• Journal of the Korean Society for Computer Game
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• v.31 no.4
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• pp.61-70
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• 2018

In this paper, we propose a synchronized playback method of 3D reference model and video by extracting golf swing information from learner's golf video to precisely compare and analyze each motion in each position and time in the golf swing, and present the implementation result. In order to synchronize the 3D model with the learner's swing video, the learner's golf swing movie is first photographed and relative time information is extracted from the photographed video according to the position of the golf club from the address posture to the finishing posture. Through applying time information from learners' swing video to a 3D reference model that rigs the motion information of a pro-golfer's captured swing motion at 120 frames per second through high-quality motion capture equipment into a 3D model and by synchronizing the 3D reference model with the learner's swing video, the learner can correct or learn his / her posture by precisely comparing his or her posture with the reference model at each position of the golf swing. Synchronized playback can be used to improve the functionality of manually adjusting system for comparing and analyzing the reference model and learner's golf swing. Except for the part where the image processing technology that detects each position of the golf posture is applied, It is expected that the method of automatically extracting the time information of each location from the video and of synchronized playback can be extended to general life sports field.

• Journal of the Korea Computer Graphics Society
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• v.27 no.1
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• pp.9-17
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• 2021

In this paper, we present a simple and fast supervised learning framework based on model predictive control so as to learn motion controllers for a physic-based character to track given example motions. The proposed framework is composed of two components: training data generation and offline learning. Given an example motion, the former component stochastically controls the character motion with an optimal controller while repeatedly updating the controller for tracking the example motion through model predictive control over a time window from the current state of the character to a near future state. The repeated update of the optimal controller and the stochastic control make it possible to effectively explore various states that the character may have while mimicking the example motion and collect useful training data for supervised learning. Once all the training data is generated, the latter component normalizes the data to remove the disparity for magnitude and units inherent in the data and trains an artificial neural network with a simple architecture for a controller. The experimental results for walking and running motions demonstrate how effectively and fast the proposed framework produces physics-based motion controllers.

• Cartoon and Animation Studies
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• s.30
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• pp.169-199
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• 2013

In various directions of cartoon, vertical stroll direction is opposite to the page direction of existing published cartoon with the popularity of webtoon and established new genre. Lots of studies on published cartoon focus on the cut direction by page, but webtoon doesn't have any concept of page. The pivot of cartoon oriented people is changed from paper to computer monitor as times go by, characteristics of media are changed and media is gradually diversified. Like the strengthening of mobile caused by smart phone's popularity, tablet PC's propagation in public education, etc. cartoon is included to the environment of media which is rapidly changed. In this situation, one of cartoon's unchanged important identities can be the direction made by harmony between picture and text. This thesis analyzed symbolic characteristics and effective value of hyogwatae, mimetic words of cartoon, focusing on works of Heo, Young Man. Hyogwatae just delivers not only sound but also shape, feeling, status, etc. and has significant characteristics by invoking the imaginary structure of literature. Strengths of modern Korean, various linguistic expressions and syllabic systems, let people feel minute feeling of language and difference of emotion and remember the memory through the direct and indirect experiences, so it makes it nuance. Because of the characteristics, representative works of Heo, Young Man have commercialization and writer characteristics, have communicated with people for a long time and have plentiful knowledge of Korean cartoon. The characteristics of hyogwatae in Heo, Young Man's cartoon make a lot of effects for the expression and delivery of cartoon more than the general expectation. When conducting the study focusing on the symbolic process of language, uncertainty and vague standard of judgement caused by the wide factors of study on the direction of general cartoon could be endured. And, through the Heo, Young Man's deep analysis on hyogwatae's direction, readers enjoy the process while inferring actually and intellectually between pictures and sentences. In the process, the equipment stimulating imagination more than pictures, effects and dialogues is hyogwatae. It's reader's equipment of active participation and its strength is symbolic structure.

• 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.

• Journal of KIISE:Computing Practices and Letters
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• v.6 no.5
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• pp.513-527
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• 2000

This paper describes our experience to design and implementation of a collaborative system framework that allows to develop certain collaborative applications such as 3D animation, computer game, and industrial design. The collaborative system enables users, who located in geographically long distance, to do collaborative work in a single virtual space. The proposed system basically consists of client and server system. The goal of proposed system is to support scalability, portability, and platform independent. In order to achieve these, the server is implemented in Java platform and is adopted to the hybrid architecture which takes the advantages both in centralized and decentralized collaborative system. We construct the server base on its functional characteristics so called User Manager Server (UMS), Session Manager Server (SMS), and Information Server (IS), The UMS manages the users who are taking part in the collaborative operations. The SMS supports the conferencing in the proposed system. The IS provides the connection methods among the UMSs. For user's convenience, we implement the client using Visual C++ in Windows. We also expend the functions of 3D Studio Max to distributed environment by means of the plug-in module, and facilitate the chatting and white board functions as well.

• Journal of Korea Multimedia Society
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• v.10 no.10
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• pp.1310-1318
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• 2007

First of all, What was the modeling technique used to model 3D-Game character? It's a technique developed along several years, by experience... here is the bases Low polygons characters I always work in low polygon for two reasons -You can easily modify a low-poly character, change shapes, make morph for facial expressions etc -You can easily animate a low-poly character When the modeling is finished, Second, In these days, Computer hardware technologies have been bring about that expansion of various 3D digital motion pictured information and development. 3D digital techniques can be used to be diversity in Animation, Virtual-Reality, Movie, Advertisement, Game and so on. Besides, as computing power has been better and higher, the development of 3D Animations and Character are required gradually. In order to satisfy the requirement, Research about how to make 3D Game modeling that represents Character's emotions, sensibilities, is beginning to set its appearance. 3D characters in 3D Games are the core for the communications of emotion and the informations through their facial expression and characteristic motions, Sounds to Users. All concerning about 3D motion and facial expression are getting higher with extension of frequency in use. Therefore, in this study we suggest the effective method of modeling for 3D character and which are based on 2D Graphics.

• The Journal of the Korea Contents Association
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• v.11 no.1
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• pp.50-55
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• 2011

This paper describes methodology which enables user in order to play multiplex channel media at realtime to augment a various advertisement effect efficiently. This method implemented from the computer environment where DirectX SDK, DirectShow and MS Visual Studio 2008 etc. are established. This media player have or hide the menu interface for reads the media. The experimental data which are used in the media player is mostly video. We added the area where has the function of Banner Ticker and GIF Animation in the media player in order augmenting an advertisement effect. All medias come to separate with video and audio by Splitter. Then that respectively execute Decoder and Render. Also the media player are possible video mixing using an alpha channel. This paper used VMR-9 of DirectShow for this. The player which sees to use multiplex channel, to remake the various medias simultaneously. Therefore, this player which sees advertisement effect of the form which is various positively in the users, has the advantage which is the possibility to recognize. This paper use tried the media player using experimental data and compare the existing media player and the media player which proposes from functional differences for an advertisement effect.

• Journal of KIISE:Computing Practices and Letters
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• v.7 no.5
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• pp.498-509
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• 2001

Collaborative systems allow users, who may be far removed from each other geographically, to do collaborative work such as 3D animation, computer game, and industrial design in a single virtual space. This paper describes our experience to develop a collaborative system framework that aims at expanding the some functions of a stand-alone visual modeling tool, called 3D Studio Max, into those of the distributed collaborative working environments. The paper mainly deals with design and implementation of a 3D shared-object Plug-In with respect to the 3D Studio Max Plug-In Software Development Kit in the distributed collaborative system developed by the authors. There are two major functions of the proposed scheme; one is to write 3D object-information to the shared memory after extracting it from the 3D Studio Max, the other is to create 3D objects after retrieving them from the shared memory. Also, the proposed scheme provides a simple way of storing 3D objects that have variable size, by means of shared memory which located in between the collaborative system clients and 3D studio Max. One of the remarkable virtures of the Plug-In is to reduce a considerable amount of shared object data which in consequence can mitigate the network overhead. This can be achieved by the fact that the system is able to extract a minimum amount of 3D objects that are required to transmit. Also, using the proposed scheme, user can facilitate 3D Studio Max into distributed collaborative working environments. This, in consequence give many benefits such as saving time as well as eliminating space constraints in the course of 3D modeling when we are under industrial design process.

• Journal of KIISE:Software and Applications
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• v.30 no.11
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• pp.1080-1091
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• 2003

Recently, the distance education has been rapidly proliferated with the rapid growth of the Internet and high speed networks. There has been relatively much research with regard to online lecture (teaching and studying) tools for the distance education, compared to the virtual laboratory tools (for self-study and experiments). In this paper, we design and implement a web-based simulation tool, named as SimDraw, for the virtual laboratory in the distance education. To apply the web-based simulation technology into the distance education, some requirements should be met; firstly, the user interface of the simulation should be very easy for students. Secondly, the simulation should be very portable to be run on various computer systems of remote students. Finally, the simulation program on remote computers should be very thin so that students can easily install the program onto their computers. To meet these requirements, SimDraw adopts the client/server architecture; the client program contains only model development and animation functions so that no installation of a client program onto student's system is required, and it can be implemented by a Java applet in Web browsers. The server program supports client programs by offering the functions such as remote compiling, model storing, library management, and user management. For the evaluation of SimDraw, we show the simulation process using the example experimentation of the RIP(Routing Information Protocol) Internet routing protocol.

• Cross-Cultural Studies
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• v.19
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• pp.39-77
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• 2010

The cinema of Peter Greenaway has consistently engaged questions of the relationship between the arts and particularly the relations of image and writing to cinema. When different types of images are correlated and merged with each other on the borders of painting, photography, film, video and computer animation, the interrelationships of the distinct elements cause a shift in the notion of the whole image. This analysis proposes to articulate the complex relationship between the 'interartial' dimension and the 'intermedial' dimension in Peter Greenaway's film, (1991). If the interartiality is interested in the interaction between various arts, including the transition from one to another, the intermediality articulates the same type of relationship between two or more media. The interactional relationship is the same on both sides; on the contrary, the relationship between art and media does not show the same symmetry. All art is based on one or more media - the media is a condition existence of art - but no art can't be reduced to the status of media. This suggests that if the interartiality always involves the intermediality, this proposal may not be reversed. First, we analyse a self-conscious investigation into digital art and technology. Prosospero's Books can be read as a daring visual essay that self-consciously investigates the technical and philosophical functions of letters, books, images, animated paintings, digital arts, and the other magical illusions, which have been modern or will be post-modern media to represent the world. Greenaway uses both conventional film techniques and the resources of high-definition television to layer image upon image, superimposing a second or third frame within his frame. Greenaway uses the frame-within-frame as the cinematic equivalent of Shakespeare's paly-within-play : it offer him the possibility to analyse the work of art/artist/spectator relationship. Secondly, we analyse the relationship between the written word, oral word and the books. Like the written word, the oral word changes into a visual image: The linguistic richness and nuances of Shakeaspeare's characters turn into the powerful and authoritative, but monotone, voices of Gielgud-Prospero, who speaks the Shakespearean lines aloud, shaping the characters so powerfully through his worlds that they are conjured before us. Specially each book is placed over the frame of the play's action, only partially covering the image, so that it gives virtually every frame at least two space-time orientations. Thirdly, we try to show how Peter Greenaway uses pictorial references in order to illustrate the context of the Renaissance as well as pictorial techniques and language in order to question the nature of artistic representation. For exemple, The storm is visualised through reference to Botticelli's : the storm of papers swirling around the library is constructed to look like a facsimili copy of Michelangelo's Laurentiana Library in Florence. Greenaway's modern mannerism consists in imposing his own aesthetic vision and his questioning of art beyond the play's meta-theatricality: in other words, Shakespeare''s text has been adapted without being betrayed.