• The Journal of the Korea Contents Association
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• v.11 no.9
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• pp.106-117
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• 2011

The purpose of this study is to examine factors that affect 3D stereoscopic movie audiences' satisfaction in Korea, and to provide strategic solutions to improve audiences' satisfaction. According to study about movie audiences' satisfaction, factors that affect movie audiences' satisfaction are separated to movie internal factors, movie environmental factors and movie audience factors. And leverage of movie internal factors is bigger than either. But 3D stereoscopic movie is different from ordinary movie in shooting, screening, seeing and recognizing method. So it is expected that movie environmental factors and audience factors' influence is bigger than internal factors. So this study carried out a survey targeting 3D stereoscopic audiences. Main result of this study are shown as follows. First, the method to reduce visual fatigue is necessary for satisfaction. Second, it is required that improvement method of seat arrangement to provide high quality 3D stereoscopic contents. Third, level of 3D stereoscopic movies' price need to adjust to valid level.

• The Journal of the Korea Contents Association
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• v.11 no.1
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• pp.157-164
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• 2011

Since the movie "Avatar" made world-widely a big success, people's interest to 3D stereoscopic vision has been increasing explosively. However, it is hard to predict that for how long this tremendous attention to 3D stereoscopic would last; consumers have accumulated experience and predominant consciousness from social and cultural environmental various factors. This paper, we will try to see how people interact with 3D stereo through the empirical study. Using Jannett (2009)'s immersion questionnaire, we will measure how different people get immersed while playing game in 3D stereoscopic and 2D.

• Journal of Digital Contents Society
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• v.16 no.1
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• pp.127-135
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• 2015

The development of stereoscopic display hardwares and 3D authoring softwares expands its application areas from particular virtual simulation applications to general movies, games, advertising applications. However, the binocular-based 3D stereoscopic images cause fatigue to viewers. Recent performed many research results about the binocular stereoscopy's depth perception and viewers' fatigue are derived from experimental users studies. In some results, watching and making guidelines for 3D stereoscopic imaging contents are introduced. The 3D stereoscopic-related contents have the contradictory aspects, which are audiences' pursuit of a tolerable minimum fatigue and producer's its of excessive depth changes for providing viewers' immersion. This paper provides user experiments and analysis data in aspects of 3D depth changes. For use of producers, a safety zone and translational velocity of 3D depth changes are introduced. Also, on the viewer side, we present the depth change adaptation time by using an EEG device.

• Proceedings of the Korean Society of Broadcast Engineers Conference
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• 2003.11a
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• pp.153-156
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• 2003

As there is a growing tendency to represent the 3D content instead of the 2D content, researches for the stereoscopic image and video are under way in a variety of fields such as acquisition compression, transmission, authoring and display. The authoring technique for stereoscopic contents has given emphasis to virtual stereoscopic contents. Thus the authoring technique for stereoscopic pictures is insufficient. When we compose a stereo scene with stereoscopic pictures, stereoscopic contents may not match the stereo scene because each stereoscopic picture may have different camera condition. To solve this problem, stereoscopic pictures have been modified manually. It is a laborious work and will be spent much time. Also it is difficult for a user who does not have an elementary knowledge of stereopsis. In this paper, we propose the synthesis method to compose a natural stereo scene with stereoscopic still pictures and moving pictures. Experimental results show that the proposed method in this paper allows a user to synthesize stereoscopic contents easily and compose a stereo scene conveniently.

• The Journal of the Korea Contents Association
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• v.13 no.8
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• pp.93-100
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• 2013

Works of director Robert Zemeckis have attracted much attention after the appearance of in which realistic digital characters appeared. Although he quitted animation production after , his 3D animation contributed to the 3D stereoscopic animation direction considerably. This study compared and analyzed representative 3D stereoscopic works of Robert Zemeckis with special reference to the theoretical background of 3D stereoscopic, cubic effect awareness factor using single eye sight and dual eye sight and matters of consideration in the direction of 3D stereoscopic image. This study also examined an expression method used in his works to improve cubic effects focusing on and .

• Journal of Information Display
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• v.12 no.3
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• pp.159-165
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• 2011

This research entailed the production of stereoscopic 3D (S3D) contents using 2D-to-S3D conversion for exhibition at a museum and subjective evaluation. Hybrid production combining S3D images of existing live-action videos using the 2D-to-S3D conversion technology and computer graphic ones created via stereo rendering was conducted. Design and control of the chronological analysis of the parallactic angle was conducted on the produced contents, using binocular information as well as subjective evaluations, with the intent of conducting an investigation on the characteristics of such contents from the perspectives of the producers and viewers. An investigation was also conducted on the effects of the viewing position on the impressions of the S3D images.

• Journal of Broadcast Engineering
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• v.15 no.6
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• pp.723-730
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• 2010

Recently, diverse 3D image processing technologies have been applied in industries. Among them, stereoscopic conversion is a technology to generate a stereoscopic image from a conventional 2D image. The technology can be applied to movie and broadcasting contents and the viewer can watch 3D stereoscopic contents. Further the stereoscopic conversion is required to be applied to other fields. Following such trend, the aim of this paper is to apply the stereoscopic conversion to medical fields. The medical images can deliver more detailed 3D information with a stereoscopic image compared with a 2D plane image. This paper presents a novel methodology for converting a 2D medical image into a 3D stereoscopic image. For this, mean shift segmentation, edge detection, intensity analysis, etc are utilized to generate a final depth map. From an image and the depth map, left and right images are constructed. In the experiment, the proposed method is performed on a medical image such as CT (Computed Tomograpy). The stereoscopic image displayed on a 3D monitor shows a satisfactory performance.

• Journal of Broadcast Engineering
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• v.17 no.2
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• pp.207-222
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• 2012

Recently, many consumer electronics manufacturers have produced 3D devices such as 3DTVs and 3D monitors as interests in a stereoscopic video service are getting increased. However, most of 3D services are focused on local storage or bandwidth guaranteed service since 3D stereoscopic video service require bandwidth more stable and larger. This property causes difficulties in seamless stereoscopic video streaming services under IP based open network environment that cannot guarantee quality of services. In order to achieve a seamless video streaming service the international standard organization MPEG (Moving Pictures Experts Group) has developed the adaptive HTTP streaming technology called as DASH (Dynamic Adaptive Streaming over HTTP). However, the DASH doesn't have obvious scheme which can express the two elementary video streams based service-compatible stereoscopic contents in one segment. Therefore, this paper proposes a scheme of efficient 3D adaptive streaming service based on the DASH, which covers not only frame-packing stereoscopic contents but also service-compatible ones. The 3D adaptive HTTP streaming scheme introduced in this paper is able to provide 3D contents with various qualities to user and also has benefit that single 3D content can be applied to a variety of devices.

• 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.

• Journal of Broadcast Engineering
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• v.19 no.2
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• pp.205-214
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• 2014

Minimization of visual fatigue is important for production of high quality stereoscopic 3D contents. Vertical disparity of stereo images occurred during contents production is considered as the main factor of visual fatigue. To ensure correct stereoscopy vertical disparity needs to be eliminated. In this paper, a method for automated image alignment was proposed for Stereoscopic 3D contents generation and post-processing steps. The proposed method consists of two parts: rectification for image alignment and camera motion detection. The proposed method showed that its rectification performance was the most superior among the existing methods tested and that camera motion detection had a success rate of 98.35%. Through these evaluations, we confirmed that the proposed method can be effectively applied to 3D contents production.