• Journal of Broadcast Engineering
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• 제19권5호
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• pp.569-577
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• 2014

From the year 2009, 3D Stereoscopic movies and TV have been spotlighted after the huge success of a movie called "AVATAR". Moreover, most of 3D movies & contents are created by mixing real-life shots & virtual animated pictures, such as "Robocop 3", "Transformer 4" as shown in 2014. However, the stereoscopic 3D video film shooting with a traditional stereoscopic rig camera system, takes much more time to set the rig system and adjust the system setting for proper film making which necessarily resulting in bigger cost. In fact, these problems have depreciated the success of Avatar as decreasing demand for 3D stereoscopic video shooting. In this paper, inherent problems of traditional stereoscopic rig camera system are analyzed, and as a solution for the problems, a novel implementations of single-lens optical stereoscopic 3D camera system is suggested. The new system can be implemented to a technology for separating two lights when even those lights passing through in the same optical axis. The system has advantages of adjusting the setting and taking video compared with traditional stereoscopic 3D rig systems. Furthermore, this system can acquire comfortable 3D stereoscopic video because of the good characteristics of geometrical errors. This paper will be discussed the single-lens stereoscopic 3D camera system using rolling shutters, it will be tested geometrical errors of this system. Lastly, other types of single lens stereoscopic 3D camera system are discussed to develop the promising future of this system.

• The Journal of the Korea Contents Association
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• 제12권1호
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• pp.112-124
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• 2012

The remarkable development of digital technologies and the success of 3D stereoscopic films have led to started drawing attention to stereoscopic images. The stereoscopic images have not become a passing fad in the present time unlike in the past, but have constantly showed their potentials. Unfortunately, the domestic stereoscopic images market is faced with difficulties, such as lack of the capital strength and of insufficient production infrastructure, and the production of 3D from 2D. As a result, it is not easy to produce creative stereoscopic animation contents. Therefore, in Korea, more efforts should be made in accumulating a plenty of data on production techniques. In order to make film production reflecting stereoscopy and effective stereoscopic implementation, which are necessary to produce high-quality stereoscopic contents, this thesis gave an explanation about a production technique studied on the basis of 3D graphic. Stereoscopic images are definitely one of the most promising image contents in the 21st digital contents industry. For the reason, in order to produce stereoscopic animation contents with high quality, fundamental studies on the stereoscopic images should be performed in a constant and cautions way.

• The Journal of the Korea Contents Association
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• 제10권8호
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• pp.159-167
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• 2010

Since success of in the box office, there are not only highly interested in 3D Stereoscopic in Media market but also has been briskly supporting for 3D Stereoscopic producing in variety platforms including film, broadcasting, mobile They expect 3D Stereoscopic will be a new standard format for media of domestic market as well as overseas. However there are required professional production system and grant capital for 3D Stereoscopic production. In case of domestic industry, there are not forged through specialized production system and lack of 3D Stereoscopic producing. They are needed not only Pipeline for 3D Stereoscopic production but also strategic supporting like specialized education and test-bed for 3D Stereoscopic production. It is able to established efficient and specialized system for 3D Stereoscopic production given the pipeline proposal.

• Review of Korea Contents Association
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• 제8권1호
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• pp.31-37
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• 2010

• 한국정보디스플레이학회:학술대회논문집
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• 한국정보디스플레이학회 2003년도 International Meeting on Information Display
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• pp.468-471
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• 2003

We firstly report liquid crystal shutter based on plastic film and its application to 3D shutter for stereoscopic displays. Plastic liquid crystal shutters have remarkable advantages compared to conventional glass liquid crystal shutters. They are thin, light and non-breakable so that very comfortable 3D shutter eye-wear can be realized using them. The concepts, optical performances and reliability test results of plastic film liquid crystal shutters are presented.

• The Journal of the Korea Contents Association
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• 제10권6호
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• pp.222-235
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• 2010

After its remarkable success, "Avatar" brought another way of creating cinematic story; the stereoscopic 3-D cinema. Comparing conventional 2-D filmmaking, you need twice as much of budget and manpower in 3-D filmmaking because of the complicated process and slow production speed. The 3-D hardware like 3-D TV and 3-D projector are already showing at the retail stores while 3-D filmmaking is still in veil, and no major educational institution is yet to start 3-D related education. As 3-D movies get popular and demand more 3-D filmmaking professional crew, educating 3-D filmmaking to 2-D based film students will improve their hiring rate in the market. The successful result of the box office showing 3-D films like "Alice in Wonderland 3D" and "Titan 3D" forecasts that there will be more demand on 3-D related jobs very soon.

• International journal of advanced smart convergence
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• 제8권1호
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• pp.18-23
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• 2019

The image projected onto the screen of the floating hologram is no more than a two-dimensional image. Although it creates an illusion that an object appears to float in space as it moves around while showing its different parts. This paper has proposed a novel method of floating 3D hologram display to view stereoscopic three-dimensional images without putting on glasses. The system is comprised of a sharkstooth scrim screen, projector, polarizing filter for the projector, and a polarizing film to block the image projected from the sham screen. As part of the polarization characteristics, the background image and the front object have completely been separated from each other with the stereoscopic 3D effect successfully implemented by the binocular disparity caused by the distance between the two screens.

• Cartoon and Animation Studies
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• 통권49호
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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.

• The Journal of the Korea Contents Association
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• 제12권1호
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• pp.91-102
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• 2012

Generally today's culture and the arts industry has been focusing more on economic value than the arts. Therefore this paper will elucidate the meaning of the culture and the arts can be a break though which can only include commercial and economic values but transcend its values ultimately. First of all, this paper will suggest an advanced 3D stereoscopic images by analysis of examples and environments of realistic media arts. Looking into the changes of related technologies and market environments, the motion-recognition technology, as seem in SF film "Minority report", has become a feasible technology. In the past, 3D stereoscopic images were shown in the theme park theatre and exhibition halls for group viewing. but recent 3D TV and display devices have changed those environments to personal. Since domestic researches of realistic media art has been little, this paper will analyze them respecting to three broad classifications. The results are : Firstly, in CAVE method, more impact capabilities of spectators are expected that they can manipulate interactive interfaces freely and the physical movements of spectators can operate interactively. Secondly, inter-network communications and expansion of viewers' perceptions are predicted by way of HMD method, sensor suites and communication equipments. Thirdly, combinations of HMD and motion tracking utilization is foreseen. With the convergent usages of these three features, we can prospect the possibilities of interactive 4D that spectators wearing 3D stereoscopic display devices can experience and make their own 3D stereoscopic images actively at the point of their views.

• The Journal of the Korea Contents Association
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• 제11권7호
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• pp.121-130
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• 2011

If you ask many Stereographers how to make a good S3D and you will get all different answers. There are several 3D knowledges and opinions that were not always in agreement. we have to choose which advice to follow and find our own way. But there will be no durable screening of S3D films without a minimal viewing comfort of all the audience whatever the differences of their vision. First of all, We always consider several factors to get an appropriate S3D shot before moving on to production. This is intended to provide a practical example on S3D film production. I hope that this article will encourage further research on this topic.