• Journal of the Korean Institute of Telematics and Electronics S
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• v.35S no.8
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• pp.1-11
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• 1998

One of the desired features for the realizations of high quality Information and Telecommunication services in future is "the Sensation of Reality". This will be achieved only with the visual communication based on the 3- dimensional (3-D) moving images. The main difficulties in realizing 3-D moving image communication are that there is no developed data transmission technology for the hugh amount of data involved in 3-D images and no established technologies for 3-D image recording and displaying in real time. The currently known stereoscopic imaging technologies can only present depth, no moving parallax, so they are not effective in creating the sensation of the reality without taking eye glasses. The more effective 3-D imaging technologies for achieving the sensation of reality are those based on the multiview 3-D images which provides the object image changes as the eyes move to different directions. In this paper, a multiview 3-D imaging system composed of 8 CCD cameras in a case, a RGB(Red, Green, Blue) beam projector, and a holographic screen is introduced. In this system, the 8 view images are recorded by the 8 CCD cameras and the images are transmitted to the beam projector in sequence by a signal converter. This signal converter converts each camera signal into 3 different color signals, i.e., RGB signals, combines each color signal from the 8 cameras into a serial signal train by multiplexing and drives the corresponding color channel of the beam projector to 480Hz frame rate. The beam projector projects images to the holographic screen through a LCD shutter. The LCD shutter consists of 8 LCD strips. The image of each LCD strip, created by the holographic screen, forms as sub-viewing zone. Since the ON period and sequence of the LCD strips are synchronized with those of the camera image sampling adn the beam projector image projection, the multiview 3-D moving images are viewed at the viewing zone.

• Journal of Fashion Business
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• v.15 no.5
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• pp.69-86
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• 2011

The objective of this research is to unveil the dynamic changes of the trends in wedding dresses during the 20th Century. The studies were carried out in two forms; firstly by observing the actual wedding dresses worn by people at that time, and secondly by conducting formative comparisons between those dresses with the ones appeared in movies corresponding to that period. Movies provide an invaluable insight into the era's wedding dresses fashion trends since they function as intimate bridges in connection with the time's audience, and the visible imageries accurately reflect the characteristics embedded within that time frame. As there are no precedent studies regarding this topic, this thesis can serve as vital research data for the wedding dress industry. Research data regarding the actual wedding dresses were collected from books and museum web sites. The object of movies were films produced before World War II that contained both the background settings of the 20th Century and wedding dresses, of which photographic imageries were captured. Research analysis was then conducted by merging these data with findings from relevant books and internet materials. The results of the thesis are as the following: The 1900s was an extension of the 19th Century's popular fashion trend which can be characterized as the S curve silhouettes of the Edwardian period when long trains and long veils symbolized wealth and social power. In the 1910s, high waist silhouettes with soft wrinkles were prevalent as attire suitable for active mobility with practical functionality were highly regarded. During the 1920s, the flapper style became the dominant trend. Hem lines of the skirts were curled in the form of the scallop and laces were the most widely used raw materials. By the 1930s, wedding dresses that reinterpreted the glamorous sheath lines, practical two piece styles, and retro-styles became predominant. The 1940s saw the advent of ready-made wedding dresses made of synthesized materials; practical military style suits and casuals sometimes substituted the wedding dresses. And although the wedding dresses in the movies were primarily costumes to express the personalities of the characters, they were also reinterpreted as manifestations of the formative characteristics of each relative period that pursued very distinct and diverse features.

• Journal of the Korea institute for structural maintenance and inspection
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• v.15 no.4
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• pp.204-211
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• 2011

A dynamic analysis procedure is developed to provide a better estimation of the dynamic responses of bridge during the passage of high speed railway vehicles. Particularly, a three dimensional numerical model including the structural interaction between high speed vehicles, bridges and railway endures to analyse accurately and evaluate with in-depth parametric studies for dynamic responses of various bridge span lengths running KTX railway locomotive up to increasing maximum speed(450km/h). Three dimensional frame element is used to model the simply supported pre-stressed concrete (PSC) box bridges for four span lengths(40~25m). Track irregularity employed as a stationary random process from the given spectral density functions and irregularities of both sides of the track are assumed to have high correlation. The high-speed railway vehicle (KTX) is used as 38-degree of freedom system. Three displacements (Vertical, lateral, and longitudinal) as well as three rotational components (Pitching, rolling, and yawing) are considered in the 38-degree of freedom model. The dynamic amplification factors are evaluated by the developed procedure under various traveling conditions, such as track irregularity camber, train speed and ballast. The dynamic analysis such as Newmark-${\beta}$ and Runge-Kutta methods which are able to analyse considering the dynamic impact factors are compared and contrasted.

• Cartoon and Animation Studies
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• s.26
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• pp.1-30
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• 2012

The purpose of animation is to give interesting stories to an audience through motion. To achieve the purpose, over the past century since its inception, animation has adopted many kinds of technologies, and thus developed diverse narrative methods and visual expression techniques. In addition, with the advancement of expression techniques, all elements making up animation have gradually been systemized, and at the same time, have helped express the worlds beyond the reality. As a result, people have faced the era when an audience can watch everything imaginated by an animation director on a big screen. These days, more efforts have been made in order for the audience to feel much more than enjoy pictures moving in a frame. In other words, the purpose of the animation is changing from the passive viewing of animation to feeling and sensing stuffs through the animation. In the center of the changing process is 3D technology which gives new interesting to an audience. Sometime ago, a 3D animation movie was produced in Korea. But it did not bring out box-office profits, for it failed to give satisfaction to an audience who expected high perfection and beauty being able to be rivalled to those of international 3D animation movies. The failure is attributable to the fact that the domestic 3D animation production industry is merely in the early stage, and has not sufficient human resources, technology, and experiences in producing 3D animation films. Moreover, the problem is that most studies on 3D focus on the technologies related to reenactment, but that few studies on the images, which an audience directly faces, have been conducted. Under the domestic circumstance, the study on stereoscopic image screen of , a 3D stereoscopic animation film which was released in 2010 and has been seen as the best successful 3D stereoscopic animation, is worthwhile. Thus this thesis conducted theoretical consideration and case analysis focusing on the visual direction that creates the pictures to deliver abundant three dimensional effect so that it can be used as a basic data when producing high quality-domestic 3D animation and training professional labor forces. In the result, it was found that the 3D animation was not a new area, but the area which has been expanded and changed by applying the characteristics of 3D image based on the principles of the existing media aesthetics. This study might be helpful to establish the foundation of the theoretical studies necessary for producing 3D animation contents for realizing the sense of reality.

• Journal of Korean Ophthalmic Optics Society
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• v.17 no.2
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• pp.159-164
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• 2012

Purpose: Of the various methods of vision training, the essay aims to explore the effective ways of using the Fresnel prism lens in order to expand the positive fusional vergence for the patient having specific condition of convergence insufficiency or basic exophoria. Methods: 15 students of city of Daejeon university without an eye disease (average age $22.73{\pm}1.68$) were selected and underwent the subjective refraction test and binocular vision test, and recording their test results before vision training and replacing an identical frame with a lens of same quality after the full calibration, the lens was then adhered with the Fresnel prism lens and continued to train for thirty minutes daily during two weeks. Afterwards, the binocular vision test was reattempted. The observation of the change in the results of the binocular vision test in use of the fresnel prism lens in the vision training test was researched. Results: After training, the positive fusional vergence had increased to a number of $22.27{\pm}2.26$ $\Delta$, to 7.80 $\Delta$, at near, the fused cross cylinder test increased to an average of $0.55{\pm}0.09$ D, 0.40 D after training, showing a normal result. The value of negative relative accommodation after training had an average of $2.22{\pm}0.08$D, showing that 0.42 D had increased. The value of near point of convergence after training had an average of $6.13{\pm}0.53$ cm, showing that 2.80 cm had decreased. To patients who had convergence insufficiency or basic exophoria, the value of the near vision test that used the Fresnel prism lens which was able to expand BO positive fusional vergence had increased without phoria. Conclusions: The changes were tested and the effectiveness of the Fresnel prism lens, due to the nature of the lens itself, helped with both cosmetic effects and cost. It also allows good optical correction effects, in addition to these clinical effects indicated before. Therefore, it may be determined that the Fresnel prism lens binocular vision therapy for patients is more popular and highly recommended.