• The Journal of Korean Institute of Communications and Information Sciences
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• v.38C no.10
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• pp.920-927
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• 2013

Chroma key technique which composes images by separating an object from its background in specific color has restrictions on color and space. Especially, unlike general chroma key technique, image composition for stereo 3D display requires natural image composition method in 3D space. The thesis attempted to compose images in 3D space using depth keying method which uses high resolution depth information. High resolution depth map was obtained through camera calibration between the DSLR and Kinect sensor. 3D mesh model was created by the high resolution depth information and mapped with RGB color value. Object was converted into point cloud type in 3D space after separating it from its background according to depth information. The image in which 3D virtual background and object are composed obtained and played stereo 3D images using a virtual camera.

• The Journal of Korean Institute of Communications and Information Sciences
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• v.39A no.8
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• pp.453-458
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• 2014

In this paper, we propose a stereo image composition method based on Poisson image editing. If we synthesize images without considering their depth values, it may lead to unwanted consequences. When we segment an image into its background and foreground regions using Grabcut, we take into account their geometric positions to mix color tones; thus, the image is composited more naturally. After synthesizing images, we apply a blurring operation around object boundaries; then, the foreground object and background are composited more seamlessly. In addition, we can adjust the distance of the object by setting arbitrary depth values and generating right color and depth images automatically. Experimental results show that the proposed stereo image composition method provides naturally synthesized stereo images. Improved portions were subjectively confirmed as well.

• International Journal of Advanced Culture Technology
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• v.12 no.1
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• pp.128-133
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• 2024

Painting, as an artistic creation with aesthetic characteristics, is inseparable from "shape". "Modeling" is a subjective way of expressing objects, and "black shape" is not only a way of expression, but also a way of composition. "Black shape" is a way of expressing the overall picture of the creator, and "black shape" extracted from the pattern analysis of black and white gray structure is a powerful means to deeply explore the emotions and thoughts of the painter. How to create the expression of subjective intention in the creation of artificial figure painting and to explore the beauty of picture form and the presentation of formal language in multiple dimensions is always sought by painters. Tang Dynasty political stability, economic and cultural development of unprecedented prosperity, "Toujian Diu" as a representative painting of Tang Dynasty, the figure is plump and realistic, colorful but elegant. It not only represents the aesthetic taste of the Tang Dynasty, but also reflects the overall style of the Tang Dynasty's artificial figure painting. The aim of this paper is to explore the value of "black shape" in "Toughen Diagram" and analyze its multi-component form in depth.

• Journal of the Korean housing association
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• v.10 no.2
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• pp.213-222
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• 1999

This study, from conditions connected with water in Feng-Shui theory, is to find out their influence of the location and spatial composition of the studied villages, Hawei and Yangdong, and then to offer the result as basic data for the study of the traditional village in the future. The study method is to analyze topography by the map and present state of villages studied, to interprete them on the base of location, spatial composition, and chi, and then to analyze the relevancy of Feng-Shui theory of them. The result of the study are to be following: Houses of Hawei village are situated on the inside of a winding stream of waterway, while those of Yang dong village are located on the outside of a winding stream of waterway. In case of Hawei village, showed the close interrelation between the distribution of present houses and running speed of waterway by positin. Judging from the location, orientation and surroundings of mountains and waterway, topographical composition of Hawei village is Duk su guk, but that of Yang dong village is Juang feng guk. Comparing with Yang dong and Hawei in location and spatial composition, the conditions of waterway as being locational factor, for example, the geomancy of situation, orientation, and phisical phenomena(lenth, width, and depth of waterway in front of village) of waterway, are more importantly considered in Hawei village being situated on even land than in Yang dong located at the foot of the mountain.

• The Journal of the Korea institute of electronic communication sciences
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• v.9 no.11
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• pp.1317-1322
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• 2014

To complete an image, it is needed to go through the process to capture the actual actor's motion and compose it with virtual environment. Due to the excessive cost for production or lack of post-processing technology, however, it is mostly conducted by manual labor. The actor plays his role depending on his own imagination at the virtual chromakey studio, and at that time, he has to move considering the possible collision with or reaction to an object that does not exist. And in the process of composition applying CG, when the actor's motion does not go with the virtual environment, the original image may have to be discarded and it is necessary to remake the film. The current study suggested and realized depth-based real-time 3D virtual image composition system to reduce the ratio of remaking the film, shorten the production time, and lower the production cost. As it is possible to figure out the mutual collision or reaction by composing the virtual background, 3D model, and the actual actor in real time at the site of filming, the actor's wrong position or acting can be corrected right there instantly.

• Korean Institute of Interior Design Journal
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• v.16 no.6
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• pp.197-204
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• 2007

In the spatial configuration of room-to-room art museums, openings and walls are important physical factors, and openings are a medium for connecting spaces. Also, by spatially composing walls and openings, spaces can be connected visually and physically, and movements and directions may vary depending on the location or size of walls and openings. In this study, 5 museums are investigated: Sainsbury Wing in London, Gemaldegalerie In Berlin, Alte Pinakotkek in Munich, Neue Pinakothek in Munich, and Staatsgalerie Stuttgart in Stuttgart. Using DepthMap program, the characteristics of visual-spatial composition of each museum are derived by comparing the Connectivity, Visual integration, and Isovist maximum radial. From an analysis of spatial distribution, a relationship with visibility is investigated. The results of this study showed that the combination of visual axial lines affect the spatial configuration of the room-to-room museums. Depending on the location of opening, the museums can be classified as follows: 1) Museums with the 1st visual axial line and the 2nd and 3rd auxiliary visual axial lines ; 2) museums with several equal visual axial lines; and 3) museums with only center axial line.

• KSII Transactions on Internet and Information Systems (TIIS)
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• v.13 no.4
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• pp.2042-2059
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• 2019

Digital shadow puppet has traditionally relied on expensive motion capture equipments and complex design. In this paper, a low-cost driven technique is presented, that captures human pose estimation data with simple camera from real scenarios, and use them to drive virtual Chinese shadow play in a 2.5D scene. We propose a special method for extracting human pose data for driving virtual Chinese shadow play, which is called 2.5D human pose estimation. Firstly, we use the 3D human pose estimation method to obtain the initial data. In the process of the following transformation, we treat the depth feature as an implicit feature, and map body joints to the range of constraints. We call the obtain pose data as 2.5D pose data. However, the 2.5D pose data can not better control the shadow puppet directly, due to the difference in motion pattern and composition structure between real pose and shadow puppet. To this end, the 2.5D pose data transformation is carried out in the implicit pose mapping space based on self-network and the final 2.5D pose expression data is produced for animating shadow puppets. Experimental results have demonstrated the effectiveness of our new method.

• Journal of Digital Contents Society
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• v.13 no.2
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• pp.225-233
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• 2012

The 3D stereoscopic image contents have been emerging as the blue chip of the contents market of the next generation since the . However, all the 3D contents created commercially in the country have failed to enter box office. It is because the quality of Korean 3D contents is much lower than that of overseas contents and also current 3D post production process is based on 2D. Considering all these facts, the 3D editing process has connection with the quality of contents. The current 3D editing processes of the production case of are using the way that edits with the system on basis of 2D, followed by checking with 3D display system and modifying, if there are any problems. In order to improve those conditions, I suggest that the 3D editing process contain more objectivity by visualizing the depth data applied in some composition work such as Disparity map, Depth map, and the current 3D editing process. The proposed process has been used in the music drama , comparing with those of the film . The 3D values could be checked among cuts which have been changed a lot since those of , while the 3D value of drew an equal result in general. Since the current process is based on an artist's subjective sense of 3D, it could be changed according to the condition and state of the artist. Furthermore, it is impossible for us to predict the positive range, so it is apprehended that the cubic effect of space might be perverted by showing each different 3D value according to cuts in the same space or a limited space. On the other hand, the objective 3D editing by applying the visualization of depth data can adjust itself to the cubic effect of the same space and the whole content equally, which will enrich the 3D contents. It will even be able to solve some problems such as distortion of cubic effect and visual fatigue, etc.

• Korean Institute of Interior Design Journal
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• v.20 no.3
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• pp.225-232
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• 2011

This study analyzed characteristics of space configuration and exhibition contents in the Neo-classism style museum while carrying out space syntax and visibility graph analysis. Therefore, this research has the purpose to survey the status of existing museum analyze their visual perception space structural characteristics and ultimately utilize their characteristics as basic data in planning out and designing space. As for the research scope, the research selected as research subject 4 Neo-classism style museum in Europe and US that composite set of room to room type and having major space. Research method is that the research analyzed the exhibition space of 4 art museums by using depth-map program which can analyze space with visual graph analysis function and analyzed the visibility among unit areas by each art museum integration and exhibition contents composition. In such analysis method, the research was able to Quantitatively analyze the visual characteristics of exhibition space that induce and adjusts the motion of audience. Visual perception quantitive analysis as in this research will enhance exhibition design by considering the correlation between audience and exhibited items when planning out art museum space to be established later on. Therefore, wien museum integration degree are high because of same openings direction and major space, Also another museums major space integrations are high level degree, and Exhibition area is set of high integration area. So, visitors can perceive exhibition contents easily.

• Journal of Broadcast Engineering
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• v.9 no.4 s.25
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• pp.402-410
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• 2004

Recently, there has been much interest in realistic broadcasting that is a new field following HDTV and 3DTV. In general. the realistic broadcasting is composed of diverse components such as aquisition, authoring, compression, transmission and display, posing many challenging tasks. It is necessary that the types of realistic contents need to be defined prior to the development of realistic broadcasting systems. Based upon them, other components need to be designed and developed. In this paper, we propose some realistic contents suitable to the realistic broadcasting as well as techniques of generating them. Our proposed contents consist of stereoscopic multiview sequences, object-based stereoscopic images, depth map-based image compositing and the composition of stereoscopic real and graphics images. Content generation techniques and their associated software modules are presented with realistic images produced from our experiments. Those contents are produced to deliver stereoscopic perception, immersion and realism to the users as shown in our experimental results.