• Title/Summary/Keyword: 3D Computer Animation

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Simulation and Three-dimensional Animation of Skipjack Behavior as Capture Process during Purse Seining

  • Kim, Yong-Hae;Park, Myeong-Chul;Ha, Suk-Wun
    • Fisheries and Aquatic Sciences
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    • v.11 no.2
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    • pp.113-123
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    • 2008
  • We modeled fish school movements as a capture process in relation to the purse seine method using the three steps of the stimulus-response process (i.e., input stimuli, central decision-making and output reaction). Input stimuli of the model were categorized as either physical stimuli such as visual stimulus, sound stimulus, water flow, and weather or as biological stimuli such as species and size, swimming performance, sensual sensitivity, and presence of prey or predators. The output process determining the spatial orientation of the fish school for 3-D movements was based on swimming speed and angular change in the fish response, and these movements were animated as the relative geometry between the fish school and the purse seine. Simulations were carried out for skipjack tuna (Katsuwonus pelamis) schools reacting to a pelagic purse seine in the southwest Pacific Ocean. Simulation results showed that escape ratios varied from 20 to 70% by the relevant ranges in the stimulus-response thresholds, swimming speeds, and angular changes of fish schools were similar to those observed in the field. Therefore, with knowledge of relevant parameters, this model can be used to predict capture and escape probabilities of purse seine operations for different fish species or conditions.

Analysis of Caustics Effect for Photo-Realistic Rendering in 3D Data (3D Data의 사실적 렌더링을 위한 Caustics 효과 분석)

  • Kim Jong-Seo;You Kang-Soo;Kwak Hoon-Sung
    • The Journal of the Korea Contents Association
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    • v.6 no.8
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    • pp.175-183
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    • 2006
  • In computer graphics, according as the rapid development of hardware can realize high-resolution image on the monitor, the more natural and accurate rendering skill is needed gradually, and the studies about high-level rendering algorithm are processing. There are two types in rendering skill. The one is photo-realistic rendering to realize accurate image like photos and the other is real-time rendering to realize rapid real-time render. This paper includes caustics expression about lights and materials of several photo-realistic rendering skills. First this paper analyzes how caustics is used and expressed in movies, and further realizes caustics effect using real renderer. This paper examines objective criterion and capability of plug-in through the objective experiment of renderer. Also this paper analyzes using environment on variables for caustics effect realization. The experimental results can be applied to many rendering works as useful data, and can be used as data to understand characteristic and capability.

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Fish Schooling Behavior Modeler (Fish 군중행동 모델러)

  • Kim, Jong-Chan;Ban, Kyeong-Jin;Kim, Eung-Kon
    • Proceedings of the Korea Contents Association Conference
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    • 2006.05a
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    • pp.517-520
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    • 2006
  • Crowd behavioral scenes in virtual underwater world are presented in many entertainments such as films and games. According to the increase of digital films and animations caused by the development of computer graphics, it is easy for us to meet with the cyber characters in those scenes. Characters which appear in computer animation put life into virtual world. The more characters we have in this virtual space, the deeper we are immersed in the space. There were many researches which processed the crowd scene and implemented the crowd behavior system in Korea. They were related to developing VR contents which were available to feel actually in the construction of the virtual environment. But they are far from reaching the step to put to practical use in developing the crowd behavior modeler. Therefore, we suggestion the fish schooling behavior modeler that provides interaction and action behavior in 3D object to present vividly and effectively in underwater world.

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Searching Human Motion Data by Sketching 3D Trajectories (3차원 이동 궤적 묘사를 통한 인간 동작 데이터 검색)

  • Lee, Kang Hoon
    • Journal of the Korea Computer Graphics Society
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    • v.19 no.2
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    • pp.1-8
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    • 2013
  • Captured human motion data has been widely utilized for understanding the mechanism of human motion and synthesizing the animation of virtual characters. Searching for desired motions from given motion data is an important prerequisite of analyzing and editing those selected motions. This paper presents a new method of content-based motion retrieval without the need of additional metadata such as keywords. While existing search methods have focused on skeletal configurations of body pose or planar trajectories of locomotion, our method receives a three-dimensional trajectory as its input query and retrieves a set of motion intervals in which the trajectories of body parts such as hands, foods, and pelvis are similar to the input trajectory. In order to allow the user to intuitively sketch spatial trajectories, we used the Leap Motion controller that can precisely trace finger movements as the input device for our experiments. We have evaluated the effectiveness of our approach by conducting a user study in which the users search for dozens of pre-selected motions from baseketball motion data including a variety of moves such as dribbling and shooting.

Beginnings of Mixed Reality : 20th Century Visual and Interactive Art (혼합현실의 단초 - 20세기 영상예술과 인터랙티브 아트를 중심으로)

  • Kim, Hee-Young
    • 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.

Design and Realization of Stereo Vision Module For 3D Facial Expression Tracking (3차원 얼굴 표정 추적을 위한 스테레오 시각 모듈 설계 및 구현)

  • Lee, Mun-Hee;Kim, Kyong-Sok
    • Journal of Broadcast Engineering
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    • v.11 no.4 s.33
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    • pp.533-540
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    • 2006
  • In this study we propose to use a facial motion capture technique to track facial motions and expressions effectively by using the stereo vision module, which has two CMOS IMAGE SENSORS. In the proposed tracking algorithm, a center point tracking technique and correlation tracking technique, based on neural networks, were used. Experimental results show that the two tracking techniques using stereo vision motion capture are able to track general face expressions at a 95.6% and 99.6% success rate, for 15 frames and 30 frames, respectively. However, the tracking success rates(82.7%,99.1%) of the center point tracking technique was far higher than those(78.7%,92.7%) of the correlation tracking technique, when lips trembled.

Study on 3D Printer Suitable for Character Merchandise Production Training (캐릭터 상품 제작 교육에 적합한 3D프린터 연구)

  • Kwon, Dong-Hyun
    • Cartoon and Animation Studies
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    • s.41
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    • pp.455-486
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    • 2015
  • The 3D printing technology, which started from the patent registration in 1986, was a technology that did not attract attention other than from some companies, due to the lack of awareness at the time. However, today, as expiring patents are appearing after the passage of 20 years, the price of 3D printers have decreased to the level of allowing purchase by individuals and the technology is attracting attention from industries, in addition to the general public, such as by naturally accepting 3D and to share 3D data, based on the generalization of online information exchange and improvement of computer performance. The production capability of 3D printers, which is based on digital data enabling digital transmission and revision and supplementation or production manufacturing not requiring molding, may provide a groundbreaking change to the process of manufacturing, and may attain the same effect in the character merchandise sector. Using a 3D printer is becoming a necessity in various figure merchandise productions which are in the forefront of the kidult culture that is recently gaining attention, and when predicting the demand by the industrial sites related to such character merchandise and when considering the more inexpensive price due to the expiration of patents and sharing of technology, expanding opportunities and sectors of employment and cultivating manpower that are able to engage in further creative work seems as a must, by introducing education courses cultivating manpower that can utilize 3D printers at the education field. However, there are limits in the information that can be obtained when seeking to introduce 3D printers in school education. Because the press or information media only mentions general information, such as the growth of the industrial size or prosperous future value of 3D printers, the research level of the academic world also remains at the level of organizing contents in an introductory level, such as by analyzing data on industrial size, analyzing the applicable scope in the industry, or introducing the printing technology. Such lack of information gives rise to problems at the education site. There would be no choice but to incur temporal and opportunity expenses, since the technology would only be able to be used after going through trials and errors, by first introducing the technology without examining the actual information, such as through comparing the strengths and weaknesses. In particular, if an expensive equipment introduced does not suit the features of school education, the loss costs would be significant. This research targeted general users without a technology-related basis, instead of specialists. By comparing the strengths and weaknesses and analyzing the problems and matters requiring notice upon use, pursuant to the representative technologies, instead of merely introducing the 3D printer technology as had been done previously, this research sought to explain the types of features that a 3D printer should have, in particular, when required in education relating to the development of figure merchandise as an optional cultural contents at cartoon-related departments, and sought to provide information that can be of practical help when seeking to provide education using 3D printers in the future. In the main body, the technologies were explained by making a classification based on a new perspective, such as the buttress method, types of materials, two-dimensional printing method, and three-dimensional printing method. The reason for selecting such different classification method was to easily allow mutual comparison of the practical problems upon use. In conclusion, the most suitable 3D printer was selected as the printer in the FDM method, which is comparatively cheap and requires low repair and maintenance cost and low materials expenses, although rather insufficient in the quality of outputs, and a recommendation was made, in addition, to select an entity that is supportive in providing technical support.

Interactive Simulation between Rigid body and Fluid using Simplified Fluid-Surface Model (간략화된 유체 표면모델을 이용한 강체와 유체의 상호작용 시뮬레이션)

  • Kim, Eun-Ju
    • Journal of Korea Multimedia Society
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    • v.12 no.2
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    • pp.323-328
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    • 2009
  • Natural Phenomena are simulated to make computer users feel verisimilitude and be immersed in games or virtual reality. The important factor in simulating fluid such as water or sea using 3D rendering technology in games or virtual reality is real-time interaction and reality. There are many difficulties in simulating fluid models because it is controlled by many equations of each specific situation and many parameter values. In addition, it needs a lot of time in processing physically-based simulation. In this paper, I suggest simplified fluid-surface model in order to represent interaction between rigid body and fluid, and it can make faster simulation by improved processing. Also, I show movement of fluid surface which is come from collision of rigid body caused by reaction of fluid in representing interaction between rigid body and fluid surface. This natural fluid-surface model suggested in this paper is represented realistically in real-time using fluid dynamics veri similarly. And the fluid-surface model will be applicable in games or animation by realizing it for PC environment to interact with this.

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Stereoscopic Contents Production Workflow Based on Nonlinear Editing (비선형 편집기반의 입체영상 제작 흐름에 관한 연구)

  • Kim, Chul-Hyun;Paik, Joon-Ki
    • Journal of Broadcast Engineering
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    • v.15 no.3
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    • pp.391-406
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    • 2010
  • Digital cinema based on digital master distribution increases with stereoscopic film as the center. DCI specification V1.0 announced at 2004, it considerates stereoscopic film screening. And now, the Society of Motion Picture and Television Engineers is establishing a task force to define the standards of a stereoscopic contents viewed in the home. Today, most Hollywood commercial stereoscopic film features animation using computer graphic. However, considering film making characteristic, stereoscopic digital cinema is required shooting in real world and editing, screening. This paper presents possibility of stereoscopic examination at NLE in the stereoscopic workflow. And we will propose new stereoscopic digital cinema workflow to apply the stereoscopic examination. Based on experimental results, the 3D ready television using 120Hz has some obstacles for contents editing, but most domestic stereoscopic monitor using circular polarization is possible for successful editing.

VR media aesthetics due to the evolution of visual media (시각 미디어의 진화에 따른 VR 매체 미학)

  • Lee, Dong-Eun;Son, Chang-Min
    • Cartoon and Animation Studies
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    • s.49
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    • pp.633-649
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    • 2017
  • The purpose of this study is to conceptualize the changing aspects of human freedom of observation and viewing as the visual media evolves from film to 3D stereoscopic film and VR. The purpose of this study is to conceptualize the aspect of freedom and viewing aspect from the viewpoint of genealogy. In addition, I will identify the media aesthetic characteristics of VR and identify the identity and ontology of VR. Media has evolved around the most artificial sense of human being. There is a third visual space called screen at the center of all the reproduction devices centering on visual media such as painting, film, television, and computer. In particular, movies, television, and video screens, which are media that reproduce moving images, pursue perfect fantasy and visual satisfaction while controlling the movement of the audience. A mobilized virtual gaze was secured on the assumption of the floating nature of the so-called viewers. The audience sees a cinematic illusion with a view while seated in a fixed seat in a floating posture. They accept passive, passive, and passively without a doubt the fantasy world beyond the screen. But with the advent of digital paradigm, the evolution of visual media creates a big change in the tradition of reproduction media. 3D stereoscopic film predicted the extinction of the fourth wall, the fourth wall. The audience is no longer sitting in a fixed seat and only staring at the front. The Z-axis appearance of the 3D stereoscopic image reorganizes the space of the story. The viewer's gaze also extends from 'front' to 'top, bottom, left, right' and even 'front and back'. It also transforms the passive audience into an active, interactive, and experiential subject by placing viewers between images. Going one step further, the visual media, which entered the VR era, give freedom to the body of the captive audience. VR secures the possibility of movement of visitors and simultaneously coexists with virtual space and physical space. Therefore, the audience of the VR contents acquires an integrated identity on the premise of participation and movement. It is not a so-called representation but a perfection of the aesthetic system by reconstructing the space of fantasy while inheriting the simulation tradition of the screen.