• Trans-
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• v.13
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• pp.17-34
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• 2022

This paper summarizes the differences and characteristics between virtual worlds and virtual reality, and advances research on immersive elements for improving the reality of virtual worlds. The immersive elements are broadly studied by separating the sensory immersive elements and the technical immersive elements, focusing on the sensory organs of sight, perception, touch, and hearing, and investigating the correlation between these elements to improve the immersive feeling in content design. Set standards.

• Journal of Digital Convergence
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• v.19 no.12
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• pp.435-441
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• 2021

In recent years, with thedevelopment of digital media technology immersive experiential exhibitions that provide realistic and realistic exhibition experiences to the audience are increasing In this study, the representative cases of these immersiveexperiential exhibitions were analyzed with a focus on the elements of the exhibition design. We also introduced the exhibition case of 'A Hero's Adventure' which was held and operated by applying game design elements to thethe directing planning of an immersive experience exhibition. In addition, the effects and utilization methods of the exhibition that applied game planning elements such as challenges goals conflicts rules and wins and losses were considered.

• Journal of the Korea Convergence Society
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• v.13 no.5
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• pp.209-217
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• 2022

Virtual reality entered a new phase with the introduction of wearable devices represented by Oculus. This study proposes an immersive virtual reality based on Oculus Rift that enables direct immersion in virtual reality from a first-person perspective for English learning. At this point, it is meaningful to provide considerations when designing instruction for language learning through a comprehensive and integrated review of immersive virtual reality. Therefore, the main purpose of this study is to find a way to maximize the application of language education in the immersive virtual world. And for the design elements for English learning through immersive virtual reality, the setting of learning theory, consideration of differences in learning, selection of learning tasks, regulation of teachers' influence, determination of types of applied senses, flexibility of design, and usage environment were suggested. By integrating the results, various discussions and directions for instructional design were presented.

• Journal of Digital Convergence
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• v.18 no.12
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• pp.507-512
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• 2020

In recent years, various virtual reality games are becoming commercialized. A variety of large 3D online games popular with users has begun to transform into VR games. < the Elder Scrolls V: skyrim VR > as a derivative of large-scale 3D online games < the Elder Scrolls V: skyrim special edition >, Since its launch on the steam game platform in April 2018, because of its original UI design, maximizes the user's immersive experience and firmly maintains the leading position of VR games. Although the visual similarities between < the Elder Scrolls V: Skylim VR > and < the Elder Scrolls V: Skylim Special Edition > are high, but the visual elements in the UI are quite different. This paper studies characters, scenes, operating interfaces, colors and fonts five visual UI elements that enhance the immersion in game. It provided a unique interface design reference to immersive experience of new VR games in the future.

• Proceedings of the Korean Society of Computer Information Conference
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• 2015.01a
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• pp.39-40
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• 2015

'재미있는 게임은 성공한다.'는 가정 아래 본 논문에서는 재미있는 게임이 가지고 있는 몰입 요소들을 연구한다. 연구의 목적은 성공한 게임들을 분석하여 어떤 몰입 요소들을 제공하는지를 파악함으로써 개발할 게임의 성공 가능성을 더 높이는 것이다. 본 연구에서는 Nicole Lazzaro이 제시한 '4 Keys to Fun'을 활용하여 성공한 게임들을 분석함으로써 재미있는 게임이 제공하는 몰입요소를 찾아보았다.

• Proceedings of the Korean Society of Broadcast Engineers Conference
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• 1999.06b
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• pp.87-93
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• 1999

In this paper, we introduce a novel virtual studio environment where a broadcaster in the virtual set interacts with tele-viewers as if they are sharing the same environment as participants. A tele-viewer participates physically in the virtual studio environment by a dummy-head equipped with video "eyes" and microphone "ears" physically located in the studio. The dummy head as a surrogate of the tole-viewer follows the tele-viewer's head movements and views and hears through the dummy head like a tele-operated robot. By introducing the tele-presence technology in the virtual studio setting, the broadcaster can not only interact with the virtual set elements like the regular virtual studio environment but also share the physical studio with the surrogates of the tele-viewers as participants. The tele-viewer may see the real broadcaster in the virtual set environment and other participants as avatars in place of their respective dummy heads. With an immersive display like HMD, the tele-viewer may look around the studio and interact with other avatars. The new interactive virtual studio with the immersive viewer environment may be applied to immersive tele-conferencing, tele-teaching, and interactive TV program productions.program productions.

• Journal of Multimedia Information System
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• v.8 no.4
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• pp.277-284
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• 2021

Despite skepticism about commercial potential, the stereoscopic 3D cinema is still a form that any filmmaker can choose to employ for its aesthetics and its immersive potential. Based on a haptic illusion, the stereoscopic media content requires a new perspective different from the principle of 2D media content in terms of creation and acceptance. This paper examines the technical and aesthetic issues of stereoscopic 3D film production from the perspective of today's emerging realistic and immersive media through a case study. One of the key factors for successful content creation and research and development in stereoscopic 3D cinema is the combination of artistic principles together with technical mastering of the new image technology. The purpose of this paper is to outline the principal challenges and research topics in stereoscopic 3D cinema through a case study of stereoscopic 3D pilot film production for the 'User-Selective UHD Stereoscopic Media Service Platform' of the ETRI (Electronics and Telecommunications Research Institute). This paper intends to examine stereoscopic 3D filmmaking workflow and production methodologies, as well as technical elements and aesthetic issues.

• International Journal of Internet, Broadcasting and Communication
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• v.15 no.2
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• pp.181-186
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• 2023

With the development of VR technology, the visual immersion of VR games has been greatly enhanced nowadays. There has been an issue that has been troubling players in previous VR games, which is motion sickness. Therefore, VR games have been limited in terms of game mechanics, game duration, and game scale, greatly reducing the immersive experience of visual immersion. However, <Half-Life: Alyx> is different from previous VR games in that players can actually perform spatial displacement in the game scene, rather than being fixed in one place for 360-degree observation and interaction. At the same time, compared to traditional games, VR games no longer need to rely on screens, and the complete visual immersion enhances the fun and playability of the game. This research focuses on the VR game <Half-Life: Alyx> to explore its immersive factors in terms of visual perception. Through in-depth analysis of elements such as color, texture mapping, lighting, etc. in VR games, it was found that the game creates a strong sense of visual immersion in these aspects. Through analysis, it is helpful to gain a deeper understanding of the factors that contribute to visual immersion in VR games, which has certain reference value for game developers and related professionals.

• Journal of Digital Convergence
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• v.20 no.4
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• pp.575-584
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• 2022

The purpose of this study is to derive interaction types that appear variously in immersive contents through John Dewey's empirical theory, and to explore how the derived types are delivered in real cases. For this reason, two cases of the National Museum of Korea 'Immersive Digital Gallery' and 'Arte Museum Jeju' were analyzed through interaction types derived from the empirical theory. The interaction types derived based on the experience theory are the elements of 'multi-sensory', 'simultaneous experience' and 'sensory expansion'. In both cases, these types appear connected rather than grafted one by one in common. In one direction, 'multi-sensory' leads to 'sensory expansion', and in two directions, 'simultaneous experience' leads to 'sensory expansion'. As such, the core types of communication between technology and humans are not delivered one by one, but a cycle of interaction is formed in multiple ways. Therefore, it can be seen that the interaction type of immersive contents is expanded step by step by fusion of various senses and experiences in various fields, rather than a 1:1 partial delivery method. Based on this, it will be necessary to study how types are expanded and how viewers are affected when interaction is implemented in immersive contents in the future.

• International Journal of Advanced Culture Technology
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• v.9 no.3
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• pp.265-270
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• 2021

VR and AR contents provide a rich user experience [1]. Realistic content with human computer interaction and immersion provides an improved user experience, but there is a limit to producing all elements realistically. In this study, we propose a method to advance the rendering of immersive content using background color information [2]. First, the elements necessary for Kelvin temperature rendering are derived from the color and background as context elements, and the rendering effect has been realized in the soap bubble. For soap bubbles Kelvin temperature rendering, the average color of the background is extracted and the color with the highest similarity is applied by comparing the main color and Kelvin temperature.