• Journal of the Korea Computer Graphics Society
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• v.23 no.3
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• pp.9-17
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• 2017

This study proposes a third-person virtual reality content production pipeline to provide users with a new experience and presence in a new virtual reality environment. For this purpose, we first create third-person virtual reality content, which includes a story, fun factors, and game characteristic. It consists of a tutorial scene in which a user can pre-learn the proposed interface suitable for a third person different from existing virtual reality content and a content scene that achieves its purpose by using game factors based on the background story. Next, we design an interface suitable for the third-person virtual reality content. This study proposes an interface in which users can interact with a virtual environment or object by using their hand. The proposed interface consists of three steps: character movement, virtual object selection with multiple selection, and 3D menu control using virtual space. Finally, through the survey experiment, third-person virtual reality content produced based on the proposed interface was confirmed to be easily controlled while ensuring high satisfaction.

• Journal of Digital Convergence
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• v.14 no.11
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• pp.495-500
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• 2016

Since 2016, the VR market has been on the rapid growth. The most critical and arising issue in the VR market is VR contents. That is because it is necessary to develop making techniques and various VR contents to satisfy users' immersion and interaction as much as possible. Therefore, this study focused on VR image contents, conducted domestic and foreign cases of the components of visual and auditory inducement to keep and improve immersion, and thereby tried to find a right direction of visual and auditory inducement. As a result, the visual and auditory components of visual and auditory inducement were found to be photographing, edition, lighting, stitching, graphics, effect, voice actor's narration, dubbing, character voice, background sound, and sound effect; its technical and content components were found to be photographing technique, edition technique, lighting, stitching, graphics and effect, sound and sound effect, and theatric direction based on Mise-en-Scene, lines and narration of characters, and movements of characters and objets. For VR image contents, not only visual and auditory components, but technical and content components are necessary to improve immersion. In the future, it will be necessary to continue to research them.

• Journal of the Korea Computer Graphics Society
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• v.28 no.3
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• pp.91-100
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• 2022

This study proposes the metaverse content production pipeline using ZEPETO World, one of the representative metaverse platforms in Korea. Based on the Unity 3D engine, the ZEPETO world is configured using the ZEPETO template, and the core functions of the metaverse content that enable multi-user participation such as logic, interaction, and property control are implemented through the ZEPETO script. This study utilizes the basic functions such as properties, events, and components of the ZEPETO script as well as the ZEPETO player which includes avatar loading, character movement, and camera control functions. In addition, based on ZEPETO's properties such as World Multiplayer and Client Starter, it summarizes the core synchronization process required for multiplay metaverse content production, such as object transformation, dynamic object creation, property addition, and real-time property control. Based on this, we check the proposed production pipeline by directly producing multiplay metaverse content using ZEPETO World.

• Journal of the Korea Computer Graphics Society
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• v.30 no.3
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• pp.149-158
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• 2024

Photo booths have traditionally provided a fun and easy way to capture and print photos to cherish memories. These booths allow individuals to capture their desired poses and props, sharing memories with friends and family. To enable diverse expressions, generative AI-powered photo booths have emerged. However, existing AI photo booths face challenges such as difficulty in taking group photos, inability to accurately reflect user's poses, and the challenge of applying different concepts to individual subjects. To tackle these issues, we present CINEMAPIC, a photo booth system that allows users to freely choose poses, positions, and concepts for their photos. The system workflow includes three main steps: pre-processing, generation, and post-processing to apply individualized concepts. To produce high-quality group photos, the system generates a transparent image for each character and enhances the backdrop-composited image through a small number of denoising steps. The workflow is accelerated by applying an optimized diffusion model and GPU parallelization. The system was implemented as a prototype, and its effectiveness was validated through a user study and a large-scale pilot operation involving approximately 400 users. The results showed a significant preference for the proposed system over existing methods, confirming its potential for real-world photo booth applications. The proposed CINEMAPIC photo booth is expected to lead the way in a more creative and differentiated market, with potential for widespread application in various fields.

• Archives of design research
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• v.17 no.2
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• pp.15-22
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• 2004

Recent complex visual culture is the visual world widely magnified according to the images like image, graphics, photograph, movie, and television, etc. by the development of digital technology. Because it conveys meanings and contents inserting sound and letters, it may have multimedia character conveying and communicating information beyond general language and letters. The vision for various images at that time is inseparably connected with language. And imaginative order of image and vision are composed of special way in culture and history. Language is different in society, culture, and history. Accordingly, if visual experience is communicated with language partially, it is difficult to have university. So, role of linguistic order plays an important role in forming and defining the social and cultural differences among the visual systems. Historically various visual and optical devices with this visual language have influenced a lot. These visual technologies are concrete and physical practice determining a way to get together with the subject and the visible object in the visible world. The visual language is connected with dimension like these symbols of images and the dimension like visual technologies to series of historical physical and institutional practices. It determines social visual mode toward object world in one of visual system. Accordingly, this study is to understand visual language with social and historical character according to the changed concept and characters as development of media technology. And it is to explain it in view of visual language as a dimension of symbol and visual technology of institutional and physical practice. After all, it cannot explain the effect on the function and visual mode of visual technology as its technical element only. It also cannot separate with the practice with coherent discourse and the physical and institutional practice. The possibility, technical element of technology contains, does not realize as it is but the effect is always communicated in the social veins and realized with a restriction.

• Cartoon and Animation Studies
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• s.48
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• pp.45-67
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• 2017

Many of the modern animations have 3D technology, and as time goes by, their production technology becomes more diverse and sophisticated. When John Alan Lasseter insisted on studying CG animation technology, he might have taken our jobs to the computer in the near future, as many people were worried about. It may be premature to worry that an unstable future may become a reality at this point, but I do not think there will be any difference in the fact that many animations are being produced using 3D technology. Since the Toy Story was screened in 1995, the 3D animation production technology has started to develop rapidly and now it has been elaborately developed so that it can not distinguish the part where computer graphics technology is applied from the live film. On the other hand, Disney's 2D animation part falls into the decline path because the appearance of 3D animation was perceived as a new expression technique at that time, and the efficiency of the work process was superior to the 2D animation in addition to receiving the attention from the audience. Is it necessary to accept the retrogression of 2D animation technology, reflecting the environment of the animation industry that 3D animation production technology has become mainstream in the first 20 years since the first theatrical works appeared? Since 2D animation technology has a long history and is still attractive to the audience, it is not hard to find an attempt to combine 2D and 3D animation technology. In this paper, I want to study 2D hand - drawn character in 3D animation. Through this, it is hoped that animation convergence technology will be applied more actively in the future.

• Journal of Fashion Business
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• v.2 no.1
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• pp.57-70
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• 1998

This study is aimed to research on the characteristics of domestic fashion magazines, and the problems and reforms of licensed magazines focused on the function of fashion magazines. As the result of study, the characteristics of domestic fashion magazines were as follows. 1) The inproportionte phenomenon of readership only concentrated on unmarried female readers in their 10' sand 20' s. 2) The lack of discrimination in magazine compilation. 3) The dual phenomenon of fashion magazines to distinguish the condition of magazines by the types of publication. 4) The role of magazines concentrated on information transmission and entertainment function. 5) The inproportionate phenomenon of publishers concentrated on domestic well-known magazine and paper companies. The problems of licensed fashion magazines found through practical grasp of the present condition are as follows. 1) Planning and compilation not to disclose the identity of each magazine. 2) Insufficiency of commentary articles. 3) Indiscreet planning and compilation of graphics. 4) Use of improper fashion terms and lack of explanation of specialized fashion terms. 5) Shortage and repetition of article materials. And the reform plans to the problems of licensed fashion magazines are as follows. 1) Subdivision and diversification of target market (readers' class). 2) Production of Korean view reflecting the world trend. 3) Expansion of commentary articles and commentary reports with objectivity and specialized character. However, these reform plans are not limited to licensed magazines, but may a basic methodology for improving the quality of domestic magazines.

• Journal of the Korean Society of Costume
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• v.54 no.4
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• pp.63-74
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• 2004

This study shows that clothes to be just the same as the real thing can be Produced through the third dimension computer graphics, and then presents that not only the area of fashion design can be expanded in the virtual reality field by doing the simulation of the fashion show, but also the information can be made the real time public ownership and the communication can be fulfilled smoothly. In this study, analyzing the third dimension computer graphic programs to be used much at present, Alias Wavefront Company's Maya software which was the most effective in the clothes simulation and the clothes CAD SGS OptiTex 8.7 which went well substitutive for it were used of them. The conclusions of this study that got through the work manufacture are as follows： The first, if the file manufacturing in the clothes CAD by using the computer was stored, the pattern used 3D simulation was available because it could be summoned in 3D software. The second, if the data of DXF form in Maya program was summoned, they could not be applied by Maya Cloth supported in Nurbs only because they were recognized as the DXF＿layer. So the curve along the outer lines of the pattern was drawn and Maya Cloth was applied to be possible to get the natural silhouette of clothes. The third, when the clothes were manufactured by 3D, if the draping character was applied according to the textile special quality, not only the control of textile's thickness, weight, quality feeling, and silhouette was available, but also the clothes were available to graft the special textile materials. The fourth, the natural motion of model was produced by capturing the actual model's walking action In order to produce the fashion show motion and also the dynamic fashion show was available by the angle of camera, the establishment of lighting, and etc. in the final rendering. The clothes manufactured by 3D are available to change the design by changing the materials, or by adding the details, or by utilizing the special materials on clothes. Therefore, the trial and error following at the clothes manufacture can be reduced. But the elevation of the rendering speed, the price down, the strengthening of personal security, and etc. are required.

• Journal of Broadcast Engineering
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• v.8 no.1
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• pp.63-71
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• 2003

In sport programs, real-time virtual imaging system come into notice for new technology which can compose information like team logos, scores. distances directly on playing ground, so it can compensate for the defects of general character generator. In order to synchronize graphics to camera movements, generally two method is used. One is for using sensors attached to camera moving axis and the other is for analyzing camera video itself. KBS technical research institute developed real-time sensor-based virtual imaging system 'VIVA', which uses four sensors on pan, tilt, zoom, focus axis and controls virtual graphic camera in three dimensional coordinates in real-time. In this paper, we introduce our system 'VIVA' and it's technology. For accurate camera tracking we calculated view-point movement occurred by zooming based on optical principal point variation data and we considered field of view variation not only by zoom but also by focus. We developed our system based on three dimensional graphic environment. so many useful three dimensional graphic techniques such as keyframe animation can be used. VIVA was successfully used both in Busan Asian Games and 2002 presidential election. We confirmed that it can be used not only in the field but also in the studio programs in which camera is used within more close range.

• Journal of Broadcast Engineering
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• v.7 no.1
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• pp.2-9
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• 2002

Recently. VR( Virtual Reality) applications such as virtual studio and virtual character are wifely used In TV programs. and AR( Augmented Reality) applications are also belong taken an interest increasingly. This paper introduces a virtual screen system. which Is a new AR application for broadcasting. The virtual screen system is a real-time video augmentation system by tracking a chroma-patterned moving panel. We haute recently developed a virtual screen system.'K-vision'. Our system enables the user to hold and morse a simple panel on which live video, pictures of 3D graphics images can appear. All the Images seen on the panel change In the correct perspective, according to movements of the camera and the user holding the panel, in real-time. For the purpose of tracking janet. we use some computer vision techniques such as blob analysis and feature tracking. K-vision can work well with any type of camera. requiring no special add-ons. And no need for sensor attachments to the panel. no calibration procedures required. We are using K-vision in some TV programs such as election. documentary and entertainment.