• Journal of the Korea Institute of Information and Communication Engineering
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• v.11 no.2
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• pp.337-343
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• 2007

Since three-dimensional (3D) images reconstructed in interval imaging technique are related to the resolution of elemental images, there has been a problem that ray information of elemental images increases largely in order to obtain high-resolution 3D images. In this paper, to overcome this problem, a new unidirectional integral imaging based on pinhole model is proposed. Proposed method provides a new type of unidirectional elemental images, which are simply obtained by magnifying single horizontal pixel line of each elemental image to the vertical size of lenslet using ray analysis based on pinhole model and used to display 3D images. In proposed method, reduction effect of the ray information of elemental images can be obtained by scarifying vortical parallax. Feasibility of the proposed scheme is experimentally demonstrated and its results are presented.

• Korean Journal of Optics and Photonics
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• v.20 no.1
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• pp.16-22
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• 2009

We propose a method to convert a two-dimensional movie to a three-dimensional movie using normalized cut and optical flow. In this paper, we segment an image of a two-dimensional movie to objects first, and then estimate the depth of each object. Normalized cut is one of the image segmentation algorithms. For improving speed and accuracy of normalized cut, we used a watershed algorithm and a weight function using optical flow. We estimate the depth of objects which are segmented by improved normalized cut using optical flow. Ordinal depth is estimated by the change of the segmented object label in an occluded region which is the difference of absolute values of optical flow. For compensating ordinal depth, we generate the relational depth which is the absolute value of optical flow as motion parallax. A final depth map is determined by multiplying ordinal depth by relational depth, then dividing by average optical flow. In this research, we propose the two-dimensional/three-dimensional movie conversion method which is applicable to all three-dimensional display devices and all two-dimensional movie formats. We present experimental results using sample two-dimensional movies.

• Journal of Broadcast Engineering
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• v.27 no.2
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• pp.216-227
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• 2022

The MPEG-I (Immersive) group is working on a standardization project for immersive video that provides 6 degrees of freedom (6DoF). The MPEG Immersion Video (MIV) standard technology is intended to provide limited 6DoF based on depth map-based image rendering (DIBR) technique. Many efficient coding methods have been suggested for MIV, but efficient transmission strategies have received little attention in MPEG-I. This paper proposes group-based adaptive rendering method for immersive video streaming. Each group can be transmitted independently using group-based encoding, enabling adaptive transmission depending on the user's viewport. In the rendering process, the proposed method derives weights of group for view synthesis and allocate high quality bitstream according to a given viewport. The proposed method is implemented through the Test Model for Immersive Video (TMIV) test model. The proposed method demonstrates 17.0% Bjontegaard-delta rate (BD-rate) savings on the peak signalto-noise ratio (PSNR) and 14.6% on the Immersive Video PSNR(IV-PSNR) in terms of various end-to-end evaluation metrics in the experiment.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.21 no.10
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• pp.197-205
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• 2020

Compared to aerial photogrammetry, UAV photogrammetry has advantages in acquiring and utilizing high-resolution images more quickly. The production of 3D models using UAV photogrammetry has become an important issue at a time when the applications of 3D spatial information are proliferating. Therefore, this study assessed the feasibility of utilizing 3D models produced by UAV photogrammetry through quantitative and qualitative analyses. The qualitative analysis was performed in accordance with the LODs (Level of Details) specified in the 3D Land Spatial Information Construction Regulation. The results showed that the features on planes have a high LoD while features with elevation differences have a low LoD due to the occlusion area and parallax. Quantitative analysis was performed using the 3D coordinates obtained from the CPs (Checkpoints) and edges of nearby structures. The mean errors for residuals at CPs were 0.042 m to 0.059 m in the horizontal and 0.050 m to 0.161 m in the vertical coordinates while the mean errors in the structure's edges were 0.068 m and 0.071 m in horizontal and vertical coordinates, respectively. Therefore, this study confirmed the potential of 3D models from UAV photogrammetry for analyzing the digital twin and slope as well as BIM (Building Information Modeling).

• Cartoon and Animation Studies
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• s.49
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• pp.697-712
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• 2017

In recent years, film and animation for cinematic release have embraced stereoscopic vision and the three-dimensional depth it creates for the viewer. The maturation of consumer-level virtual reality (VR) technology simultaneously spurred a wave of media productions set within 3D space, ranging from computer games to pornographic videos, to Academy Award-nominated animated VR short film Pearl. All of these works rely on stereoscopic fusion through stereopsis, that is, the perception of depth produced by the brain from left and right images with the amount of binocular parallax that corresponds to our eyes. They aim to emulate normal human vision. Within more experimental practices however, a fully rendered 3D space might not always be desirable. In my own abstract animation work, I tend to favour 2D flatness and the relative obfuscation of spatial relations it affords, as this underlines the visual abstraction I am pursuing. Not being able to immediately understand what is in front and what is behind can strengthen the desired effects. In 2015, Jeffrey Shaw challenged me to create a stereoscopic work for Animamix Biennale 2015-16, which he co-curated. This prompted me to question how stereoscopy, rather than hyper-defining space within three dimensions, might itself be used to achieve a confusion of spatial perception. And in turn, how abstract and experimental moving image practices can benefit from stereoscopy to open up new visual and narrative opportunities, if used in ways that break with, or go beyond stereoscopic fusion. Noteworthy works which exemplify a range of non-traditional, expanded approaches to binocular vision will be discussed below, followed by a brief introduction of the stereoscopic animation loop III=III which I created for Animamix Biennale. The techniques employed in these works might serve as a toolkit for artists interested in exploring a more experimental, expanded engagement with stereoscopy.

• Journal of the Korean Society of Surveying, Geodesy, Photogrammetry and Cartography
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• v.37 no.4
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• pp.267-277
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• 2019

Photogrammetry and computer vision are identical in determining the three-dimensional coordinates of images taken with a camera, but the two fields are not directly compatible with each other due to differences in camera lens distortion modeling methods and camera coordinate systems. In general, data processing of drone images is performed by bundle block adjustments using computer vision-based software, and then the plotting of the image is performed by photogrammetry-based software for mapping. In this case, we are faced with the problem of converting the model of camera lens distortions into the formula used in photogrammetry. Therefore, this study described the differences between the coordinate systems and lens distortion models used in photogrammetry and computer vision, and proposed a methodology for converting them. In order to verify the conversion formula of the camera lens distortion models, first, lens distortions were added to the virtual coordinates without lens distortions by using the computer vision-based lens distortion models. Then, the distortion coefficients were determined using photogrammetry-based lens distortion models, and the lens distortions were removed from the photo coordinates and compared with the virtual coordinates without the original distortions. The results showed that the root mean square distance was good within 0.5 pixels. In addition, epipolar images were generated to determine the accuracy by applying lens distortion coefficients for photogrammetry. The calculated root mean square error of y-parallax was found to be within 0.3 pixels.

• Cartoon and Animation Studies
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• s.9
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• pp.127-142
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• 2005

Not only in Korea but throughout the entire world millions of people are in contact with images. Images have become a medium through which to transmit anything from simple visualizations of moving images to knowledge and information. The age of the internet has arisen thanks to scientific development, and the internet generation's acquisition of information is continuously becoming faster. The spectators, ufo must choose amongst the excessive amount of available information, are changing along with it just as quickly. The method of visual transmission has changed to match the demands of the fast-changing pace of the new generation. In order to receive an instantaneous selection amongst much information, the primary requisite is attracting one's attention, and then presenting a corresponding feeling of satisfaction. The early stages of film arose from the desire to capture one's actual situation as it realty is. Unsatisfied with the still picture, people developed the motion picture. Research has succeeded in reproducing 3-dimensional images more realistic than the actual image we perceive as a result of the difference in visual perspective of both eyes and their response to rays of light From color film to 3-dimensional pictures, people enjoy the magnificent results of this. All fields within the category of film are continuously studying the human desire to pursue their visual side, namely the pursuit of visual images with a maximum sense of reality. The images that millions of people around the world see now are flat. The screen's depth and optical illusions effectively give a sense of reality while conveying information. However, although the flat screen is able to create a sense of depth using the different visual perspective of each eye for the realization of a cubic effect, there are limitations. Entering the 21s1 century, there is a quickly-arising branch within the field of image media which seeks to overcome these limitations Although 3-dimensional images began in films, entering the latter half of the 20th century, due to development of 3-dimensional images using the mediums of the animation field, cellular phones, advertisement screens, television etc., without restriction is designated as 'image.'. With research having started around 1900 and continuing for over 100 years, we are now able to witness the popularization of 3-dimensional films happening before our very eyes. Within our own country, we can frequently see them at amusement parks and museums. In the future, through the popularization of HDTV etc., there is a good outlook for practical use of 3-dimensional images in televisions with advanced picture qualify as well as in other areas. Together with the international current, research on 3-dimensional films has been activated in Korea and is rising as a main current in the film industry. Within this context, the contents and understanding of 3-dimensional images must keep in step with the pace of technical advancements. In order to accelerate of development of film contents to keep in pace with technical developments, this dissertation presents the techniques and technical aspects of future developments, and shows the need to prepare in advance to make the field grow- and thereby avoid having a lack of experts and being conquered by other nations in the field - rather than only advancing the technical aspects and importing the contents. This dissertation aims to stimulate interest and continual research by progressive-thinking people related to the film industry. Part II looks into the definition and types of 3-dimensional motion pictures, the terminology, the fundamentals of image formation, current market fluctuations, and looks into 3-dimensional techniques which can be borrowed and introduced in 3-dimensional animations. Part III concerns 3-dimensional animated films. It analyzes 3-dimensional production techniques while using the introduction of specific animation techniques in the 2004 production Lee Sun Shin and Nelson - Naval Heroes 3-dimensional animation produced in 2004 by Clay & Puppet Stop-Motion Animation & Computer Graphic. Original Korean title: 해전영웅 이순신과 넬슨. as an example, and it also looks into how current film techniques used in animations can be applied in 3-dimensional films. Additionally, the actual stages of the various fields of 3-dimensional animations are presented. Given the current direction and advancement of 3-dimensional films making use of animations and the possible realization of this field, the author plans to weigh the development of this yet unexploited new market Not looking at the current progress of the field, but rather the direction of the hypothetical types of animation techniques, the author predicts the marketability and possibility of development of each area.