• Journal of Broadcast Engineering
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• v.27 no.2
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• pp.207-215
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• 2022

The latest volumetric technology's high geometrical accuracy and realism ensure a high degree of correspondence between the real object and the captured 3D model. Nevertheless, since the 3D model obtained in this way constitutes a sequence as a completely independent 3D model between frames, the consistency of the model surface structure (geometry) is not guaranteed for every frame, and the density of vertices is very high. It can be seen that the interconnection node (Edge) becomes very complicated. 3D models created using this technology are inherently different from models created in movie or video game production pipelines and are not suitable for direct use in applications such as real-time rendering, animation and simulation, and compression. In contrast, our method achieves consistency in the quality of the volumetric 3D model sequence by linking re-meshing, which ensures high consistency of the 3D model surface structure between frames and the gradual deformation and texture transfer through correspondence and matching of non-rigid surfaces. And It maintains the consistency of volumetric 3D model sequence quality and provides post-processing automation.

• Proceedings of the Korean Institute of Information and Commucation Sciences Conference
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• 2002.05a
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• pp.602-607
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• 2002

In this paper, we proposed an approach to efficiently compress and transmit multiresoltion 3D lariat models for multimedia and very low bit rate applications. A personal facial model is obtained by a 3D laser digitizer, and further re-quantized at several resolutions according to different scope of applications, such as animation, video game, and video conference. By deforming 2D templates to match and re-quantize a 3D digitized facial model, we obtain its compressed model. In the present study, we create hierarchical 2D lariat wireframe templates are adapted according to facial feature points and the proposed piecewise chainlet affined transformation(PACT) method. The 3D digitized model after requantization are reduced significantly without perceptual loss. Moreover the proposed multiresoulation lariat models possessed of hierarchial data structure are apt to be progressively transmitted and displayed across internet.

• Proceedings of the IEEK Conference
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• 2000.11d
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• pp.33-36
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• 2000

To create a more realistic soccer game derived from TV images, we are developing an image synthesis system that generates 3D image sequence from TV images. We propose the method for the team and the pose recognition of players in TV images. The representation includes camera calibration method, team recognition method and pose recognition method. To find the location of a player on the field, a field model is constructed and a player's field position is transformed by 4-feature points. To recognize the team information of players, we compute RGB mean values and standard deviations of a player in TV images. Finally, to recognize pose of a player, this system computes the velocity and the ratio of player(height/width). Experimental results are included to evaluate the performance of the team and the pose recognition.

• Journal of the Korea Society of Computer and Information
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• v.12 no.2 s.46
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• pp.21-28
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• 2007

The facial modeling and animation technology had been studied in computer graphics field. The facial modeling technology is utilized much in virtual reality research purpose of MPEG-4 and so on and movie, advertisement, industry field of game and so on. Therefore, the development of 3D facial model that can do interaction with human is essential to little more realistic interface. We developed realistic and convenient 3D facial modeling system that using a optional facial image only. This system allows easily fitting to optional facial image by using the Korean standard facial model (generic model). So it generates intuitively 3D facial model as controling control points elastically after fitting control points on the generic model wire to the optional facial image. We can confirm and modify the 3D facial model by movement, magnify, reduce and turning. We experimented with 30 facial images of $630{\times}630$ sizes to verify usefulness of system that developed.

• Journal of the Korea Computer Graphics Society
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• v.25 no.3
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• pp.85-92
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• 2019

A 3D virtual character playing a role in a digital story-telling has a unique style in its appearance and motion. Because the style reflects the unique personality of the character, it is very important to preserve the style and keep its consistency. However, when the character's motion is directly controlled by a user's motion who is wearing motion sensors, the unique style can be discarded. We present a novel character motion control method that uses only a small amount of animation data created only for the character to preserve the style of the character motion. Instead of machine learning approaches requiring a large amount of training data, we suggest a search-based method, which directly searches the most similar character pose from the animation data to the current user's pose. To show the usability of our method, we conducted our experiments with a character model and its animation data created by an expert designer for a virtual reality game. To prove that our method preserves well the original motion style of the character, we compared our result with the result obtained by using general human motion capture data. In addition, to show the scalability of our method, we presented experimental results with different numbers of motion sensors.

• Cartoon and Animation Studies
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• s.45
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• pp.197-214
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• 2016

Augmented Reality, virtual reality in recently attracted attention throughout the world. and Mix them mixed reality etc., it has had a significant impact on the overall pop culture beyond the scope of science and technology. The world's leading IT company : Google, Apple, Samsung, Microsoft, Sony, LG is focusing on development of AR, VR technology for the public. The many large and small companies developed VR hardware, VR software, VR content. It does not look that makes a human a human operation in the cognitive experience of certain places or situations or invisible through Specific platforms or program is Encompass a common technique that a realization of the virtual space. In particular, out of the three-dimensional image reveals the limitations of the conventional two-dimensional structure - 180, 360 degree images provided by the subjective and objective symptoms such as vision and sense of time and got participants to select it. VR technology that can significantly induce the commitment and participation is Industry as well as to the general public which leads to the attention of colostrum. It was introduced more than 10 related VR works Year 2015 Sundance Film Festival New Frontier program. The appearance VR content : medical, architecture, shopping, movies, animations. Also, 360 individuals can be produced by the camera / video sharing VR is becoming an interactive tunnel between two possible users. Nevertheless, This confusion of values, moral degeneration and the realization of a virtual space that has been pointed out that the inherent. 4K or HUD, location tracking, motion sensors, processing power, and superior 3D graphics, touch, smell, 4D technology, 3D audio technology - It developed more than ever and possible approaches to reality. Thereafter, This is because the moral degeneration, identity, generational conflict, and escapism concerns. Animation is also seeking costs in this category Reality. Despite the similarities rather it has that image, and may be the reason that the animation is pushed back to the VR content creation. However, it is focused on the game and VR technology and the platform that is entertaining, but also seek new points within the animation staying in the flat Given that eventually consist of visual images is clear that VR sought. Finally, What is the reality created in the virtual space using VR technology could be applied to the animation? So it can be seen that the common interest is research on what methods and means applied.

• Cartoon and Animation Studies
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• s.36
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• pp.493-510
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• 2014

From game consoles to TV and Hollywood films, 3D rendering technology is involved in various fields. Up until the late 90s, the computer image rendering method was rasterization that mainly used Phong Shading, and up until recently it was the go-to method for movies and film animation. In the 21st century, the quality provided by Ray Tracing and the development of Global Illumination was much more realistic and thus became popularized. However, despite its growing use in architectural rendering to the markets, Global Illumination in film animation and movies was limited due to its long render time. So, in this thesis, if one were to take the concept from each rendering method and consider it from a mathematical perspective, one could adapt the Ambient Occlusion's equation to the illumination loop equation used in rasterization. This algorithm modification has the capability to reflect the lighting of a diverse array of colors, like in Global Illumination, with a fast render time, as in rasterization, and the example RenderMan Shader is based upon this new algorithm. In conclusion, with Global Illumination's naturalistic lighting and rasterization's rendering speed, the combination of the best points of each is a new method with a short rendering time while producing good quality. I hope animations and films can benefit from this algorithm by the reduction of budget with an overall better quality output in VFX production.

• Cartoon and Animation Studies
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• s.47
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• pp.1-29
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• 2017

360-degree virtual reality has been a technology that has been available for a long time and has been actively promoted worldwide in recent years due to development of devices such as HMD (Head Mounted Display) and development of hardware for controlling and executing images of virtual reality. The production of the 360 degree VR requires a different mode of production than the traditional video production, and the matters to be considered for the user have begun to appear. Since the virtual reality image is aimed at a platform that requires enthusiasm, presence and interaction, it is necessary to have a suitable cinematography. In VR, users can freely enjoy the world created by the director and have the advantage of being able to concentrate on his interests during playing the image. However, the director had to develope and install the device what the observer could concentrate on the narrative progression and images to be delivered. Among the various methods of transmitting images, the director can use the composition of the short. In this paper, we will study how to effectively apply the technique of directing through the composition of this shot to 360 degrees virtual reality. Currently, there are no killer contents that are still dominant in the world, including inside and outside the country. In this situation, the potential of virtual reality is recognized and various images are produced. So the way of production follows the traditional image production method, and the shot composition is the same. However, in the 360 degree virtual reality, the use of the long take or blocking technique of the conventional third person view point is used as the main production configuration, and the limit of the short configuration is felt. In addition, while the viewer can interactively view the 360-degree screen using the HMD tracking, the configuration of the shot and the connection of the shot are absolutely dependent on the director like the existing cinematography. In this study, I tried to study whether the viewer can freely change the cinematography such as the composition of the shot at a user's desired time using the feature of interaction of the VR image. To do this, 3D animation was created using a game tool called Unreal Engine to construct an interactive image. Using visual scripting of Unreal Engine called blueprint, we create a device that distinguishes the true and false condition of a condition with a trigger node, which makes a variety of shorts. Through this, various direction techniques are developed and related research is expected, and it is expected to help the development of 360 degree VR image.

• Smart Media Journal
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• v.4 no.4
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• pp.111-119
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• 2015

As a variety of HMD(Head Mounted Display) has come out, the production of 3D images onto which VR(Virtual Reality) technologies are grafted has been contributed to activating the production of image contents depending on a tangible or immersing type. VR-based image contents have enlarged their applicability across the entertainment industry from animation and game to realistic images. At the same time, the solution development for producing VR image contents has also gained elasticity. However, among those production solutions which have been used until now, fixed stereo camera based photographing has a limit that the binocular disparity of a user is fixed. This does not only restrict a way of expression a producer intends to direct, but also may cause the effect of 3D or space not to be sensed enough as view condition is not considered enough in a user's side. This study is aimed at resolving with skills applying in the latter part of 3D image production the problem that convergence points may be adjusted with restriction, which tends to happen at the time of the production of VR image contents. The later stage of the 3D imaging work analyzes and applies to game engines the significance of adjusting convergence points through the visualization of binocular disparity so that it is available to implement a function that the points could be controlled at random by a user.

• Journal of Broadcast Engineering
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• v.27 no.5
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• pp.638-653
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• 2022

In this paper, we propose the new method of creating 3D virtual-human reflecting the pattern of clothes worn by the person in the high-resolution whole body front image and the body shape data about the person. To get the pattern of clothes, we proceed Instance Segmentation and clothes parsing using Cascade Mask R-CNN. After, we use Pix2Pix to blur the boundaries and estimate the background color and can get UV-Map of 3D clothes mesh proceeding UV-Map base warping. Also, we get the body shape data using SMPL-X and deform the original clothes and body mesh. With UV-Map of clothes and deformed clothes and body mesh, user finally can see the animation of 3D virtual-human reflecting user's appearance by rendering with the state-of-the game engine, i.e. Unreal Engine.