• Journal of Broadcast Engineering
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• v.16 no.1
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• pp.33-43
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• 2011

Recently, 3D displays are supplied in the 3D markets so that the demand for 3D stereoscopic contents increases. In general, a simple method is to use a stereoscopic camera. As well, the production of 3D from 2D materials is regarded as an important technology. Such conversion works have gained much interest in the field of 3D converting. However, the stereoscopic image generation from a single 2D image is limited to simple 2D to 3D conversion so that the better realistic perception is difficult to deliver to the users. This paper presents a new stereoscopic content production method where foreground objects undergo alive action events. Further stereoscopic animation is viewed on 3D displays. Given a 2D image, the production is composed of background image generation, foreground object extraction, object/background depth maps and stereoscopic image generation The alive objects are made using the geometric transformation (e.g., translation, rotation, scaling, etc). The proposed method is performed on a Korean traditional painting, Danopungjung as well as Pixar's Up. The animated video showed that through the utilization of simple object transformations, more realistic perception can be delivered to the viewers.

• Korean Institute of Interior Design Journal
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• no.28
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• pp.265-265
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• 2001

The perceptual presentation of interior design is to represent an interior space planned by a designer as if people see it in reality. The perceptual presentation methods that have developed are perspectives, full-scale models, small-scale models, photography of models, video taping of models, computer images, computer animation, and virtual reality. The purpose of this study is to investigate limits of those perceptual presentation methods according to their characteristics. The methods have characteristics that are either static or dynamic and either monoscopic or stereoscopic. In terms of representing interior spaces and perceiving interior spaces, the dynamic characteristic is more helpful than the static characteristic because the dynamic characteristic provides consecutively changing views of interior spaces when people walk around within the spaces. The stereoscopic characteristic is more helpful than the monoscopic characteristic because the stereoscopic characteristic provides the binocular depth perception. Full-scale models, small-scale models, virtual reality that have dynamic and stereoscopic characteristics, are most effective. The next effective methods are video taping of models and computer animation that have dynamic and monoscopic characteristics. The last effective methods are perspectives and photography of models that have static and monoscopic characteristics. But the most effective methods can not be said that those are perfect because each of them still has limits. Designers have to consider the limits of each perceptual presentation method to find a way that shows their designs most effectively. To develop the perceptual presentation methods of interior design, researchers should focus on the helpful characteristics that are dynamic and stereoscopic.

• Korean Institute of Interior Design Journal
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• no.29
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• pp.265-272
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• 2001

The perceptual presentation of interior design is to represent an interior space planned by a designer as if people see it in reality. The perceptual presentation methods that have developed are perspectives, full-scathe models, small-scale models, photography of models, video taping of models, computer images, computer animation, and virtual reality. The purpose of this study is to investigate limits of those perceptual presentation methods according to their characteristics. The methods have characteristics that are either static or dynamic and either monoscopic or stereoscopic. In terms of representing interior spaces and perceiving interior spaces, the dynamic characteristic is more helpful than the static characteristic because the dynamic characteristic provides consecutively changing views of interior spaces when people walk around within the spaces. The stereoscopic characteristic is more helpful than the monoscopic characteristic because the stereoscopic characteristic provides the binocular depth perception. Full-scale models, small-scale models, virtual reality that have dynamic and stereoscopic characteristics, are most effective. The next effective methods are video taping of models and computer animation that have dynamic and monoscopic characteristics. The last effective methods are perspectives and photography each of models that haute static and monoscopic characteristics. But the most effective methods can nut be said that those are perfect because each of them still has limits. Designers have to consider the limits of each perceptual presentation method to find a way that shows their designs most effectively. To develop the perceptual presentation methods of interior design, researchers should focus on the helpful characteristics that are dynamic and stereoscopic.

• Journal of the Institute of Electronics Engineers of Korea SC
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• v.45 no.6
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• pp.95-101
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• 2008

In this paper, we present a new smoothing algorithm for variable depth mapping for real time stereoscopic image for 3D display. Proposed algorithm is based on the physical concept, called Laplacian equation and we also discuss the mapping of the depth from scene to displayed image. The approach to solve the problem in stereoscopic image which we adopt in this paper is similar to multi-region algorithm which was proposed by N.Holliman. The main difference thing in our algorithm compared with the N.Holliman's multi-region algorithm is that we use the Laplacian equation by considering the distance between viewer and object. We implement the real time stereoscopic image generation method for OpenGL on the circular polarized LCD screen to demonstrate its real functioning in the visual sensory system in human brain. Even though we make and use artificial objects by using OpenGL to simulate the proposed algorithm we assure that this technology may be applied to stereoscopic camera system not only for personal computer system but also for public broad cast system.

• Journal of Korean Ophthalmic Optics Society
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• v.16 no.3
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• pp.299-305
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• 2011

Purpose: In watching 3D stereoscopic display using the binocular disparity, effect of difference of the pupillary distance between the adults and children on the perception of depth were investigated. Methods: The average PD of children was determined from the PD measurements of children of the elementary school of 2nd and 3rd grade in Seoul. The location of crossing visual axes were derived from the relation of the binocular disparity and the PD for the adults and children. Results: The average PD of the children was measured to be 57.3 mm which was smaller than the average PD of the adults that was known to be about 65 mm. As the binocular disparity increases to the positive direction, the crossing location steeply moves farther behind the screen. On the other hand, when the binocular disparity increases to the negative direction, the crossing location gradually moves toward the viewer. For the same amount of the binocular disparity, the crossing locations were derived to be larger for the children than the adults due to the difference of the PD. Therefore, children will perceive larger depth than the adults. Conclusions: Small PD of the viewer causes the larger amount of the depth perception. In producing the stereoscopic images, the average PD of children as well as adults need to be considered.

• Journal of Korea Game Society
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• v.10 no.1
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• pp.135-146
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• 2010

The development of image technologies in such area as broadcasting and movies has recently increased our attention to 3D stereoscopic images. In addition, the development of stereoscopic image representation technologies in 3D contents becomes more active over time due to the representational limitations of 2D images. Without limitation to the above-mentioned area, stereoscopic image technologies have been developed and studied so that they can be widely accessed in diverse areas including medical services and education. Due to the refined production, however, required to represent a three dimensional effects and the fatigue caused by the perception of a three dimensional effects, the stereoscopic image technologies are not combined into real time systems such as games where environments change unforeseeably. In this study we design a technique to adjust the depth scaling that will enable efficient management of a three dimensional effects and to relieve fatigue through automatic view point interval adjustment in accordance with situations based on the geometrical structure of the DirectX SDK graphic pipeline. Through this, we would like to suggest a new alternative idea to activate the production of games combined with stereoscopic image technologies.

• The Journal of the Acoustical Society of Korea
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• v.22 no.1E
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• pp.3-10
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• 2003

This paper describes two kinds of neural networks for stereoscopic vision, which have been applied to an identification of human speech. In speech recognition based on the stereoscopic vision neural networks (SVNN), the similarities are first obtained by comparing input vocal signals with standard models. They are then given to a dynamic process in which both competitive and cooperative processes are conducted among neighboring similarities. Through the dynamic processes, only one winner neuron is finally detected. In a comparative study, with, the average phoneme recognition accuracy on the two-layered SVNN was 7.7% higher than the Hidden Markov Model (HMM) recognizer with the structure of a single mixture and three states, and the three-layered was 6.6% higher. Therefore, it was noticed that SVNN outperformed the existing HMM recognizer in phoneme recognition.

• Proceedings of the Korean Society of Broadcast Engineers Conference
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• 1998.06a
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• pp.3-8
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• 1998

The conversion of monoscopic video to 3D stereoscopic video has been studied by some pioneering researchers. In spite of the commercial of potential of the technology, two problems have bothered the progress of this research area: vertical motion parallax and high computational complexity. The former causes the low 3D perception, while the hardware complexity is required by the latter. The previous research has dealt with NTSC video, thur requiring complex processing steps, one of which is motion estimation. This paper proposes 3D stereoscopic conversion method of MPGE encoded data. Our proposed method has the advantage that motion estimation can be avoided by processing MPEG compressed data for the extraction of motion data as well as that camera and object motion in random in random directions can be handled.

• Science of Emotion and Sensibility
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• v.16 no.1
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• pp.29-42
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• 2013

In this paper, we analyze the effect of the depth perception, volume perception and visual discomfort according to the change of the quality of the depth image and the depth of the major object. For the analysis, a 2D image was converted to eighteen 3D images using depth images generated based on the different depth position of a major object and background, which were represented in three detail levels. The subjective test was carried out using eighteen 3D images so that the degrees of the depth perception, volume perception and visual discomfort recognized by the subjects were investigated according to the change in the depth position of the major object and the quality of depth map. The absolute depth position of a major object and the relative depth difference between background and the major object were adjusted in three levels, respectively. The details of the depth map was also represented in three levels. Experimental results showed that the quality of the depth image differently affected the depth perception, volume perception and visual discomfort according to the absolute and relative depth position of the major object. In the case of the cardboard depth image, it severely damaged the volume perception regardless of the depth position of the major object. Especially, the depth perception was also more severely deteriorated by the cardboard depth image as the major object was located inside the screen than outside the screen. Furthermore, the subjects did not felt the difference of the depth perception, volume perception and visual comport from the 3D images generated by the detail depth map and by the rough depth map. As a result, it was analyzed that the excessively detail depth map was not necessary for enhancement of the stereoscopic perception in the 2D-to-3D conversion.

• 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.