• The Journal of the Convergence on Culture Technology
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• v.8 no.6
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• pp.89-96
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• 2022

This study examines the strategy of delivering the drama's poet Kim Soo-young and his literary works to the public through the drama (2004). This drama shows Kim's inner self and his literary view by inserting poems into scenes where the poet suffers internal conflict, while presenting relatively less well-known poems to broaden the public's understanding of poetry. In addition, the drama maintains viewers' interest by properly placing elements of conflict, and effectively shows how the conflict affected his life and the world of time. Therefore, the drama is a meaningful text that embodies a poet named Kim Soo-young in three dimensions along with the historical transformation and social problems of the time and the literary chapter of the time through the video.

• The Journal of the Institute of Internet, Broadcasting and Communication
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• v.22 no.1
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• pp.111-120
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• 2022

It is essential to make a purchase decision to make sure that the furniture matches well with other structures in the room. Moreover, in the Untact Marketing situation caused by the COVID-19 crisis, this is becoming an even more impact factor. Accordingly, methods of measuring length using AR(Augmented Reality) are emerging with the advent of AR open sources such as ARCore and ARKit for furniture arrangement interior simulation. Since this existing method using AR generates a Depth Map based on a flat camera image and it also involves complex three-dimensional calculations, limitations are revealed in work that requires the information of accurate room size using a smartphone. In this paper, we propose a method to accurately measure the size of a room using only the accelerometer and gyroscope sensors built in smartphones without using ARCore or ARKit. In addition, as an example of application using the presented technique, a method for applying a pre-designed room interior to each room is presented.

• Proceedings of the Korean Institute of Information and Commucation Sciences Conference
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• 2021.05a
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• pp.131-133
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• 2021

Recently, the average cost of education per child has increased compared to the annual birthrate, which has been decreasing, and the quality of education has also changed. In this paper, we aim to provide more efficient delivery for language learning using Unity's Buforia techniques. Using an application using a smartphone's camera based on Unity, it provides effective language development by inducing interest to learners through sound along with three-dimensional pictures. By providing such education, parents can gain satisfaction in providing high-quality education to their children. For children learning, smartphones have the effect of becoming educational elements, not just watching videos or playing games. Finally, by improving the quality of education, it gives satisfaction to parents and gives children who learn a language as well as the perception that smartphones serve as educational devices.

• Proceedings of the Korea Water Resources Association Conference
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• 2020.06a
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• pp.345-345
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• 2020

우리나라는 물산업 강국 도약을 위한 글로벌 경쟁력을 갖추기 위해 2015년 세계물포럼 이후 복합 수재해 대응과 능동적 하천관리 분야가 중요시되고 있다. 기존의 하천관리는 수위관측소 및 하도계획을 중심으로 이루어져왔으나 최근에는 항공측량, 드론 등 원격관리시스템에 기반을 둔 하천 통로에 대한 입체적인 3차원 관리로의 인식 전환이 고려되는 추세이다. 대부분 수위 및 하도를 중심으로 한 조사방식은 계측장비, 인력, 시간 등 많은 소요비용이 필요하게 되어 급변하는 하천 공간 조사 기술로 제한적 요소가 많아 현재의 하천조사 시스템으로는 하천관리에 필요한 데이터를 환경변화에 맞추어 신속하고 정확하게 취득하기가 어려운 실정으로 하천관리 고도화를 위해 필요한 자료를 적기에 신속하고 효율적으로 구축할 수 있는 기술 개발 필요한 실정이다. 사회 환경의 발달로 급변하는 환경에 맞는 적정한 하천관리를 위해서는 유역 및 하천에 대한 수문정보 생산 및 하상변동조사가 필요하고 첨단기술(ICT)을 활용하여 조사의 효율성, 안전성 및 정확성을 높일 필요성이 있다. 한편, 하천유역조사는 하천유역에 대한 다양한 정보 수집을 목표로 하나 그간 유역조사에 대한 체계적인 연구가 이루어지지 않아 수요자의 요구 자료 제공이 미흡한 실정이다. 최근 수심, 하상, 하천재료 등 하천법에 규정된 측량은 현장 직접계측을 통해 실시되고 있으며 측량의 공간적·시간적 범위의 변동으로 기존 방식의 비용이 급증하게 되어 신기술을 통한 효율화가 필요한 실정이다. 현재 하천조사를 위해 위성 및 유인항공기 등 다양한 방법이 활용되고 있으나 고빙용을 수반하고 위성영상은 공간해상도가 낮아 폭이 좁은 하천에 적용하는데 한계가 있다. 또한, 폭이 좁고 길게 형성된 하천의 특성상 항공측량 보다 드론이 효율적으로 드론에 레이저 광선으로 지형을 측량하는 장비를 탑재해 3차원 지형을 측량하는 방법이 유리하다. 따라서 본 연구에서는 동진강 상류 하천을 대상으로 드론을 활용할 경우 투입인력 및 소요시간 절감, 장비 및 인력 진입 불가지역에 대한 정보획득, 높은 공간해상도, 항공측량 대비 경제성이 높은 것으로 판단되어 드론을 활용하여 하천지형 모니터링을 실시하여 유역관리 및 수질모델링에 필요한 지도 생성 및 유역의 공간 정보를 획득하여 향후 유역관리 모형의 기초자료로 활용하고자 하였다.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.33 no.2
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• pp.49-57
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• 2015

The purpose of this study is to provide the visual landscape modelling on Josun royal tombs and surrounding. The visual landscape of traditional heritage is illustrated by the main view points of analysis. This analysis examines limited view points and cannot reflect a reality of environments. Nowadays various equipments and methodologies are developed for the visual landscape research. This study used new tools for analysis which are Sketch up (3D simulation) and mini helicopter (UAV). With those tools, this research examines not only view points of the analysis but also axis views and disincentive environments as a complex analysis. First of all, the research examined 3D modelling for the virtual simulation and drew coordinates and routes for the UAV operating. Secondly, UAV followed this routes and took linear and continuous views that are real scenes. As a result, it drew 3D simulation could illustrate and control the changing of environments such as the forest density and seasonal variations. Thus, comparing both of them shows efficiently landscape analysis. Thirdly, the study compared virtual and real landscape. Using this 3D modelling, this paper able to elaborate heritage environment and surrounding which omitted by view point analysis. Although this study has limitation practice and exercise on the field, the results and suggestions contribute to the various historic heritage managements and conservations. Moreover, it helps to explain the complex and dimensional landscape analysis.

• Cartoon and Animation Studies
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• s.42
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• pp.177-194
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• 2016

This study investigated an evolutionary process of In-game Animation and researched on the action of realization establishing virtual reality. In-game Animation, functioning as contents to visualize games, is responsible for conveying information to achieve goals of games. In-game Animation which is affected by graphic technology was initiated with setting up indicators by dot and line. Followed by the development of technology, In-game Animation has pursued realization, after passing through processes of iconography, materialization, and dimensionalization. The realization of In-game Animation does not simply imitate the real world but creates meaning of reality by establishing space with various factors such as characters and background along with the story, under the premise of virtuality. The realization of In-game Animation is very important to provide the experience of immersion, as it forms a sense of presence through such visual tactility. The process to create meaning of reality provides gamers with experiences, and leads them to expand senses through visual perception and finally absorb the virtuality as reality. Therefore, the image of In-game Animation does not simply imitate the real world but creates meaning of reality by establishing space with various factors such as characters and background along with the story, under the premise of virtuality. The realization of In-game Animation is not limited to blindly portray a realistic image. In addition, the process of realization pursued by In-game Animation is an action to immerse in the game rather than a mere product of technological development.

• Journal of the Institute of Electronics and Information Engineers
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• v.51 no.4
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• pp.110-122
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• 2014

As multimedia technologies develop, three-dimensional (3D) technologies are attracting increasing attention from researchers. In particular, video quality assessment (VQA) has become a critical issue in stereoscopic image/video processing applications. Furthermore, a human visual system (HVS) could play an important role in the measurement of stereoscopic video quality, yet existing VQA methods have done little to develop a HVS for stereoscopic video. We seek to amend this by proposing a 3D visual attention (3DVA) model which simulates the HVS for stereoscopic video by combining multiple perceptual stimuli such as depth, motion, color, intensity, and orientation contrast. We utilize this 3DVA model for pooling on significant regions of very poor video quality, and we propose no-reference (NR) stereoscopic VQA (SVQA) method. We validated the proposed SVQA method using subjective test scores from our results and those reported by others. Our approach yields high correlation with the measured mean opinion score (MOS) as well as consistent performance in asymmetric coding conditions. Additionally, the 3DVA model is used to extract information for the region-of-interest (ROI). Subjective evaluations of the extracted ROI indicate that the 3DVA-based ROI extraction outperforms the other compared extraction methods using spatial or/and temporal terms.

• Journal of Life Science
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• v.28 no.1
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• pp.78-82
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• 2018

Detection of pathogenic microorganisms takes several days by conventional methods. It is necessary to assess microorganisms in a timely manner to reduce the risk of spreading infection. For this purpose, bacteriophages are chosen for use as a biosensing tool due to their host specificity, wide abundance, and safety. However, their lytic cycle limits their efficacy as biosensors. Phage proteins involved in binding to bacteria could be a robust alternative in resolving this drawback. Here, a fragment of tail protein J (residues 784 to 1,132) of phage lambda fused with 6X His-tag (6HN-J) at its N-terminus was cloned, overexpressed, purified, and characterized for its binding with microorganisms. The purified protein demonstrated a size of about 38 kDa in sodium dodecyl sulfate - polyacrylamide gel electrophoresis (SDS-PAGE) and bound with anti-His monoclonal antibodies. It bound specifically to Escherichia coli K-12, and not Salmonella typhimurium, Bacillus subtilis, or Pseudomonas aeruginosa in dot blotting. Binding of the protein to E. coli K-12 inhibited about 50% of the in vivo adsorption of the phage lambda to host cells at a concentration of $1{\mu}g/ml$ 6HN-J protein and almost 100% at $25{\mu}g/ml$ 6HN-J. The results suggest that a fusion viral protein could be utilized as a biosensing element (e.g., protein chips) for detecting microorganisms in real time.

• Cartoon and Animation Studies
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• s.32
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• pp.1-21
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• 2013

Silhouette Animation has been recognized as a genre of animation since the very beginning of the animation history, and also Its segmental movement and Aesthetic expression has led a variety of semantic interpretations. Especially the French animation director, Michel Ocelot, recently integrated 3-dimensional digital to the silhouettes animation, and it extended the possibility of the silhouettes animation in many aspects. In his latest animation feature, , he showed how he made changes in 3-dimension by creating and evolving his own way and style of silhouette animation. Although mainstream digital animations preferably to show realistic images and motion, Michel Ocelot used very selective movement, subjective digital colors and extended space which couldn't be expressed in the way of creating traditional style of silhouette animation. This alternative slow movement and the unique aesthetics in 3-dimension emphasize the unconscious elements of color, composition, patterns, and it provides digitally enhanced images and pictorial impression. In addition, the acquisition of digital three-dimensional use of space made possible to provides the wider formative imagination to the audience. In this paper, we analyzed aesthetic characteristics of the digital silhouette animation, (2011), specially focusing on the aspects of Movement, Image, Space, which could not be found in the traditional silhouette animation. It is significant to obtain diversity of the future digital animation and its positive development. In addition, this provides opportunity to explore Michel Ocelot's new experiments and animation philosophy.

• Cartoon and Animation Studies
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• s.49
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• pp.651-676
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• 2017

Shadow images are a representative medium and means of expression for the imagination that exists between consciousness and unconsciousness for thousands of years. Wherever light exists, people create play with their own shadows without special skills, and have made a fantasy at once. Shadow images have long been used as subjects and materials of literacy, art, philosophy, and popular culture. Especially in the field of art, people have been experimenting with visual stimulation through the uniqueness of simple silhouettes images. In the field of animation, it became to be recognized as a form of non - mainstream areas that are difficult to make. However, shadow images have been used more actively in the field of digital arts and media art. In this Environment with technologies, Various formative imaginations are being expressed more with shadow images in a new dimension. This study is to introduce and analyze these trends, the aesthetic transformations and extended methods focusing on digital silhouette animation and recent media art works using shadow images. Screen-based silhouette animation combines digital technology and new approaches that have escaped conventional methods have removed most of the elements that have been considered limitations, and these factors have become a matter of choice for the directors. Especially, in the display environment using various light sources, projection, and camera technology, shadow images were expressed with multiple-layered virtual spaces, and it becomes possible to imagine a new extended imagination. Through the computer vision, it became possible to find new gaze and spatial images and use it more flexibly. These changes have given new possibility to the use shadow images in a different way.