• Journal of Korea Multimedia Society
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• v.24 no.4
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• pp.601-609
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• 2021

This article combines literature and empirical research based on space perception theory and the case study of mixed reality game "The Fragment." It is concluded that the mixed reality scene under space perception has a three-level visual definition. This definition carries out a corresponding level analysis of the scenes of the "The Fragment" game and draws up the constituent factors of the mixed reality game scene characteristics. Finally, through questionnaire data investigation and analysis, it is verified that the three factors of virtual reality coexistence, human-computer interaction, and local serviceability can better explain the characteristics of mixed reality game scenes. At the end of the study, it is concluded that the definition of three levels of visual hierarchy and the constituent factors of mixed reality game scenes can provide reference and help for other mixed-reality game designs and a brief description of future research plans.

• Journal of Korea Game Society
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• v.14 no.5
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• pp.137-146
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• 2014

Recently, the games on the market are getting rich and excellent in the category of design and productions. The style and production quality of cut-scenes also have achieved a continuous development, so how to stand out from multiple designs and gain popularity always acts as a challenge to designers. However, such design strategy up to developers will be failed to judge whether or not design achievements are loved by players and thus cannot meet rapidly changing market demands on both in a quantity and quality. Therefore, this study holds that cut-scene design for video games must set out from user-centered design(UCD). According to literatures with respect to product market, we know that Market Pull imposes far more impacts on success in bringing new products to the market than the technology Push, hence players actually determines the success of a game in competitive game market. This study will help to enhance the immersion of playing game, including the interest and standing out the designer's message without distorting the original impression in the game publishing environment.

• Journal of Game and Entertainment
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• v.1 no.1
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• pp.31-38
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• 2005

Correct flow of various game manufacture among the justice which is used at the game development. and The understanding about the manufacture regards we making rather correct game. We justice understanding which we are correct in the image manufacture to become the reason air control of the game and We put the center in a 3B game image manufacture understanding. we are marked in maneuvered the game in actual game good. The image of the back of Cut Scene which is inserted at an opeuning incomparableness event time, we have been produced in this method. The thing which a 3D game image is utilized in a special effectiveness image though it is different from the game in the theater movie, we are the graphic which a game manufacture o'clock must be considered. The reason air control which the game player Is rather correct, we are regarded we offer the reason to immerse with his game.

• Cartoon and Animation Studies
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• s.36
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• pp.573-592
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• 2014

Following rapid development of software and hardware technologies and increasing enhancement in arithmetic capability, there are more and more content that can be accommodated and processed in video games, which is also increasingly complex and fine. Cutscene as a main narrative method have been developed, which have become necessary to express some key plots and important scenarios in games. Good cutscene can strengthen engagement of players with virtual world in games and make players share affection and sorrow with roles in games; while badly-designed cut-scene or overused cut-scene will impair immersion of players and affect players' gaming experience; for this reason, developers should not continue cut-scene design just from opinions of designers nor make players passive receivers, instead, they should reduce as much as possible interruption by cut-scene to players' immersion and grant players with better immersion. After all, only designs depending on demands and preferences of players by having some knowledge of impacts of cut-scene on players' immersion can be accepted by players.

• Proceedings of the Korean Institute of Information and Commucation Sciences Conference
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• 2010.05a
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• pp.324-327
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• 2010

This article has briefed some important roles Scene Design plays in cartoon games (CG). Then it analyzes some fundamental principles of Scene Design in CG. It also discusses how to produce a suitable scene by centering on the theme and images in CG, and how to create appropriate ambience by making good use of Scene Design. Finally it introduces some frequently-used software for digital scene design.

• The Transactions of the Korea Information Processing Society
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• v.6 no.10
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• pp.2630-2641
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• 1999

Most of the previous game development has proceeded in the approaches of the temporal-oriented synchronization because of producing game objects by using general authoring tools, and ad hoc or trial and error methods has been devised for representation of spatial concept. This paper is a study on the unification notation for spatio-temporal synchronization to conquest this fault. First of all, we classify game space as temporal object, spatial object, absolute/relative spatio-temporal space. The spatio-temporal relationships are divided into temporal extent, temporal location, spatial extent, and spatial location. In the paper the temporal and spatial relationships of game scene are defined to represent the synchronization, and we propose new unification notation by temporal and spatial concept to represent two concepts putting emphasis on space. Their relationships are presented on 3D by creating time axis related with time in scene unit of the two dimensional plane in the pivot on space. The usability of this representation method are shown by applying examples of game scenario.

• Journal of the Korea Society of Computer and Information
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• v.26 no.8
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• pp.31-37
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• 2021

In this paper, we propose a method to effectively search by automatically classifying scenes in which specific images such as pitching or swing appear in baseball game images using a CNN(Convolution Neural Network) model. In addition, we propose a video scene search system that links the classification results of specific motions and game records. In order to test the efficiency of the proposed system, an experiment was conducted to classify the Korean professional baseball game videos from 2018 to 2019 by specific scenes. In an experiment to classify pitching scenes in baseball game images, the accuracy was about 90% for each game. And in the video scene search experiment linking the game record by extracting the scoreboard included in the game video, the accuracy was about 80% for each game. It is expected that the results of this study can be used effectively to establish strategies for improving performance by systematically analyzing past game images in Korean professional baseball games.

• Journal of Information Technology Applications and Management
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• v.28 no.6
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• pp.133-143
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• 2021

Unity's Cinemachine, one of the game production technologies, can produce 3D images. However, since Cinemachine is a game production tool, video creators may find it difficult because the work process of Cinemachine is unfamiliar and complicated. However, it is necessary to learn new technologies for the future of video contents that will be advanced in the future. In order to understand Chinemachine as a video producer, I would like to embody the scene of the movie. We are going to produce a storyboard scene for storytelling in Cinemachine. We defined the workflow of Unity Cinemachine while directing the scene by creating a story, and also checked the advantages and cautions. I hope it will be an opportunity to enjoy using Unity Cinemachine, which is constantly evolving.

• Journal of Korea Multimedia Society
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• v.14 no.7
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• pp.849-857
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• 2011

Gaming on demand(GOD) makes people enjoy games by encoding and transmitting game screen at a server side, and decoding the video at a client side. In this paper, we propose a fast game video encoder for multiple users over network with low-powered devices. In the proposed system, the computational complexity of game encoders is reduced by using scene descriptors, which consists of an object motion vector, global motion, and scene change. With additional information from game engines, the proposed encoder does not need to perform various complexity processes such as motion estimation and ratedistortion optimization. The motion estimation and rate-distortion optimization skipped by scene descriptors. We found that the proposed method improved 192 % in terms of FPS, compared with x264 software. With partial assembly code, we also improved coding speed by 86 % in terms of FPS. We found that the proposed fast encoder could encode over 60 FPS for real-time GOD applications.

• Journal of Korea Game Society
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• v.14 no.6
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• pp.29-38
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• 2014

In the large scale indoor 3D game scenes, the data amount of potentially visible set (PVS) which pre-computes the information of occlusion culling can be huge. However, the large part of them can be represented as zero. In this paper, the effective hardware structure is designed, which compresses PVS data as the way of zero run length encoding (ZRLE) during building the scene trees of 3D games in mobile environments. The compression ratio of the proposed structure and the rendering speed (frame per second: FPS) according to both PVS culling and frustum culling are analyzed under 3D game simulations.