• 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.

• Journal of the Korea Society of Computer and Information
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• v.24 no.6
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• pp.117-124
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• 2019

In the field of dance creation, the use of film and television skills, cyberspace, action sets, computer graphics and other technology and media technology have made the creative environment for dance art that it rapidly improves and presents a new situation. Especially in the dance creation part, VR technology can show many possibilities and can be used as a tool to fully satisfy the choreographer's intention and imagination. Therefore, this study analyzes the acceptance model of virtual reality technology in dance creative education, and we will examine the effect of social influence, shared trust, innovation, interest, and self-efficacy on perceived usefulness and perceived ease. Second, we will examine the effect of perceived usefulness and perceived ease on intention to use. The study is targeted at ordinary dance creators who currently reside in Hebei Province, China. The survey was conducted for approximately 30 days from March 16th to April 17th. The total number of valid samples collected was 377. The results of the identification of the hypotheses between variables based on the questionnaire data are as follows: Firstly, social influence, shared trust, innovation, interest, and self-efficacy have a positive impact on perceived usefulness, perceived ease. Secondly, perceived usefulness, perceived ease has a positive effect on the intention to use. In view of the above research results, the theoretical significance and limitations of this research and the future research directions are discussed in depth.

• Electronics and Telecommunications Trends
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• v.32 no.5
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• pp.39-48
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• 2017

Since the world's first 3D commercial film with red-blue glasses was introduced in 1922, remarkable progress has been made in the field of 3D video. 3D video content gained enormous popularity with the movie "Avatar," which greatly increased the sale of 3D TVs. This momentum has weakened owing to lack of 3D content. However, the recent trend of virtual reality (VR) and augmented reality (AR) made 360 VR video and 3D games using a head mounted display wide spread. All these experiences mentioned above require wearing glasses to enjoy 3D content. Super multi-view content technology, on the other hand, enables viewers to enjoy 3D content without glasses on a super multi-view display. In this article, we introduce the technologies used to make super multi-view content, interact with it, and author content, which are developed by ETRI.

• International Journal of Advanced Culture Technology
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• v.11 no.4
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• pp.423-428
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• 2023

Currently , the growth of various platforms is remarkable , both at home and abroad . With the growth of various platforms such as PC, console, and VR as well as mobile, the global gaming industry market size has grown to reach KRW 151 trillion . However , in order to revitalize the domestic game market , which is growing at a slower pace, improve the concentration phenomenon that is concentrated on mobile and PC platforms , and select one of the games using IP that is being discussed as a new breakthrough , and determine what form the game will take. Through this study, we would like to suggest whether multi-platform is appropriate. The Digimon series generally attracts many fans through animation , and the Digimon story Cyber Sleuth, which utilizes new scenarios to satisfy them and arouse interest at the same time , can be seen as a representative success example We believe that through this interaction, users can continue to play the main content on their PC, and create synergy by being able to play and enjoy minimal content through mobile anytime , anywhere while doing other things.

• 한국HCI학회:학술대회논문집
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• 2006.02a
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• pp.431-436
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• 2006

본 논문은 몰입형 가상환경 시스템에서 3 차원 공간입력 인터페이스 시스템을 이용한 3 차원 오브젝트 설계, 오브젝트의 변형 등의 작업을 수행하기 위해 몰입형 가상환경 시스템이 갖는 부정확한 입력과 접근성을 향상시키기 위한 연구이다. 몰입형 가상환경 시스템은 가상 디자인 분야에서의 활용이 예견되고 있으나, 사용자의 입력이 부정확한 단점으로 인하여 정밀한 입력을 요구하는 작업을 진행하기 위해 많은 어려움을 겪고 있다. 본 논문에서는 가상 디자인 분야에서의 사용자 입력 정밀도를 향상 시키는 방법으로 공간격자를 제시하고 두 가지 실험을 통해 공간격자를 사용할 때 사용하지 않았을 때 보다 좀 더 높은 입력 정밀도를 갖는 것을 알 수 있었다.

• Journal of Korean society of Dental Hygiene
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• v.24 no.2
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• pp.121-130
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• 2024

Objectives: This study aimed to develop a virtual reality (VR)-based oral strength training program and apply it to older adults to assess improvements in oral function. Methods: The oral strength training was conducted 12 times over 6 weeks, from late August to early October 2023, at the participants' institution. Each session lasted approximately 60 minutes. Forty-one participants aged 65 and older were randomly assigned to either the intervention or control group. Results: Following the VR-based oral muscle strength training, the O'Leary index decreased by 0.42 (p<0.01), and the Löe & Silness index decreased by 1.11 (p<0.01). Additionally, there was a 1.24 reduction in tongue tie (p<0.01) and a 0.55 increase in salivation (p<0.05). Post hoc comparisons revealed significant differences between the two groups in gingival bacterial film (p<0.001), gingivitis (p<0.001), and tongue plaque (p<0.01). Conclusions: The study found that VR-based oral muscle strength training can improve oral health among older adults. Therefore, the VR-based oral muscle strength training program developed in this study could be beneficial in health promotion programs for the elderly.

• Journal of Digital Contents Society
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• v.18 no.2
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• pp.275-282
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• 2017

With the development of digital technology, a cinematic content has been changed into various forms. Web and mobile platforms bring new forms of cinematic contents. However despite of fast growing of VR(Virtual Reality) technology, they haven't applied to cinematic contents yet. This research focused on the esthetical use of rotoscoping technique for the Virtual Reality Cinema based on the (HMD) Head Mounted Display. First, we look though on VR films 'Notes on Blindness' and 'Pearl' to find how these films express esthetical virtual space. Through this, we found out graphical space provide new esthetical experience to viewers in virtual space. Also, we analyze fantastical usages and successful cases of rotoscoping technique with the 'Waking Life' and 'Scanner Darkly' that utilize rotoscoping technique to live action image. Lastly, we utilize rotoscoping technique esthetically to the VR film 'Girl on a swing' to fulfill the viewers experience and desire.

• The Journal of the Korea Contents Association
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• v.11 no.2
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• pp.178-185
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• 2011

The recent development of 3D and its application contents have made it possible for people to experience more various 3D contents such as 3D/4D, VR, 3D ride film, I-max, sensory 3D games at theme parks, large-scale exhibitions, 4D cinemas and Video ride. Among them, Video ride, a motion-based genre, especially is getting more popularity, where viewers are immersed in and get indirect experiences in virtual reality. In this study, the production process of the genre of sensory 3D image getting attention recently and ride film are introduced. In the material selection of 3D images, the space and the setting up which is suitable to the fierce movement of rides are studied and some examples of the realization of creative direction ideas and effective technologies using the functions of Stereo Camera which has been first applied to MAYA 2009 are also illustrated. When experts in this 3D image production create more interesting stories with the cultural diversity and introduce enhanced 3D production techniques for excellent contents, domestic relevant companies will be sufficiently able to compete with their foreign counterparts and further establish their successfully unique and strong domains in the image contents sector.

• Journal of Korea Entertainment Industry Association
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• v.15 no.4
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• pp.73-87
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• 2021

Special theaters were created to provide a sense of immersion and spectacles due to differentiated screens, sound, seating facilities, and advanced services, and also expanded screens. The purpose of this study is to perform comparative analysis of the technical characteristics formats shown in special theaters(3D film, 4DX, IMAX, ScreenX, and VR) in order to identify and find ways to overcome the technological limitations in production. The various formats show differences in field of view depending on the exhibition technology and these differences affect the mise-en-scene, narrative, and editing of the film and consequently result in changes in the production environment and process. Therefore, directors and creators must understand the technological features and limitations of the new formats before making their approach. However, a new format encounters limitations on production sets due to the decline of technical education and succession. In situations where shooting with a special camera is essential, the particular characteristics of each format should be carefully considered from the planning stage but financial problems arise due to increase in production period and cost. To overcome these various obstacles, it is essential to first identify problems and present alternatives through in-depth research on the production set of each format. Finally, this research aims to explore the prototype of each format and analyze the current state of production technology with formats that have not been adapted to the market trends by combining with the other formats and showing that they can survive in new ways.

• Journal of Korea Multimedia Society
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• v.25 no.2
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• pp.411-420
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• 2022

Entering the digital cinema era, movies and games are remediating each other. The shots of digital movies are being transformed into realistic content through digital Moving long-take shots that transcend time and space and move smoothly. At this time, the digital Moving long take shot that continuously captures the space in all directions without an external screen induces a game experience. In addition, the camera that constantly accompanies the person enhances the sense of immersion in the game in a way similar to the point of view of the game. While various immersive device contents represented by VR, AR and XR are emerging, the advent of <1917> suggests significant implications for post-cinema in that it creates a game experience while maintaining the traditional screen environment and cinematic paradigm.