• International Journal of Internet, Broadcasting and Communication
• /
• v.14 no.2
• /
• pp.10-16
• /
• 2022

As an important part of virtual production, In-camera VFX is the process of shooting actual objects and virtual three-dimensional backgrounds in real-time through computer graphics technology and display technology, and obtaining the final film. In the In-camera VFX process, there are currently only two types of medium used to undertake background imaging, LED wall and chroma key screen. Among them, the In-camera VFX based on LED wall realizes background imaging through LED display technology. Although the imaging quality is guaranteed, the high cost of LED wall increases the cost of virtual production. The In-camera VFX based on chroma key screen, the background imaging is realized by real-time keying technology. Although the price is low, due to the limitation of real-time keying technology and lighting conditions, the usability of the final picture is not high. The short-throw projection technology can compress the projection distance to within 1 meter and get a relatively large picture, which solves the problem of traditional projection technology that must leaving a certain space between screen and the projector, and its price is relatively cheap compared to the LED wall. Therefore, in the In-camera VFX process, short-throw projection technology can be tried to project backgrounds. This paper will analyze the principle of short-throw projection technology and the existing In-camera VFX solutions, and through the comparison experiments, propose a low-cost solution that uses short-throw projectors to project virtual backgrounds and realize the In-camera VFX process.

• The KIPS Transactions:PartB
• /
• v.9B no.1
• /
• pp.129-138
• /
• 2002

In this paper, a distance measuring algorithm for motion capture using color stereo camera is proposed. The color markers attached on articulations of an actor are captured by stereo color video cameras, and color region which has the same color of the marker's color in the captured images is separated from the other colors by finding dominant wavelength of colors. Color data in RGB (red, green, blue) color space is converted into CIE (Commission Internationale del'Eclairage) color space for the purpose of calculating wavelength. The dominant wavelength is selected from histogram of the neighbor wavelengths. The motion of the character in the cyber space is controlled by a program using the distance information of the moving markers.

• Journal of information and communication convergence engineering
• /
• v.15 no.2
• /
• pp.104-111
• /
• 2017

The visual presentation is one key feature which gives much consideration in designing mobile applications as it acquires attention from the end user. It takes only a few milliseconds to form an impression on a person and this is not any different to the web and mobile application designs. The first few milliseconds are a crucial time for developers as the impression produced would indicate further engagement of the service. Developers should continuously update the designs based on human needs. A few of these contents have actually paved its way to being continuously used. By synthesizing results of preceding researchers, this paper considers layout, color, and font as UI design elements of SNS messenger, and illustration and animation as the graphic image of it. In this study, the preference for messaging application chat layout was being surveyed and analyzed. As a result, there has been little significance identified since the instant messaging, so chat layout shows very minimal variance in their design.

• The Transactions of the Korean Institute of Electrical Engineers D
• /
• v.54 no.12
• /
• pp.723-731
• /
• 2005

The $4{\times}4$ homogeneous transformation matrix is a compact representation of orientation and position of an object in robotics and computer graphics. A coordinate transformation is accomplished through the successive multiplications of homogeneous matrices, each of which represents the orientation and position of each corresponding link. Thus, for real time control applications in robotics or animation in computer graphics, the fast multiplication of homogeneous matrices is quite demanding. In this paper, a parallel-architecture vector processor is designed for this purpose. The processor has several key features. For the accuracy of computation for real application, the operands of the processors are floating point numbers based on the IEEE Standard 754. For the parallelism and reduction of hardware redundancy, the processor takes column vectors of homogeneous matrices as multiplication unit. To further improve the throughput, the processor structure and its control is based on a pipe-lined structure. Since the designed processor can be used as a special purpose coprocessor in robotics and computer graphics, additionally to special matrix/matrix or matrix/vector multiplication, several other useful instructions for various transformation algorithms are included for wide application of the new design. The suggested instruction set will serve as standard in future processor design for Robotics and Computer Graphics. The design is verified using FPGA implementation. Also a comparative performance improvement of the proposed design is studied compared to a uni-processor approach for possibilities of its real time application.

• Journal of Korea Game Society
• /
• v.20 no.4
• /
• pp.101-110
• /
• 2020

In this study I divided the development history of educational serious games into three periods. from 1995 to 2020 in Korea. I drew out some characteristics of each period. And I analyzed the correlation between the level of technology and learning effects or fun. so I found out some results. According to my analysis, the level of technology and learning effects and fun are not related to successful factors. While play style which is familiar and accessible to students like casual game has been commercially successful. It also confirmed that well-balanced games between fun and learning effects are a key factor in commercial success.

• Journal of Korea Multimedia Society
• /
• v.23 no.4
• /
• pp.581-587
• /
• 2020

In this study, we investigated the correlation between logotype elements and brand recognition among corporate logos using quantification methodology 2. In addition, this study wanted to find out if consumers could easily recognize the product according to the design elements of the logotype. Our study showed that feminine tendency in logotype design was associated with clothes and cosmetics and masculine design element that will make people recall the game and health products. There were clothes and cosmetics for men but feminine design factor was strongly associated with clothes and cosmetics. In other words, logotype for cosmetic and clothing needed to be feminine by using neutral and cold colors. The relationship between the logotype and related products affected the brand recognition and this result can be used as a key element of corporate marketing.

• Journal of the Korea Computer Graphics Society
• /
• v.23 no.2
• /
• pp.41-47
• /
• 2017

In this paper, we present a method for data-driven correction of the noisy motion data captured from a low-end RGB-D camera such as the Kinect device. For this purpose, our key idea is to construct a synchronized motion database captured with Kinect and additional specialized motion capture device simultaneously, so that the database contains a set of erroneous poses from Kinect and their corresponding correct poses from the mocap device together. In runtime, given motion captured data from Kinect, we search the similar K candidate Kinect poses from the database, and synthesize a new motion only by using their corresponding poses from the mocap device. We present how to build such motion database effectively, and provide a method for querying and searching a desired motion from the database. We also adapt the laze learning framework to synthesize the corrected poses from the querying results.

• Journal of Multimedia Information System
• /
• v.8 no.4
• /
• pp.277-284
• /
• 2021

Despite skepticism about commercial potential, the stereoscopic 3D cinema is still a form that any filmmaker can choose to employ for its aesthetics and its immersive potential. Based on a haptic illusion, the stereoscopic media content requires a new perspective different from the principle of 2D media content in terms of creation and acceptance. This paper examines the technical and aesthetic issues of stereoscopic 3D film production from the perspective of today's emerging realistic and immersive media through a case study. One of the key factors for successful content creation and research and development in stereoscopic 3D cinema is the combination of artistic principles together with technical mastering of the new image technology. The purpose of this paper is to outline the principal challenges and research topics in stereoscopic 3D cinema through a case study of stereoscopic 3D pilot film production for the 'User-Selective UHD Stereoscopic Media Service Platform' of the ETRI (Electronics and Telecommunications Research Institute). This paper intends to examine stereoscopic 3D filmmaking workflow and production methodologies, as well as technical elements and aesthetic issues.

• Journal of Korea Multimedia Society
• /
• v.25 no.2
• /
• pp.335-344
• /
• 2022

In recent years, Internet Word of Mouth (IWOM) as an important way for internet consumers to obtain product information, it has become a key factor influencing consumers purchase intention. However, does IWOM also affect consumers' willingness to buy in the E-commerce live broadcast environment? What online IWOM can make a difference? And how? This study establishes a theoretical model of the impact of IWOM on consumer purchase intention in Chinese E-commerce live broadcast. Questionnaire data were collected from 204 people through the internet, with the model and the hypotheses are tested by SPSS 21.0 software. The research results show that: Firstly, the influencing factors of IWOM in the E-commerce live broadcast are different from those in general E-commerce. Secondly, anchor traits, word of mouth quantity, and product involvement have a positive impact on consumers purchase intentions, but the strength of relationship, word of mouth quality and Word of mouth timeliness do not have significantly direct effect on consumers' purchase intentions. Finally, conclusion with theoretical references and practical suggestions for E-commerce live broadcast merchants that may enter the Chinese market.

• Cartoon and Animation Studies
• /
• s.27
• /
• pp.31-49
• /
• 2012

This research aims at showing specificity of the 'fantastic' in the movie < Les temps morts (on 1964) > directed by Ren$\acute{e}$ Laloux (1929-2004 ), all over the world recognized director. This movie has a particular style by composing four forms of expression: the real recording (movie), the recording embellishes with images by image (animation), the drawing, the photo. This film is the most strange among his all films. Even if we could catch the key meaning of the film, it offer for the audience the sentiment incertain and unclear. If we consider 'the fantastic' as a hesitation between the real and the unreal, in diverse levels, this movie offers to the spectators the fantastic feelings. In order to present the way this film shows us the fantastic, we divide the film into 15 sequences according to the criteria of the visual elements and the auditive elements. We analyze specificities of this fantastic in diverse levels. At first, the first style of the drawing of Roland Topor, does not let us escape easily from the feeling of fantasy. The four representation formats(drawing, photo, animation, movie) are integrated into one whole by auditive elements(music, narration). On the other hand, certain parts incomprehensible are not integrated into the entire. are fully integrated into the unity that does not understand that part, leaving them can. Laloux leads the audience into a reality toward the end of the film, but he leave incertain sequences at the last moment. Through which the audience is again hesitant between the real and the unreal, the fantastic is strengthened as a result of the work. Finally, the fantastic of the film could be found at three levels. First, the fantastic drawing style of Roland Topor. In the second place, the fantastic exposed through the entire composition and structure of work. Overall, these by leaving through the availability of the story incomprehensible to the audience is to provide a fantastic sentiment.