. To support these functions, we proposes design scheme such as data structures for generating 3D objects, anaglyph method using color differences and video export method using BandiCap library.

• Proceedings of the Korean Information Science Society Conference
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• 2011.06a
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• pp.442-445
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• 2011

본 논문에서는 3차원 head-tracked 디스플레이를 이용하여 스테레오 영상을 리타겟팅 하는 방법을 제안한다. 제안한 방법은 카메라 간격을 조절함으로써 사용자 시점에 맞는 스테레오 영상을 제공한다. 특히 중간 시점 영상 생성 시 발생하는 비폐색 영역에 대해 스테레오 일관성을 고려한 홀 필링(hole filling)을 적용하여 보다 편안하고, 개인별로 최적화 된 입체감 및 깊이감을 제공하도록 한다. 제안한 방법을 검증하기 위해 3차원 그래픽 모델을 이용해 결과 영상을 비교하였으며, 사용성 테스트를 통해 리타겟팅 된 스테레오 영상이 사용자가 입체영상을 인지하는데 미치는 효과를 확인하였다.

• Journal of the Korean Institute of Telematics and Electronics S
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• v.35S no.8
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• pp.1-11
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• 1998

One of the desired features for the realizations of high quality Information and Telecommunication services in future is "the Sensation of Reality". This will be achieved only with the visual communication based on the 3- dimensional (3-D) moving images. The main difficulties in realizing 3-D moving image communication are that there is no developed data transmission technology for the hugh amount of data involved in 3-D images and no established technologies for 3-D image recording and displaying in real time. The currently known stereoscopic imaging technologies can only present depth, no moving parallax, so they are not effective in creating the sensation of the reality without taking eye glasses. The more effective 3-D imaging technologies for achieving the sensation of reality are those based on the multiview 3-D images which provides the object image changes as the eyes move to different directions. In this paper, a multiview 3-D imaging system composed of 8 CCD cameras in a case, a RGB(Red, Green, Blue) beam projector, and a holographic screen is introduced. In this system, the 8 view images are recorded by the 8 CCD cameras and the images are transmitted to the beam projector in sequence by a signal converter. This signal converter converts each camera signal into 3 different color signals, i.e., RGB signals, combines each color signal from the 8 cameras into a serial signal train by multiplexing and drives the corresponding color channel of the beam projector to 480Hz frame rate. The beam projector projects images to the holographic screen through a LCD shutter. The LCD shutter consists of 8 LCD strips. The image of each LCD strip, created by the holographic screen, forms as sub-viewing zone. Since the ON period and sequence of the LCD strips are synchronized with those of the camera image sampling adn the beam projector image projection, the multiview 3-D moving images are viewed at the viewing zone.

• Korean Journal of Optics and Photonics
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• v.25 no.4
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• pp.169-192
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• 2014

In this paper, state-of-the-art digital holography and integral imaging have been introduced as practical three-dimensional imaging and display technology. Operational principles and recent research and development activities of these technologies have been discussed, as well as a vision of their future.

• Cartoon and Animation Studies
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• s.20
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• pp.31-45
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• 2010

Stereoscopic 3D animation contents are in the rise as a key part of contents market. Major animation studios are planning to produce 3D animations in a stereoscopic process. This study aims at understanding the visual textuality of 3D animation contents at its early stage. To understand 3D animation, , are analyzed. Stereoscopic 3D animations are exploring the new visual aesthetics using the specific storytelling, sequence ordering, camera working, shot size and camera angles etc. Based on these visual textualities, stereoscopic 3D animations are constructing telepresence, multi-senses of individual spectators. Stereoscopic 3D animations have formed their own aesthetics and cultural meanings in the digital age.

• Proceedings of the IEEK Conference
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• 2003.07e
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• pp.1895-1898
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• 2003

양안 입체 TV 에서는 3 차원 카메라의 시점거리에 따라 눈의 편안함과 3 차원 효과 사이에 대차 관계가 존재한다. 일반적으로 카메라 사이의 거리가 인간의 동공 사이의 거리인 65㎜ 일 때 최적의 효과를 낸다고 한다. 그러나 일반적인 방송용 화질의 상용 카메라는 렌즈 크기가 크기 때문에 이 거리를 맞춘 3 차원 카메라를 제작하기는 매우 어렵다. 그래서 보기 편한 양안입체 영상을 제공하기 위해서는 스테레오 카메라에서 얻은 영상을 조작하여 원하는 가상 시점에서의 영상으로 만들어 줄 필요가 있다. 본 논문에서는 먼저 적응적 다중 창틀 정합을 이용한 계층적 변이 추정을 사용하여 변이 지도를 추출하고, 이것을 이용하여 가상 시점에서의 영상을 합성했다. 다양한 스테레오 영상을 이용한 실험을 통해 제안된 기법의 타당성을 확인하였다.

• The Optical Journal
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• s.91
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• pp.79-86
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• 2004

• The Journal of the Korea Contents Association
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• v.12 no.10
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• pp.63-71
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• 2012

Depth understanding is important for stereoscopic and various methods including space design and cognitive science should be taken account in contents production. Among them, human scientific engineering such as human factor needs to be touched. More specifically, when the stereoscopic designer determines a binocular disparity, the viewpoint of the camera has to be matched with that of the audience. In this process, the structural problem by the distortion due to the dichoptic error is happened, Therefore, 3D sweetening process based on geometric re-analysis and human scientific engineering to minimize the visual fatigue is significant. This paper analyzes the inconsistency problems of the viewpoint in stereoscopic images, and we produce the stereoscopic image contents based on human factors.

• Cartoon and Animation Studies
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• s.19
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• pp.161-181
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• 2010

Human beings experience the outside world through senses and have developed various ways of representation to preserve what they've experienced. The rapid progress of digital technology has opened a new era of representation technology, and furthermore, is functioning as a technology which offers new experiences. The sensory experiences through the sense of sight, which humans depend on more than 70% to perceive the outside world, have been becoming the center of representing the reality as the 3-D graphics technology has been growing, and developing by being grafted onto different areas of study. Various technologies to express the sense of reality, such as the technology to reinforce the virtual reality and to represent it in the reality, computer graphic, TUI technology, and five sensory technologies which apply humans' senses, are making advancement based on humans' visual features and sensory elements. In particular, the 3-D technology to display solidness provides not only representation but also new sensory experiences, and is emerging as the key technology to image contents. However, compared to the development of technology of 3-D graphics, there have been few basic studies on the principles of the sense of vision. Therefore, in this study, the principles and elements to sense videos will be examined. The sensory features of 3-D images to represent the sense of reality will be researched into, especially focusing on the experiential and physiological elements to sense 3-D structures, and the physical and psychological elements to sense shapes, which might be hopefully the basic study for producing 3-D contents.

• Electronics and Telecommunications Trends
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• v.26 no.1
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• pp.13-24
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• 2011

영화 "아바타"가 개봉되면서 입체 콘텐츠 특히 입체 영화에 대해 많은 사람들이 관심을 갖게 되었다. 초기 국내에서, 스테레오 영상 제작 시도는 많았지만, 입체 영상을 단순히 한 쌍의 영상을 보여주는 것으로 생각하여 잘못 제작되는 경우가 많았다. 입체영상 제작 기술은 한 쌍의 영상을 인간의 양안에 각각의 영상을 보여주면 3차원으로 인식한다는 데 기술적 근간을 두고 있으나, 초기엔 실세계에서 인간이 인식하는 것과 유사하게 처리되지 않아 시각피로를 유발하는 경우가 많았다. 그래서, 본 원고에서는 "아바타" 영화와 같은 입체영상을 제작하기 위해 어떠한 기술과 고려되어야 할 사항들이 있는지 살펴본다. 현재 입체 영상 획득 방식인 두 대의 카메라를 이용하여 실사로 촬영하는 데 필요한 기술과, 그 결과 영상을 후반작업에서 보정하고 합성하여 시각피로를 최소화하는 방법 및 기술들을 중심으로 살펴본다.