• 제목/요약/키워드: Realistic Visual Image

검색결과 105건 처리시간 0.03초

현대회화에서의 형태와 물질 -Digital Transfiguration에 관한 연구- (Digital painting: Image transfonnation, simulation, heterologie and transfonnation)

  • 정숙영
    • 조형예술학연구
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    • 제10권
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    • pp.161-181
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    • 2006
  • The words which appeared in my theoretical study and work are image transformation to digital painting, simulation, heterologie and transfiguration, etc. Firstly, let's look into 'digital era' or 'new media era'. Nowadays, the image world including painting within the rapid social and cultural change, which is called as digital era, is having the dramatic change. Together with the development of scientific technology, large number of events which was deemed to be impossible is happening as real in image world Moreover, these changes in image world is greatly influencing to our life. The word which compresses this change of image world and shows is 'digital'. Digit, which means fingers in Latin, indicates separately changing signal, and to be more narrow, it indicates the continual signal of '0' and ' 1' in computer. The opposite word is 'analogue'. As analogue is the word meaning 'infer' or 'similarity', it indicates the signal or form which continuously changes along the series of time when it is compared to digital. Instead of analogue, digital is embossed as a major ruler along the whole area of our current culture. In whole culture and art area, and in whole generalscience, digital is appearing as it has the modernism and importance. The prefix, 'digital', e.g. digital media, digital culture, digital design, digital philosophy, etc, is treated as the synonym of modernism and something new. This advent of digital results the innovative change to the image world, creates the new beauty experience which we could not experience before, and forecasts the formation of advanced art and expansion of creative area. Various intellectual activities using computer is developing the whole world with making the infrastructure. Computer in painting work immediately accomplishes the idea of painters, takes part in simulation work, contingency such as abrupt reversal, extraction, twisting, shaking, obscureness, overlapping, etc, and timing to stimulate the creativity of painters, and provides digital formative language which enables new visual experience to the audience. When the change of digital era, the image appeared in my work is shown in 'transfiguration' like drawing. The word, 'transfiguration' does not indicate the completed and fixed real substance but indicate endlessly moving and floating shape. Thus, this concept is opposite to the substantial consideration, so that various concepts which is able to replace this in accordance with the similar cases are also exist such as change, deterioration, mutation, deformity of appearance and morphing which is frequently used in computer as a technical word. These concepts are not clearly classified, and variably and complicatedly related. Transfiguration basically means the denial of "objectivity' and '(continual) stagnation' or deviation from those. This phenomenon is appeared through the all art schools of art ever since the realism is denied in the 19th century. It is called as 'deformation' in case of expressionism, futurism, cubism, etc, in the beginning of the century, which its former indication is mostly preserved within the process of structural deviation and which has the realistic limit which should be preserved. On the contrary, dramatic transfiguration which has been showing in the modern era through surrealism is different in the point that dramatic transfiguration tends to show the deterioration and deviation rather than the preservation of indicated object. From this point, transfiguration coming out from morphing using computer deteriorates and hides the reality and furthermore, it replaces the 'reality'. Moreover, transfiguration is closely approached to the world of fake or 'imaginary' simulation world of Baudrillard. According to Baudrillard, the image hides and deteriorates the reality, and furthermore, expresses 'not existing' to 'imaginary' under the name of transfiguration. Certain reality, that is, image which is absent from the reality is created and overflowed, so that it finally replaces the reality. This is simulation as it is said by Baudrillard. In turn, Georges Bataille discusses about the image which is produced by digital technology in terms of heterologie. Image of heterologie is the visual signal which is established with the media. Image of media is to have the continuous characteristics of produce, extinction, and transformation, and its clear boundary between images becomes meaningless. The meaning of composition, excess, violation, etc of digital image is explained to heterological study or heteologie suggested as important meaning of Georges Bataille who is a heretic philosopher. As the form and image of mutation shows the shape in accordance with mechanical production, heterologie is introduced as very low materialism (or bas materialisme), in this theory. Heterologie as low materialism which is gradually changing is developing as a different concept and analysis because of the change of time in the late 20s century beside high or low meaning. Including my image, all images non-standardizes and transforms the code. However, reappearance and non-standardization of this code does not seem to be simple. The problem of transformation caused by transfiguration which appears in my digital drawing painting, simulation, heterologie, etc, are the continual problems. Moreover, the subject such as existence of human being, distance from the real life, politics and social problems are being extended to actual research and various expressing work. Especially, individual image world is established by digital painting transfiguration technique, and its change and review start to have the durability. The consciousness of observers who look at the image is changing the subject. Together with theoretical research, researchers are to establish the first step to approach to various image change of digital era painting through transfiguration technique using our realistic and historical image.

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그래픽 영상에서 입체감과 색채 속성의 연관성 관련 연구 (Correlations between Stereoscopic Perception and Colour Attributes in Graphic Images)

  • 홍지영
    • 한국인터넷방송통신학회논문지
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    • 제19권2호
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    • pp.19-24
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    • 2019
  • 디지털 영상 분야의 디지털 테크놀로지 발전은 다양한 형태의 미디어 환경을 만들어 내며 급격하게 변모하고 있다. 이러한 영상분야는 멀티미디어 테크놀로지의 급격한 발전을 통해 방송 영상 처리 기술 분야에서는 보다 실감나는 영상을 제공하기 위해 지속적인 발전을 하고 있으며 평면 화질 향상의 요구는 거의 충족되어 기술적 포화상태에 이르게 되었다. 현재 평면 화질에서는 3D 입체 영상 화질에서 충족시킬 수 없는 시각피로 분야에 대한 자유성 및 대중성을 갖고 있다는 장점을 보유하고 있으며 보완 작업 기술 분야로는 평면 화질에서의 입체감 향상 기술이라고 할 수 있다. 본 연구에서는 평면 디스플레이에서 제공되는 그래픽 영상을 대상으로 색채 속성과의 연관성을 알아보고자 입체감 관련 실험을 진행하고 이를 분석하였다. 실험에 사용된 색채 속성으로는 색상, 밝기, 채도를 차등적으로 그래픽 영상에 적용하여 입체감이 가장 큰 요인에 대해 분석하고 아노바 분산분석을 통해 교호작용을 검증하였다. 본 연구에서 진행된 실험결과를 분석하여 입체감과 관련 있는 색채 요인의 유의미 여부를 정의하고 그래픽 영상 처리 시 입체감 향상을 위한 색채 조절 방안을 제시한다.

Video Content Manipulation Using 3D Analysis for MPEG-4

  • Sull, Sanghoon
    • 방송공학회논문지
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    • 제2권2호
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    • pp.125-135
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    • 1997
  • This paper is concerned with realistic mainpulation of content in video sequences. Manipulation of content in video sequences is one of the content-based functionalities for MPEG-4 Visual standard. We present an approach to synthesizing video sequences by using the intermediate outputs of three-dimensional (3D) motion and depth analysis. For concreteness, we focus on video showing 3D motion of an observer relative to a scene containing planar runways (or roads). We first present a simple runway (or road) model. Then, we describe a method of identifying the runway (or road) boundary in the image using the Point of Heading Direction (PHD) which is defined as the image of, the ray along which a camera moves. The 3D motion of the camera is obtained from one of the existing 3D analysis methods. Then, a video sequence containing a runway is manipulated by (i) coloring the scene part above a vanishing line, say blue, to show sky, (ii) filling in the occluded scene parts, and (iii) overlaying the identified runway edges and placing yellow disks in them, simulating lights. Experimental results for a real video sequence are presented.

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디지털 합성을 통한 이미지 표현 연구 (A Study on Image Representation of Digital Synthesis Methodology)

  • 장욱상;박연슬
    • 만화애니메이션 연구
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    • 통권49호
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    • pp.203-220
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    • 2017
  • 시각 예술 분야에 있어 합성의 도입은 시간과 공간의 제약에서 벗어난 다양한 표현을 구사할 수 있게 해주었다. 디지털 이전의 합성에서는 기술적 한계로 인해 사실적인 표현에 제약을 받았지만, 디지털 합성이 완전하게 자리 잡은 이후에는 적어도 합성을 통한 이미지 표현에서는 한계가 거의 사라졌다고 해도 과언이 아니다. 합성에 관한 기존의 연구 논문은 제작 기법에 관한 기술적인 연구이거나, 합성이 영상예술의 시공간 개념과 의미 변화에 주를 둔 논문이 대부분이었고, 디지털 합성으로 인한 매체들의 표현 방법의 변화가 어떻게 이루어졌는가에 대한 연구의 필요성을 느꼈다. 또한, 그로 인해 예술을 바라보는 시각에 대한 변화에도 되돌아볼 필요성을 느끼게 되었다. 따라서 이 논문에서는 기술적이 부분이나 시공간 확장에 대한 개념적 이론을 다루기보다는 합성이 가지는 예술의 표현 방법에서 드러난 형질에 따라 시각적으로 자연스러운지, 이질적인지, 또 이질적이면서 자연스러운지 분류해보고 앞으로의 디지털 매체 합성 방향과 다양성에 대해 기대해 본다.

Precision comparison of 3D photogrammetry scans according to the number and resolution of images

  • Park, JaeWook;Kim, YunJung;Kim, Lyoung Hui;Kwon, SoonChul;Lee, SeungHyun
    • International journal of advanced smart convergence
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    • 제10권2호
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    • pp.108-122
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    • 2021
  • With the development of 3D graphics software and the speed of computer hardware, it is an era that can be realistically expressed not only in movie visual effects but also in console games. In the production of such realistic 3D models, 3D scans are increasingly used because they can obtain hyper-realistic results with relatively little effort. Among the various 3D scanning methods, photogrammetry can be used only with a camera. Therefore, no additional hardware is required, so its demand is rapidly increasing. Most 3D artists shoot as many images as possible with a video camera, etc., and then calculate using all of those images. Therefore, the photogrammetry method is recognized as a task that requires a lot of memory and long hardware operation. However, research on how to obtain precise results with 3D photogrammetry scans is insufficient, and a large number of photos is being utilized, which leads to increased production time and data capacity and decreased productivity. In this study, point cloud data generated according to changes in the number and resolution of photographic images were produced, and an experiment was conducted to compare them with original data. Then, the precision was measured using the average distance value and standard deviation of each vertex of the point cloud. By comparing and analyzing the difference in the precision of the 3D photogrammetry scans according to the number and resolution of images, this paper presents a direction for obtaining the most precise and effective results to 3D artists.

베이스 메이크업의 컬러보정을 통한 얼굴이미지 상승효과에 관한 연구 - 보색대비를 중심으로 - (A Study on Assessment of Face Image with Color Correction of Base Makeup - Focussed on the complementary color contrast -)

  • 방기정;김경희;문윤경
    • 패션비즈니스
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    • 제14권1호
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    • pp.43-56
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    • 2010
  • In the modern 21st century society, the personal image is considered to be very important. As a result, the importance of presenting one's personal image through personal color in fashion and beauty related fields are increasing, and is the most realistic and practical field of color. When the color of the wardrobe and the skin color are in disharmony, that disharmony becomes the source of the lines and wrinkles that appear on one's face, resulting in shades. The boundary that is created when the color of the wardrobe and the skin color are in disharmony, it works negatively on one's image. When color arrangements are close or similar (in harmony) or are in complementary color arrangements or in strong contrasting state (contrasting harmony), it is generally believed to be beautifully harmonious. Personal color assessment is finding colors, through systematic and scientific methods, that improve the personal image by reaching harmony with skin colors that each and every individual are uniquely born with. In this study, one was able to learn the improved visual effects of the face image through creating harmony with the wardrobe and color shade make up and complementary colors that were selected based on personal colors. The base make up, through using the contrasting effects of the complementary colors which represents the supplementing, correcting, and complementing of the face image by contrasting with complementary colors, brings positive changes through correcting the base skin color. It is believed that this study finds its importance in that the improved image that is created by the overall harmony of the wardrobe and body can be used as valuable data in marketing and new product development efforts in the related industries.

패션 일러스트레이션에 나타난 팜므 파탈(Femme Fatale) 이미지 (The Femme Fatale Image in Fashion Illustration)

  • 최정화
    • 복식문화연구
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    • 제15권3호
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    • pp.431-445
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    • 2007
  • The purpose of this study was to analyze and theorize the characteristics of femme fatale in fashion illustration since 1980. The method of this study was to analyze the documentaries for theoretical studies about femme fatale and the visual characteristics in fashion illustration works since 1980. The results of this study were as follows: Femme fatale expressed in the general realm of art was icon of fatal and seductive eroticism in late 19th century. She is composed of diverse images like mythology, exoticism, fear and sensuality. The characteristics of her image in fashion illustration were expressed into de-body image by union of animal and female body, or machine and female body, duplicity of death and sexuality, sexual decadence or abnormality and powerful masculine taste. First, de-body image by union of animal and female body, or machine and female body was expressed in transformed mythical image or bizarre and demonic image, grotesque image linked by picture of female body and painting of animal image, and cyborg image linked by machine and realistic female body by digital media. Second, duplicity of death and sexuality was expressed in juxtaposition by sexual pose, body and something metaphorical and symbolic depiction and de-constructive depiction of death. Third, sexual decadence or abnormality was expressed in fetishistic style, obscene depiction of cheap and hedonistic sexuality, masochistic depiction like antisocial and diseased sex appeal. Forth, powerful masculine taste was expressed in man's face, body, pose, masculine fashion, man's role related to crime and threatening weapon, etc. As mentioned above, femme fatale in fashion illustration was expressed in diverse images by fashion illustrator's point of view. Although she was originated by men's fantastic vision, she brings a catharsis to human being. And she is also recognized as new paradigm and positive cultural sign in our times.

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고구려 고대신화를 모티브로 하는 키비주얼제작 연구 (A Study on Producing Key Visuals Which are Motivated by the Ancient Myth of Goguryeo)

  • 한명희;강태완;김치용
    • 디지털콘텐츠학회 논문지
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    • 제10권2호
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    • pp.177-188
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    • 2009
  • 본 논문은 문화콘텐츠의 원형을 복원하고 이를 기반으로 콘텐츠산업을 발전시키는 데 있어 가장 실질적인 문제점이 키비주얼에 대한 인식 및 키비주얼제작이 이루어지 안는다는 점에 착안하였다. 고대 판타지를 소재로 한 독창적인 원형소재를 시각화함에 있어, 실제 콘텐츠 제작을 위한 디자인 프로세스를 고려해야 한다는 전제하에 시각화를 통한 키비주얼의 필요성을 제시하는 것을 목적으로 한다. 이를 위해 드라마, 영화, 애니메이션, 게임 등 다양한 소재로서 활용가치가 높은 고구려 고대 신화와 설화를 대상으로 판타지 요소를 시각화하기 위한 문헌과 고증자료들을 바탕으로 원형의 이미지를 시각화하는 프로세스를 제작과 실험을 통해 연구하였다.

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TV 드라마 주인공 직업의 변화가 스토리에 미치는 영향 (Influence of TV Drama Main Character Job on Story)

  • 노동렬
    • 한국콘텐츠학회논문지
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    • 제17권12호
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    • pp.226-235
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    • 2017
  • 방송 드라마의 발전 과정에서 나타나는 남녀주인공의 직업은 다양해지고 있으며, 점차 전문직이나 전문경영인, 그리고 경찰 등의 특수 직업의 비중이 높아지고 있다. 또한 이성 간의 사랑 중심 스토리에서 남자주인공의 직업 중심 스토리가 핵심이 되는 경향으로 변화하고 있다. 이러한 결과는 과거 드라마에서 직업이 드라마 스토리의 단순 배경으로 기능한 반면, 최근에는 세세하게 묘사되는 직업의 세계에서 자연스럽게 갈등이 구축되고 있음을 의미한다. 이는 멜로 장르의 드라마가 주류를 이루던 방송드라마 환경이 점차로 전문직업을 소재로 한 장르적 특성이 부각되는 방향으로 발전하고 있음을 시사한다. 따라서 향후 드라마의 품질향상을 위해서는 특정 직업 세계에 대한 작가의 전문성과 이를 토대로 한 논리적 내러티브 구성과 치밀한 영상처리가 수반되어야 한다. 이는 시청자들에게 현실감을 제공하는 필요하고도 충분한 조건이기 때문이다.

카메라 보정을 이용한 텍스쳐 좌표 결정에 관한 연구 (Coordinate Determination for Texture Mapping using Camera Calibration Method)

  • 정관웅;이윤영;하성도;박세형;김재정
    • 한국CDE학회논문집
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    • 제9권4호
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    • pp.397-405
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    • 2004
  • Texture mapping is the process of covering 3D models with texture images in order to increase the visual realism of the models. For proper mapping the coordinates of texture images need to coincide with those of the 3D models. When projective images from the camera are used as texture images, the texture image coordinates are defined by a camera calibration method. The texture image coordinates are determined by the relation between the coordinate systems of the camera image and the 3D object. With the projective camera images, the distortion effect caused by the camera lenses should be compensated in order to get accurate texture coordinates. The distortion effect problem has been dealt with iterative methods, where the camera calibration coefficients are computed first without considering the distortion effect and then modified properly. The methods not only cause to change the position of the camera perspective line in the image plane, but also require more control points. In this paper, a new iterative method is suggested for reducing the error by fixing the principal points in the image plane. The method considers the image distortion effect independently and fixes the values of correction coefficients, with which the distortion coefficients can be computed with fewer control points. It is shown that the camera distortion effects are compensated with fewer numbers of control points than the previous methods and the projective texture mapping results in more realistic image.