• The Journal of the Korea Contents Association
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• v.20 no.7
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• pp.525-533
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• 2020

In recent years, the VR-interactive action contents industry, which utilizes five senses of human bodies, has continued to grow through areas such as games, tourism, movies, performances and exhibitions, but it has reached to breaking point by unrealistic visual elements. Therefore, the purpose of this study is to analyze the effect of each evaluation factor based on visual immersion of interactive type of VR action contents to overcome the limitations. For this study, firstly, prior research is reviewed. Secondly, the evaluation factors of visual immersion of interactive type of VR action contents and hypothesis are to be derived. Research finding is that there is no difference to recognize proximity, three-dimensionality, visibility and immersion by gender. Also, in order to influence visual immersion, it is important that 3D modeling of characters and objects must be sophisticated to be fit in with their surroundings and lighting. This makes user to be confused where they are actually in.

• Proceedings of the Korea Information Processing Society Conference
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• 2014.11a
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• pp.1011-1013
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• 2014

2D/3D 입체영상의 변환을 위해 산업현장에서 아티스트가 경험적으로 양자화된 깊이 정보를 제작하고, 입력된 깊이 정보의 차이와 픽셀 간의 유사성을 이용하여 물체의 윤곽을 보존하는 한편, 실시간으로 평활화 과정을 수행하는 방법을 제안한다. 아티스트의 의도를 반영하기 위해 초기 입력한 깊이 정보를 바탕으로 적응적인 스무딩 파라미터를 할당함으로써 기존의 수작업을 반자동화하였다. 제안된 방법에서는 기존 방법의 평활화 단계에서 Domain Transformation 기법을 적용하고, 노이즈 제거 단계에서 양방향 필터를 적용하였다. 즉 산업 현장에서 문제점들을 해결하도록 알고리즘을 변형하여 기존 알고리즘의 성능을 개선하였다. 실험 결과는 제안된 방법이 기존의 제작 방법과 비교하여 적은 양자화 단계로 동일한 성능을 내는 것을 확인하였다.

• Journal of Broadcast Engineering
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• v.17 no.2
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• pp.411-421
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• 2012

The stagnant growth in 3D market due to 3D movie contents shortage is encouraging development of techniques for production cost reduction. Elimination of vertical disparity generated during image acquisition requires heaviest time and effort in the whole stereoscopic film-making process. This matter is directly related to competitiveness in the market and is being dealt with as a very important task. The removal of vertical disparity, i.e. image rectification has been treated for a long time in the photogrammetry field. While computer vision methods are focused on fast processing and automation, photogrammetry methods on accuracy and precision. However, photogrammetric approaches have not been tried for the 3D film-making. In this paper, proposed is a photogrammetry-based rectification algorithm that enable to eliminate the vertical disparity precisely by reconstruction of geometric relationship at the time of shooting. Evaluation of proposed algorithm was carried out by comparing the performance with two existing computer vision algorithms. The epipolar constraint satisfaction, epipolar line accuracy and vertical disparity of result images were tested. As a result, the proposed algorithm showed excellent performance than the other algorithms in term of accuracy and precision, and also revealed robustness about position error of tie-points.

• Cartoon and Animation Studies
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• s.32
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• pp.315-333
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• 2013

This study aims to investigate that today's Mixed Reality Technology did not appear suddenly but has its beginnings in 20th century Visual and Interactive Art. First, Photographic Art expressed three-D on the two-dimensional plane and mixed images of reality and virtuality. Photogram made people experience both two-dimensional images and three-dimensional effects concurrently, and Photomontage combined various photos and mixed reality and virtuality. Next, Cinema tried to combine virtuality and reality using objets and CG. Early Cinema composed films and real objets. As computer technology developed, Cinema composed objet CG on real images and then tried background CG compositing. Finally, Telepresence Art tried a new possibility of Mixed Reality breaking the boundary between reality and virtuality, subject and object. It oscillates between virtual space in reality and real space in virtuality, or represents Mixed Reality by remote control of long distance participants. In the future, for the development and direction of Mixed Reality, there will be more need of referring to Visual and Interactive Art.

• Proceedings of the Korea Information Processing Society Conference
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• 2013.05a
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• pp.336-337
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• 2013

전 세계적으로 3D영화 및 디스플레이 기기에 대한 일반인들의 관심이 증가하고 있다. 하지만 편안한 시청영역(Comfort Zone)에서도 3D를 인식하지 못하는 사람들도 적지 않지 않다. 이런 사람들은 "자신의 눈"에 이상이 있는 것도 모른 채 3D 콘텐츠를 멀리하게 되지만, 안과적 조치를 통해 3D영상 시청 시 어지럼증 유발을 상당부분 제거할 수 있다. 기존의 입체시 검사 도구는 왜곡 및 실감정도를 파악할 수가 없다. 이를 세밀하게 측정할 수 있는 3D 콘텐츠 깊이 측정기를 제작하고, 이에 적합한 콘텐츠를 제작하였다. 3D 콘텐츠 깊이 측정기는 기능을 제어하는 콘트롤 부와 콘텐츠를 보여주는 컨벌젼스 룸으로 구성되어 있으며, 장비를 통해 3D 오브젝트의 깊이나 돌출거리와 같은 여러 파라메타들을 측정할 수 있다. 콘텐츠 제작에 대해선, 오브젝트의 위치는 여섯 부분으로 분류하고, 양안시차(disparity)는 $+2^{\circ}{\sim}-3^{\circ}$ 범위에 $1^{\circ}$ 간격으로 6레벨로 구성하였다. 하나의 오브젝트에 대해 서른여섯개의 오브젝트를 제작하였고, 이들의 조합을 통해 다양한 콘텐츠를 구성하도록 했다. 이를 바탕으로, 안간거리 6.5cm를 대상으로 돌출거리를 측정하였다.

• Electronics and Telecommunications Trends
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• v.24 no.5
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• pp.143-151
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• 2009

3DTV 방송은 사실감과 현장감을 내포한 콘텐츠를 획득, 압축 및 전송을 통하여 시청자가 실감 인터페이스를 이용해 상호작용을 하면서 3차원 입체 콘텐츠를 자연스럽게 몰입하여 즐기도록 하는 차세대 방송기술로서 선진 각국에서는 이미 활발한 투자와 연구를 진행하고 있으며[1] 미국, 일본 등에서는 3D 영화, 3DTV 등 관련 서비스가 상용화되기 시작하였다. 본 고에서는 3DTV의 본격적인 서비스 도입을 위하여 필수적으로 요구되는 3DTV 방송기술 표준화 및 각국 방송서비스 현황을 살펴본다.

• Proceedings of the Korean Society of Broadcast Engineers Conference
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• 2011.07a
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• pp.53-56
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• 2011

최근 3D 입체영상이 핫 이슈로 떠오르면서 관련 업계에서는 여세를 몰아 제품 개발이나 마케팅에 총력을 기울이고 있으며 방송, 영화, 게임 등에 접목하여 차세대 핵심 산업을 견인하고 있다. 특히, Post-HDTV 이후 3DTV 방송은 국내외 표준화 단체를 중심`으로 표준화 및 다양한 3DTV 실험방송 서비스가 활발히 진행되고 있다. 이를 반영하듯, 케이블 및 위성 매체기반의 상용 3DTV 방송이 서비스 중에 있으며 이를 점차 지상파에도 적용하기 위하여 각 지역 방송표준단체는 타 표준단체들과 공조를 통하여 표준화를 진행 중에 있다. 이에, 본 논문에서는 다양한 디지털방송 플랫폼에서 적용이 가능하며 종래의 디지털방송과 호환성을 유지하면서 3DTV 방송서비스를 제공하기 위한 시스템 및 시그널링 방식을 소개한다. 특히, 시그널링 부분은 지상파/케이블/위성 매체에서 스테레오스코픽 비디오를 서비스하기 위하여 공통적으로 적용되는 기술로서 국내에서는 TTA를 중심으로 현재 MPEG 국제 표준화에 참여 중에 있다.

• Journal of Broadcast Engineering
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• v.7 no.3
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• pp.211-218
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• 2002

This paper introduces the HD 3DTV camera and 3DTV receiver that are compatible with the ATSC HDTV broadcasting system. The developed 3DTV camera is based on stereoscopic techniques, and it has control function to control both left and right zoom lens simultaneously and to control the vergence. Moreover, in order to control the vergence manually and to eliminate the synchronization problem of the both images, the 3DTV camera has the 3DTV video multiplexing function to combine the left and right images into the single image. The developed 3DTV signal, and it has the various analog/digital interfaces. The performance of the developed system is confirmed by shooting the selected soccer game in 2002 FIFA KOREA/JAPANTM World Cup and by broadcasting the match. The HD 3DTV camera and receiver will be applied to the 3DTV industries such as 3D movie, 3D game, 3D image processing, 3DTV broadcasting system, and so on.

• Journal of Digital Convergence
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• v.10 no.10
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• pp.283-288
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• 2012

3D is the one of the current world in the spotlight as part of the future earnings of the business sector. Existing flat 2D and stereoscopic 3D to change the 3D shape and texture make walking along the dimension of the real world and the virtual reality world by making it feel contemporary reality of coexistence good show. 3D for the interest of the people has been spreading throughout the movie which is based on a 3D Avata. 3D TV market of the current conglomerate of changes in the market pioneer in the 3D market, further leap into the era of the upgrade was. At the same time, however, the modern man of the world, if becoming a necessity in the smartphone craze new innovation in the IT market mobile phone market and also has made. A small computer called a smartphone enough, the ripple velocity and the aftermath of the innovation of the telephone, the Internet as much as to leave many issues. Smartphone smart phone is a mobile phone that can be several functions. The current iPhone, Android. In addition to a large number of Windows Phone smartphones are released. Above the overall prospects of the future and a business service model for 3D facial expression as input avatar virtual 3D character on camera on your smartphone camera to recognize a user's emotional expressions on the face of the person is able to synthetic synthesized avatars in real-time to other mobile phone users matching, transmission, and be able to communicate in real-time sensibility fused video communication services to the development of applications.

• Cartoon and Animation Studies
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• s.20
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• pp.1-14
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• 2010

The success of a three-dimensional blockbuster movie, AVARTA, brought an public attention on the expansion of three-dimensional computer applications, and it allows experts predict further hardware technology developments to support the such applications. Futhermore, an internet based infra structure and three-dimensional structure, third generation network community, advanced computer networks have influenced advancement in computer technology within the 3D game industry and the spread of 2D computer animation technologies. This advancement of computer technologies allow the industry to overcome a limitation of generating cultural design contexts existed within 2D network community. However, despite of the expansion of 2D and 3D computer technologies, a limitation of analysing designers' intentions on morphology of digital contents and user interface still exists. Therefore, the purpose of this study is to analyze (1) present conditions of the 3D industry and (2) protocols of designers' cognitive design processes based on their design communication, contents, and tools. Analysis was conducted based on literature reviews and case precedent analyses. For the analysis, a 2D Avarta sketch character was designed and then applied into a 3D game system. Observations how designers solve cultural problem within the structure via Avarta were conducted. Outcomes were then coded for further analysis.