• Journal of the Korea Institute of Information and Communication Engineering
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• v.25 no.6
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• pp.807-812
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• 2021

In order to be able to interact with the user to experience it as if it were real in virtual reality contents, input/output devices that make them feel the five senses of humans are required . In virtual reality (VR), devices that stimulate sight and hearing are the most representative. For a more realistic experience, suits and gloves that stimulate the sense of touch have recently been released, but there are not many cases applied to actual contents due to the limitation of device . In this paper, we analyze a virtual reality glove that can detect hand movement and touch in a virtual world. Based on the analysis, we propose an algorithm that can sense the intensity of collision with a VR object by tactile sense by improving the UI/UX using the vibration of the feedback method used in the existing virtual reality glove. In addition, the system implemented by the algorithm is applied to an actual case.

• Cartoon and Animation Studies
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• s.41
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• pp.533-552
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• 2015

The environment of images in VR-based animation is constructed to generate and promote interactivity between the images and the viewer without any physical space like a screen, or a monitor. In this process, the images and the viewer are combined as a complex through the media technology, that is, an interface. And it is far more in the case of the animation consisted of the bio-feedback interface closely connecting with the body of viewer. As a result, the viewer experiences a permeable interaction between ego and images world, namely virtual reality. That is different from the way of seeing and interpreting the images from a distance. So it needs to analyse the perception of viewer in the world of virtual images. This paper examines the complex phenomena of both the VR-based animation and the viewer mediated by the interface in light of Media Aesthetics. Media Aesthetics is effective in analysing the phenomena of VR-based animation, for it is concerned with the perception of viewer mediated by the media technology. The perception in VR-based animation is a full-body immersion, or embodied immersion, and it is different from the contemplative immersion in that it is remediated continuously by the technological apparatus. The viewer as an immersant, especially with a bio-feedback interface, can immediately touch and control the images in VR-based animation. Such an immersion, therefore, is new every single moment. And the world of VR-based animation is ultimately constructed through the viewer's full-body, or embodied immersion crossing between the virtual and the real. So the animation is not interpreted, but embodied. And the meaning of it is constructed and reconstructed by the viewer's embodied immersion as an immersant. Here, a new frame of animation more oriented to the viewer's participation as an full-body immersant can be created.

• Journal of Korea Entertainment Industry Association
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• v.13 no.3
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• pp.193-202
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• 2019

This study focuses on what changes are required as to a curriculum of dance department in the university in the age of the 4th industrial revolution. By comparing and analyzing the curricula of dance department in the five universities in Seoul, five academic subjects as to curricula of dance department, which covers what to learn for dance education in the age of the 4th industrial revolution, are presented. First, dance integrative education, the integration of creativity and science education, can be referred to as a subject that stimulates ideas and creativity and raises artistic sensitivity based on STEAM. Second, the curriculum characterized by prediction of the future prospect through Big Data can be utilized well in dealing with dance performance, career path of dance-majoring people, and job creation by analyzing public opinion, evaluation, and feelings. Third, video education. Seeing the images as modern major media tends to occupy most of the expressive area of art, dance by dint of video enables existing dance work to be created as new form of art, expanding dance boundaries in academic and performing art viewpoint. Fourth, VR and AR are essential techniques in the era of smart media. Whether upcoming dance studies are in the form of performance or education or industry, for VR and AR to be digitally applied into every relevant field, keeping with the time, learning about VR and AR is indispensable. Last, the 4th industrial revolution and the curriculum of dance art are needed to foresee the changes in the 4th industrial revolution and to educate changes, development and seeking in dance curriculum.

• Proceedings of the Korean Society of Broadcast Engineers Conference
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• 2016.11a
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• pp.119-122
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• 2016

최근 IT기술 영역에서 미래기술로 촉망받는 증강현실(AR)과 가상현실(VR)환경을 구축함에 있어서, 마우스나 키보드 등의 별도 장치 없이 기기에 원하는 동작을 입력 하도록 하는 NUI(Natural User Interface)기술이 각광받고 있다. 또한 NUI를 구현하는데 중요한 기술 중 하나로 손동작 인식 기술, 얼굴 인식 기술 등이 대두되고 있다. 이에 본 논문은 적외선 센서의 일종인 Leapmotion 센서를 사용하여 손동작 인식을 구현하고자 하였다. 첫 번째로 우선 거리변환 행렬을 사용하여 손바닥의 중심을 찾았다. 이후 각각의 손가락을 convex hull 알고리즘을 사용하여 추출한다. 제안한 알고리즘에서는 손가락, 손바닥 부분의optical flow를 구한 후, 두 optical flow의 특성을 사용하여 손의 이동, 정지, 클릭 동작을 구분 할 수 있도록 하였다.

• Journal of the Korean Society of Fisheries and Ocean Technology
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• v.57 no.1
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• pp.34-44
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• 2021

In order to collect basic information of response behavior of red seabream (Pagrus major) during pilling, works for constructing wind power station in Byeonsan Peninsular, Korea were investigated. Four cultured red seabream CRB1 to CRB4 [total length (TL): 27.1 ± 1.0 cm; body weight: 359 ± 30 g] were tagged with an acoustic tag and used in experiment. CRB1 and CRB2 to CBR4 were released on the sea surface at same time around the constructing site of the wind power plant on September 22, 2017 and July 18, 2018, respectively. The tracking of the CRB1 to CRB2 and CRB3 to CRB4 were conducted for two hours, approximately, using VR100 receiver including a directional hydrophone and VR2W receivers array consisted of 19 presence/absence receivers (VR2W receivers), respectively. The underwater noise level before (no pile driving works) and during pile driving works was measured 116.0-118.0 dB (re 1��Pa) and a maximum of 160 dB (re 1��Pa), respectively. CRB1 moved about 6.0 km with average swimming speed of 80.2 ± 20.5 cm/s for 2.1 hours without pile driving work. The average water depth of the sea bed on the route of CRB1 was 9.1 ± 0.4 m. CRB2 moved about 7.3 km with the average swimming speed of 96.8 ± 27.1 cm/s for 2.1 hours with pile driving work. The water depth of the sea bed on the route of CRB2 was 11.9 ± 0.6 m. At results of the Rayleigh's z-test two fishes CRB1 and CRB2 showed significant directionality in the movement (p < 0.01). Movement mean angles of CRB1 and CRB2 were 92.7 and 251.8°, respectively. CRB2, CRB3 and CRB4 exhibited the escaping behavioral response from the noise of source during the pile driving work. The swimming speed of the CRB2 exposed on the heavy underwater noise stimuli due to the pile driving work was 1.21 times faster than that of the CRB1 exposed on the ambient underwater noise in the study site.

• Journal of the Institute of Convergence Signal Processing
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• v.24 no.1
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• pp.57-68
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• 2023

With the technological development in the era of the 4th Industrial Revolution, technologies using HMD are being applied in various fields. HMD is especially useful in virtual reality fields such as AR/VR, and is very effective in receiving vivid impressions from users located in remote locations. According to these characteristics, the frequency of using HMD is increasing in the field related to collaboration. However, when HMD is applied to collaboration, communication between experts located in remote locations and workers located in the field is not smooth, causing various problems in terms of usability. In this paper, remote experts and workers in the field use HMD to solve various problems arising from collaboration, design/propose new types of HMD structures and functions that enable more efficient collaboration, and verify their usability using SUS evaluation techniques. As a result of the SUS evaluation, the new type of HMD structure and function proposed in this paper was 86.75points, which is believed to have greatly resolved the restrictions on collaboration and inconvenience in use of the existing HMD structure. In the future, when the HMD structure and design proposed in this paper are actually applied, it is expected that the application technology using HMD will expand rapidly.

• Land and Housing Review
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• v.15 no.2
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• pp.125-137
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• 2024

A conventional Design for Safety (DfS), introduced to eliminate potential hazards in the design phase proactively, has encountered persistent challenges, such as perfunctory risk assessments and hazard identifications based on 2D drawings and inefficient workflow processes. This study proposes a BIM-based approach to Design for Safety (DfS) to address the limitations of conventional methods, aiming to enhance efficiency and achieve practical safety management benefits. The proposed workflow process for BIM-based DfS has been refined and validated for on-site applicability through various case studies, including risk assessments during the design phase and field applications for safety management activities during the construction phase. Specifically, the critical process of risk assessment within the DfS methodology has also been transitioned to a BIM-based approach. This BIM-based risk assessment process has been evaluated through case studies, encompassing safety reviews for structural design, construction equipment operation, and construction methodology with sequence in design projects. Additionally, the proposed BIM-based DfS has demonstrated exceptional on-site applicability and efficiency, as validated by the application of a BIM deliverable embedded in DfS information for CDE-based daily activity briefing, VR-based safety training, AR-based mitigation measures inspections, and other safety management activities in the construction phase.

• Cartoon and Animation Studies
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• s.47
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• pp.1-29
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• 2017

360-degree virtual reality has been a technology that has been available for a long time and has been actively promoted worldwide in recent years due to development of devices such as HMD (Head Mounted Display) and development of hardware for controlling and executing images of virtual reality. The production of the 360 degree VR requires a different mode of production than the traditional video production, and the matters to be considered for the user have begun to appear. Since the virtual reality image is aimed at a platform that requires enthusiasm, presence and interaction, it is necessary to have a suitable cinematography. In VR, users can freely enjoy the world created by the director and have the advantage of being able to concentrate on his interests during playing the image. However, the director had to develope and install the device what the observer could concentrate on the narrative progression and images to be delivered. Among the various methods of transmitting images, the director can use the composition of the short. In this paper, we will study how to effectively apply the technique of directing through the composition of this shot to 360 degrees virtual reality. Currently, there are no killer contents that are still dominant in the world, including inside and outside the country. In this situation, the potential of virtual reality is recognized and various images are produced. So the way of production follows the traditional image production method, and the shot composition is the same. However, in the 360 degree virtual reality, the use of the long take or blocking technique of the conventional third person view point is used as the main production configuration, and the limit of the short configuration is felt. In addition, while the viewer can interactively view the 360-degree screen using the HMD tracking, the configuration of the shot and the connection of the shot are absolutely dependent on the director like the existing cinematography. In this study, I tried to study whether the viewer can freely change the cinematography such as the composition of the shot at a user's desired time using the feature of interaction of the VR image. To do this, 3D animation was created using a game tool called Unreal Engine to construct an interactive image. Using visual scripting of Unreal Engine called blueprint, we create a device that distinguishes the true and false condition of a condition with a trigger node, which makes a variety of shorts. Through this, various direction techniques are developed and related research is expected, and it is expected to help the development of 360 degree VR image.

• The Journal of the Korea Contents Association
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• v.20 no.6
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• pp.367-380
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• 2020

360 product photography is one of the realistic media technologies that can observe subjects from various angles as one of the real-world VR production methods. This study examined the effect of 360 product photography on the intention to Continuous Use through the technology acceptance model. The results of the online survey showed that informative, which is the characteristic of 360 product photography, affects both ease of use and perceived usefulness, while reliability and entertainingness affect only perceived usefulness. Internal innovation had an impact on perceived ease, but not on perceived usability. Ease of use, both mediators, had a positive effect on sustained use intention. These findings can be used as a reference for various studies in the field of 360 product photography which is still insufficient. In addition, it can provide strategic implications for the production direction of 360 product photos.

• Proceedings of the Korea Contents Association Conference
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• 2006.05a
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• pp.517-520
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• 2006

Crowd behavioral scenes in virtual underwater world are presented in many entertainments such as films and games. According to the increase of digital films and animations caused by the development of computer graphics, it is easy for us to meet with the cyber characters in those scenes. Characters which appear in computer animation put life into virtual world. The more characters we have in this virtual space, the deeper we are immersed in the space. There were many researches which processed the crowd scene and implemented the crowd behavior system in Korea. They were related to developing VR contents which were available to feel actually in the construction of the virtual environment. But they are far from reaching the step to put to practical use in developing the crowd behavior modeler. Therefore, we suggestion the fish schooling behavior modeler that provides interaction and action behavior in 3D object to present vividly and effectively in underwater world.