• Proceedings of the Korean Institute of Information and Commucation Sciences Conference
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• 2011.10a
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• pp.519-523
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• 2011

Today, one of the most important reasons that 3D software becomes a core part of the essential tools in the video contents field like the movies, animation, CF, motion graphic, games and etc. is that they can save budget of contents makings and can produce better effects than conventional methods like miniature, matt painting, extra mobilization and etc. and can save time and have the merit that they are not limited in space. In this paper, I analyzed IK(Inverse kinematics) system characteristics for the efficient education of 3D character animation particularly most used of 3D applications which is now supposed to be nearly necessary elements in game, animation, movie and contents. And by analyzing merits and demerits of each tool on Bone, Character studio and Character Animation Toolkit, systems which are most used practically in the various Inverse kinematics tools, I showed the result of analyses about the fact that educating which of the above three Inverse Kinematics tools is helpful and beneficial for the students for the efficient education in the university where should teach much in the limited time

• 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.

• Journal of muscle and joint health
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• v.1 no.1
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• pp.97-115
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• 1994

The purpose of this study was to examine the reliability and validity of the observed behaviors of subjects who suffered from low back pain with spinal diseases, Thirty two low back pain patients admitted on the neurosurgical unit in an army hospital were compared with 30 normal controls belonged to an army unit, by means of matching the age, hight and weight. Observed pain behaviors were developed by the researcher on the bases of literature and patient observation. This tool consists of 18 behaviors seperated into two major groups : mutually exclusive and concomittent behaviors. The mutually exclusive behaviors included coding cathegories for 6. body motions assumed by the subjects during the observation session. These 6 standardized motions consisted of sitting from standing first, and serially tying down, reclining, sitting again, and then standing, 6 steps walking. Concomittent behaviors consisted of 12 observable patterns that can be observed systematically from the face, grimacing, bracing, rubbing, walking with arms fixed, support with hands on sitting or standing, guarded movement, limping, unbalaced weightbearing, stopped movement from tying position to sitting, sighing and graoning. Subjects were videotrecorded as they performed a 6-standardized sequence of motions, simultanously researcher measured the time spent performing each motion and step length. Patients were asked torate their subjective pain score on the 10 mm graphic rating scale ranging from 'no pain' to 'sever pain'. For scoring of the pain behaviors, two trained nursing officiers independently and simutanously viewwd each videorecording and checked subject 'pain behaviors at the observational item checklist. The result of the study are summarized as follows : 1. Reability of the observational tool was a=.845. 2. Spearman's rho and percentage agreement were p=.97 and 81.7 persent respectively, that indicate adequate interrater reability of this tool. 3. The sensitivity rate of the tool was .875 while specificity rate .866 for differentiating patient from the normal. 4. When difference in the objective pain indices between patient group and control were compared, there was significant difference of all indices, such as pain behavior(t=7.71, p=.0001). spent time performing motion(t=14.2, p=.0001), step length (t=-10.72, p=.0001). 5. There were differences in the objective indices the subjective pain subgroups (low, medium, high). Differences in the mean score of objective pain behavior (F=6.376. p=.005) and spent time for moyion(F=4.631, p=.018). But there were no significant differences in the step length among the subgroups(F=.667, p=.521). 6. Highly correlated pain behavior items wiyh subjective pain score were 'stopped movement from lying position to sitting', 'limping', 'support with hands on sitting or standing', 'bracing', 'guarding' and 'walking with arms fixed'. In summary, although some of rho behavior items such as sighing and groaning in this study could not be observed because of videotaped datd, the reliability and validity of the over all observation method were satifactory. Thus, the results of the present study demonstrate rye potetional utility of the tool in assessing objective pain complementing self-reported pain in low back pain patients.

• Journal of Broadcast Engineering
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• v.25 no.5
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• pp.665-671
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• 2020

MPEG-I is actively working on standardization on the coding of immersive video which provides up to 6 degree of freedom (6DoF) in terms of viewpoint. 3DoF+ video, which provides motion parallax to omnidirectional view of 360 video, renders a view at any desired viewpoint using multiple view videos acquisitioned in a limited 3D space covered with upper body motion at a fixed position. The MPEG-I visual group is developing a test model called TMIV (Test Model for Immersive Video) in the process of development of the standard for 3DoF+ video coding. In the TMIV, the redundancy between a set of input view videos is removed, and several atlases are generated by packing patches including the remaining texture and depth regions into frames as compact as possible, and coded. This paper presents an atlas generation method that removes small-sized blocks in the atlas for more efficient 3DoF+ video coding. The proposed method shows a performance improvement of BD-rate bit savings of 0.7% and 1.4%, respectively, in natural and graphic sequences compared to TMIV.

• Cartoon and Animation Studies
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• s.49
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• pp.677-696
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• 2017

Cartoons and consequently animation are an effective way of visualizing futuristic scenarios. Here we look at how animation is becoming ubiquitous and an integral part of this future today: the cybernetic and mediated society that we are being transformed into. Animation therefore becomes a form of speech between humans and this networked reality, either as an interface or as representation that gives temporal form to objects. Animation or specifically animated films usually are associated with character based short and feature films, fiction or nonfiction. However animation is not constricted to traditional cinematic formats and language, the same way that design and communication have become treated as separate fields, however according to $Vil{\acute{e}}m$ Flusser they aren't. The same premise can be applied to animation in a networked culture: Animation has become an intrinsic to design processes and products - as in motion graphics, interface design and three-dimensional visualization. Video-games, virtual reality, map based apps and social networks constitute layers of an expanded universe that embodies our network based culture. They are products of design and media disciplines that are increasingly relying on animation as a universal language suited to multi-cultural interactions carried in digital ambients. In this sense animation becomes a discourse, the same way as Roland Barthes describes myth as a type of speech. With the objective of exploring the role of animation as a design tool, the proposed research intends to develop transmedia creative visual strategies using animation both as narrative and as an user interface.

• 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.

• Progress in Medical Physics
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• v.10 no.2
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• pp.63-71
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• 1999

For the purpose of utilization in 3-D conformal radiotherapy and whole body radiosurgery, the Whole Body 3-Dimensional Topographic Radiation Therapy System has been developed. Whole body frame was constructed in order to be installed on the couch. Radiopaque catheters were engraved on it for the dedicated coordinate system and a MeV-Green immobilizer was used for the patient setup by the help of side panels and plastic rods. By designing and constructing the whole body frame in this way, geometrical limitation to the gantry rotation in 3-D conformal radiotherapy could be minimized and problem which radiation transmission may be altered in particular incident angles was solved. By analyzing CT images containing information of patient setup with respect to the whole body frame, localization and coordination of the target is performed so that patient setup error may be eliminated between simulation and treatment. For the verification of setup, the change of patient positioning is detected and adjusted in order to minimize the setup error by means of comparison of the body outlines using 3 CCTV cameras. To enhance efficiency of treatment procedure, this work can be done in real time by watching the change of patient setup through the monitor. The method of image subtraction in IDL (Interactive Data Language) was used to visualize the change of patient setup. Rotating X-ray system was constructed for detecting target movement due to internal organ motion. Landmark screws were implanted either on the bones around target or inside target, and variation of target location with respect to markers may be visualized in order to minimize internal setup error through the anterior and the lateral image information taken from rotating X-ray system. For CT simulation, simulation software was developed using IDL on GUI(Graphic User Interface) basis for PC and includes functions of graphic handling, editing and data acquisition of images of internal organs as well as target for the preparation of treatment planning.

• Journal of Navigation and Port Research
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• v.43 no.6
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• pp.403-412
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• 2019

The characteristics of the manoeuvring motion of a ship are dependent on the ship type, as well as draft or speed in the same ship. In recent years, the number of extra-large vessels has increased significantly, which can cause enormous material and environmental damage in the event of a marine accident. Thus, the importance of ship maneuvering is increasing. The IMO has forced the officers to be trained in simulators through the STCW 95 amendment. However, FMSS is costly and difficult to access and the PC-based simulator has the disadvantage that only one person can engage in simulation. The purpose of this study was to solve the shortcomings of the FMSS and PC-based simulators by enabling multiple people to use their PCs to simulate based on a network. The simulator is implemented through the analysis and numerical calculation of the Nomoto model, Radar function mounting, data transfer protocol design, and GUI building. To verify the simulator, the simulation results were compared and analyzed with the test results of T.S. HANBADA according to the criteria of the Korean Register of Shipping(KR) and IMO standards for ship maneuverability. As a result, It showed a relative error of 0%~ 32.1% with an average of 13.7%, and it satisfied the IMO criteria for ship maneuverability.

• Journal of Information Technology Applications and Management
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• v.28 no.3
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• pp.59-75
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• 2021

This study aims to establish a foundation for autonomous driving on campus and communication of abundant university information in the HCI environment in a VR environment where college freshmen can freely travel around campus facilities. The purpose of this study is to develop a three-dimensional VR-style campus tour system to establish a media environment to provide abundant university information guidance services to freshmen in non-face-to-face situations. This study designed a three-dimensional virtual reality campus tour system to solve the problem of discontinuity in which VR360 filming space does not lead to space like reality, and to solve many problems of expertise in VR technology by constructing an integrated production environment of tour system. We aim to solve the problem of inefficiency, which requires a large amount of momentum in virtual space, by constructing a GUI that utilizes the motion of the field of view focus. The campus environment was designed as a three-dimensional virtual reality using a three-dimensional graphic design. In non-face-to-face situations, college freshmen freely transformed the HMD VR device, smartphone, FPS operation mode of the gyroscope sensor. The design elements of the three-dimensional virtual reality campus tour system were classified as ①Visualization of factual experiences, ②Continuity of space movement, ③Operation, automatic operation mode, ④Natural landscape animation, ⑤Animation according to wind direction, ⑥Actual space movement mode, ⑦Informatization of spatial understanding, ⑧GUI by experience environment, ⑨Text GUI by building, ⑩VR360, 3D360 Studio Environment, ⑪Three-dimensional virtual space coupling block module, ⑫3D360-3D Virtual Space Transmedia Zone, ⑬Transformable GUI(VR Device Dual Viewer-Gyro Sensor Full Viewer-FPS Operation Viewer) and an integrated production environment was established with each element. It is launched online (http://vautu.com/u1) by constructing a GUI for free driving mode and college information screens to adapt to college life for freshmen, and designing an environment that can be used simultaneously by current media such as PCs, Android, and iPads. Therefore, it conducted user research, held a development presentation, a forum on excellence in university innovation support projects, and applied it as a system on the website of a particular university. College freshmen will be able to experience university information directly from the web and app to the virtual reality campus environment.

• Cartoon and Animation Studies
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• s.37
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• pp.509-537
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• 2014

This paper proposes 'postfilimc metamorphosis' and 'reanimation' as two concepts that aim at giving account to the aesthtetic tendencies and genealogies of what Suzanne Buchan calls 'pervasive animation', a category that refers to the unprecedented expansion of animation's formal, technological and experiential boundaries. Buchan's term calls for an interdisciplinary approach to animation by highlighting a range of phenomena that signal the growing embracement of the images and media that transcend the traditional definition of animation, including the lens-based live-action image as the longstanding counterpart of the animation image, and the increasing uses of computer-generated imagery, and the ubiquity of various animated images dispersed across other media and platforms outside the movie theatre. While Buchan's view suggests the impacts of digital technology as a determining factor for opening this interdisciplinary, hybrid fields of 'pervasive animation', I elaborate upon the two concepts in order to argue that the various forms of metamorphorsis and motion found in these fields have their historical roots. That is, 'postfilmic metamorphosis' means that the transformative image in postfimic media such as video and the computer differs from that in traditional celluloid-based animation materially and technically, which demands a refashioned investigation into the history of the 'image-processing' video art which was categorized as experimental animation but largely marginalized. Likewise, 'reanimation' cne be defined as animating the still images (the photographic and the painterly images) or suspending the originally inscribed movement in the moving image and endowing it with a neewly created movement, and both technical procedues, developed in experimental filmmaking and now enabled by a variety of moving image installations in contemporary art, aim at reconsidering the borders between stillness and movement, and between film and photography. By discussing a group of contemporary moving image artworks (including those by Takeshi Murata, David Claerbout, and Ken Jacobs) that present the aesthetic features of 'postfilmic metamorphosis' and 'reanimation' in relation to their precursors, this paper argues that the aesthetic implications of the works that pertain to 'pervasive animation' lie in their challenging the tradition dichotomies of the graphic/the live-action images and stillness/movement. The two concepts, then, respond to a revisionist approach to reconfigure the history and ontology of other media images outside the traditional boundaries of animation as a way of offering a refasioned understanding of 'pervasive animation'.