• The Korean Journal of Community Living Science
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• v.22 no.1
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• pp.53-61
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• 2011

We have made knitwear in a different way from the typical woven pattern; it does not have the dart, even for women's tops. The purpose of this research was to compare the fit and appearance of the torso pattern for circular knitted fabric between virtual try-on garments and real garments. First, a woman in her 20's was scanned by a 3D body scanner, and thus producing a virtual avatar. I prepared knit patterns and created a torso pattern appropriate for circular knitted fabric. Next, I measured the body size of the avatar. The 2D patterns for the torso and sleeves were developed using the Yuka Super ALPHA : Plus. The 3D virtual garments were made from the imported 2D patterns and were then tried on the 3D virtual avatars. Finally, the fit of the real garments and the virtual garments was compared. While the shape of the virtual try-on garments were similar to the real garments, the folding and sagging were different. This study found the length was the same as woven wear. However the actual bust size and the clothing size were the same which is not a typical characteristic of woven wear. In the case of hem measurement, more space was needed than actual body size but less space was needed than in woven patterns.

• Electronics and Telecommunications Trends
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• v.32 no.5
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• pp.39-48
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• 2017

Since the world's first 3D commercial film with red-blue glasses was introduced in 1922, remarkable progress has been made in the field of 3D video. 3D video content gained enormous popularity with the movie "Avatar," which greatly increased the sale of 3D TVs. This momentum has weakened owing to lack of 3D content. However, the recent trend of virtual reality (VR) and augmented reality (AR) made 360 VR video and 3D games using a head mounted display wide spread. All these experiences mentioned above require wearing glasses to enjoy 3D content. Super multi-view content technology, on the other hand, enables viewers to enjoy 3D content without glasses on a super multi-view display. In this article, we introduce the technologies used to make super multi-view content, interact with it, and author content, which are developed by ETRI.

• Annual Conference of KIPS
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• 2003.05a
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• pp.67-70
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• 2003

웹 브라우저로 쉽게 접근 할 수 있는, VRML과 XML을 이용한 X3D(Extensible 3D)구조를 통해 가상공간에서 인간의 움직임에 대한 체험을 하도록 하는 Humanoid를 생성해 사용자와 상호 작용할 수 있는 방법을 제안한다. 즉 X3D의 특징, X3D를 이용하여 컴퓨터 그래픽스의 화려한 영상이 사실처럼 보이는 기술인 반사효과(Reflection), 실시간 디스플레이(Compression & Reduce), 대화식의 상호작용(Interaction)통의 Web3D 기반 3D 그래픽 표현에 대한 알고리즘을 제안하고 검증할 것이다.

• 한국IT서비스학회:학술대회논문집
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• 2006.05a
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• pp.260-266
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• 2006

현재 모바일 게임시장은 2D 위주에서 3D로 변화를 모색하고 있다. 각 이동통신사들은 3D 게임과 Network 접속형 게임의 활성화를 위해 GXG, GPANG 등의 전용 서비스 사이트를 개설하고 다양하고 저렴한 월정액 요금제를 출시하는 등의 많은 노력을 보이고 있으며, 3D 지원 단말기 역시 보급속도가 점차 높아져가고 있는 추세이다. 본 논문에서는 이러한 변화된 모바일 게임 환경에 적용 가능한 육성게임을 설계 및 구현하였다. 본 연구의 육성게임은 웹과 게임서버와 클라이언트간의 연동시스템, NF3D를 이용한 3D 아바타의 생성, 그리고 육성되는 아바타의 지능성 부여 등의 특징을 가지고 있다.

• Annual Conference of KIPS
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• 2023.11a
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• pp.733-734
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• 2023

버츄얼 유튜버로서 자신의 동작을 3D 가상 캐릭터로 나타내고, SNS 에서 춤을 공유하는 경우가 많아졌다. 본 논문에서는 2D 영상에서 MediaPipe BlazePose 모델로 추정된 사람 포즈를 3D 인체 모델인 SMPL 에 피팅하여 사용자 정의 3D 모델을 생성하는 방법을 제안한다. 이를 통해 자신의 춤 영상으로 3D 모델을 생성하여 공유하거나, 기존의 춤 동영상으로 3D 모델을 생성하여 댄스 게임에 사용할 수 있다. 이처럼 본 기술은 예술 및 엔터테인먼트 분야에서 다양하게 활용될 수 있다.

• The Journal of the Korea institute of electronic communication sciences
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• v.4 no.2
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• pp.116-122
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• 2009

In this paper, we propose a new method which generates the trajectory of the mouth shape for the characters by the user inputs. It is based on the character at a basis syllable and can be suitable to the mouth shape generation. In this paper, we understand the principle of the Korean language creation and find the similarity for the form of the mouth shape and select it as a basic syllable. We also consider the articulation of this phoneme for it and create a new mouth shape trajectory and apply at face of an 3D avatar.

• The KIPS Transactions:PartA
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• v.11A no.4
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• pp.277-284
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• 2004

This paper presents a facial expression control method of 3D avatar that enables the user to select a sequence of facial frames from the facial expression space, whose level of details the user can select hierarchically. Our system creates the facial expression spare from about 2,400 captured facial frames. But because there are too many facial expressions to select from, the user faces difficulty in navigating the space. So, we visualize the space hierarchically. To partition the space into a hierarchy of subspaces, we use fuzzy clustering. In the beginning, the system creates about 11 clusters from the space of 2,400 facial expressions. The cluster centers are displayed on 2D screen and are used as candidate key frames for key frame animation. When the user zooms in (zoom is discrete), it means that the user wants to see mort details. So, the system creates more clusters for the new level of zoom-in. Every time the level of zoom-in increases, the system doubles the number of clusters. The user selects new key frames along the navigation path of the previous level. At the maximum zoom-in, the user completes facial expression control specification. At the maximum, the user can go back to previous level by zooming out, and update the navigation path. We let users use the system to control facial expression of 3D avatar, and evaluate the system based on the results.

• Proceedings of the Korean Information Science Society Conference
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• 2003.04d
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• pp.40-42
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• 2003

We implement a 3D virtual conference using IPv6 multicast protocol suites. PIM-SM(Protocol Independent Multicast-Sparse Mode) is chosen for multicast. To provide users with the virtual reality that they are actually participating in an academic conference, 3D interface is built on VRML. Various multicast activities such as join/leave of a user into/out of sessions are represented by enter/exit of corresponding avatar to maximize the "sense of presence."nce."quot;

• Proceedings of the Korean Information Science Society Conference
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• 1998.10c
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• pp.600-602
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• 1998

본 논문은 정면과 측면 얼굴 이미지의 특성을 살린 3차원 개인 아바타 합성에 관한 연구이다. 표준 얼굴 메쉬를 얼굴 이미지의 특징점에 맞추려는 힘을 특징점 이외의 점들까지의 거리에 대한 가우스 분포를 따라 부드럽게 전달시켜 매쉬를 탄성있게 변형하는 힘으로 작용시켜 메쉬를 얼굴 이미지의 윤곽선을 중심으로 매칭시키고, 매칭된 메쉬가 매칭 이전의 메쉬의 기하학적 특성을 유지할 수 있도록 메쉬에 동적 피부 모델을 적용한다. 이렇게 생성한 3차원 메쉬에 이미지를 텍스춰 매핑하여 개인 특성을 살린 3차원 개인 아바타를 생성한다.

• Journal of Broadcast Engineering
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• v.19 no.5
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• pp.569-577
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• 2014

From the year 2009, 3D Stereoscopic movies and TV have been spotlighted after the huge success of a movie called "AVATAR". Moreover, most of 3D movies & contents are created by mixing real-life shots & virtual animated pictures, such as "Robocop 3", "Transformer 4" as shown in 2014. However, the stereoscopic 3D video film shooting with a traditional stereoscopic rig camera system, takes much more time to set the rig system and adjust the system setting for proper film making which necessarily resulting in bigger cost. In fact, these problems have depreciated the success of Avatar as decreasing demand for 3D stereoscopic video shooting. In this paper, inherent problems of traditional stereoscopic rig camera system are analyzed, and as a solution for the problems, a novel implementations of single-lens optical stereoscopic 3D camera system is suggested. The new system can be implemented to a technology for separating two lights when even those lights passing through in the same optical axis. The system has advantages of adjusting the setting and taking video compared with traditional stereoscopic 3D rig systems. Furthermore, this system can acquire comfortable 3D stereoscopic video because of the good characteristics of geometrical errors. This paper will be discussed the single-lens stereoscopic 3D camera system using rolling shutters, it will be tested geometrical errors of this system. Lastly, other types of single lens stereoscopic 3D camera system are discussed to develop the promising future of this system.