• Journal of the Institute of Electronics Engineers of Korea SD
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• v.43 no.9 s.351
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• pp.53-58
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• 2006

A Vertex Shader is designed to show more 3D graphics expressions, and to increase flexibility of the fixed function T&L (Transform and Lighting) engine. Design of this Shader is based on Vertex Shader 1.1 of DirectX 8.1 and OpenGL ARB. The Vertex Shader consists of four floating point ALUs for vectors operation. The previous 32bits floating point data type is replaced to 24bits floating point data type in order to design the Vertex Shader that consume low-power and occupy small area. A Xilinx Virtex2 300M gate module is used to verify behaviour of the core. The result of Synopsys synthesis shows that the proposed Vertex Shader performs 115MHz speed at the TSMC 0.13um process and it can operate as the rate of 12.5M Polygons/sec. It shows the complexity of 110,000 gates in the same process.

• Journal of the Korea Computer Graphics Society
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• v.2 no.2
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• pp.37-44
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• 1996

Networked virtual reality systems provide a consistent virtual world to the users, possibly distributed across long distances, and have been widely applied in the military, entertainment, and architectural areas. Large processing requirements, however, made these systems be mainly researched on the platforms of high-performance graphics workstations. This paper presents several problems when networked virtual reality systems are implemented on commodity PCs: two problems related with 3D graphical processing, and the other related with network bandwidth and transmission delay. We also suggest solutions to these problems and analyze their performance effect based on an architectural simulation application.

• Cartoon and Animation Studies
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• s.36
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• pp.147-165
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• 2014

Around the turn of 21st century, there has been a major technological shift in the animation industry. With development of reality-based computer graphics, major American animation studios replaced hand-drawn method with the new 3D computer graphics. Traditional animation was known for its simplified shapes such as circles and triangle that makes characters' movements distinctive from non-animated feature films. Computer-generated animation has largely replaced it, but is under continuous criticism that automated movements and reality-like graphics devaluate the aesthetics of animation. Although hand-drawn animation is still produced, 3D computer graphics have taken commercial lead and there has been many changes to acting of animated characters, which calls for detailed investigation. Firstly, the changes in acting of 3D characters can be traced from looking at human-like rigging method that mimics humanistic moving mechanism. Also, if hair and clothing was part of hand-drawn characters' acting, it has now been hidden inside mathematical simulation of 3D graphics, leaving only the body to be used in acting. Secondly, looking at "Stretch and Squash" method, which represents the distinctive movements of animation, through the lens of media, a paradox arises. Hand-drawn animation are produced frame-by-frame, and a subtle change would make animated frames shiver. This slight shivering acts as an aesthetic distinction of animated feature films, but can also require exaggerated movements to hide the shivering. On the contrary, acting of 3D animation make use of calculated movements that may seem exaggerated compared to human acting, but seem much more moderate and static compared to hand-drawn acting. Moreover, 3D computer graphics add the third dimension that allows more intuitive movements - maybe animators no longer need fine drawing skills; what they now need is directing skills to animate characters in 3D space intuitively. On the assumption that technological advancement and change of artistic expressionism are inseparable, this paper compares acting of 3D animation studio Pixar and classical drawing studio Disney to investigate character acting style and movements.

• The Journal of the Korea Contents Association
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• v.9 no.12
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• pp.146-153
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• 2009

Thanks to computer graphic technology development, graphic design programming is easily accessible by any home computer user today since it is free from the burdens of complicated 알고리듬 or the expensive graphic tools that were required in the past. The term 알고리듬 2.5 is commonly used by computer graphic designers to refer to 2D, a form of pseudo-3D. In this study, by using 2.5D, which was previously utilized for strengthening visual effects and engine efficiency, together with Adobe Photoshop along with After Effects, I will incorporate these into motion graphics. Today, motion graphics dominate the advertisement and image markets. Since viewers have developed higher expectations, a more dynamic 3D space graphic technology is preferred over the outdated 2D basis. In this study, I will produce a 2.5D image which is generated through a vanishing point filter of Adobe Photoshop and After Effects based on still image information and captured at an angle of Axonometric Projection. Also, I will compare the effectiveness of the production process and camera angle flexibility between the previous 3D process and new 2.5 D process.

• Journal of the Korea Computer Graphics Society
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• v.15 no.2
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• pp.1-8
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• 2009

This paper introduces a virtual dress up system, according to user's input model and garment image. At first step, we deform the garment image by using skeleton structures and ARAP method. Next step, sampling the boundary points and find their matching vertices which are used for optimizing the boundary fitting. In 2D rendering of the dress up, they have some unrealistic results, so we reconstruct the garment mesh to the 3D mesh. Rendering from the reconstructed 3D mesh, we can get the final dress up result. We present that our system produce a visually plausible and well-fitted virtual dress up results.

• Journal of the Korea Computer Graphics Society
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• v.16 no.2
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• pp.1-7
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• 2010

This paper proposes a real-time simulation technique for thin rods undergoing large rotational deformation. Rods are thin objects such as ropes and hairs that can be abstracted as 1D structures. Development of a satisfactory physical model that runs in real-time but produces visually convincing animation of thin rods has been remaining a challenge in computer graphics. We adopt the energy formulation based on continuum mechanics, and develop a modal warping technique for rods that can integrate the governing equation in real-time. This novel simulation framework results from making extensions to the original modal warping technique, which was developed for the simulation of 3D solids. Experiments show that the proposed method runs in real-time even for large meshes, and that it can simulate large bending and/or twisting deformations with acceptable realism.

• Journal of the Korea Institute of Information and Communication Engineering
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• v.17 no.8
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• pp.1891-1898
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• 2013

To efficiently execute 3D graphic APIs, such as OpenGL and Direct3D, special purpose arithmetic unit(SFU) which supports floating-point sine, cosine, reciprocal, inverse square root, base-two exponential, and logarithmic operations is designed. The SFU uses second order minimax approximation method and lookup table method to satisfy both error less than 2 ulp(unit in the last place) and high speed operation. The designed circuit has about 2.3-ns delay time under 65nm CMOS standard cell library and consists of about 23,300 gates. Due to its maximum performance of 400 MFLOPS and high accuracy, it can be efficiently applicable to mobile 3D graphics application.

• 한국HCI학회:학술대회논문집
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• 2006.02a
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• pp.780-785
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• 2006

HCI, 비전 기반 사용자 인터페이스 또는 제스쳐 인식과 같은 많은 분야에서 3 차원 얼굴 모션을 추정하는 것은 중요한 작업이다. 연속된 2 차원 이미지로부터 3 차원 모션을 추정하기 위한 방법으로는 크게 외형 기반 방법이나 모델을 이용하는 방법이 있다. 본 연구에서는 동영상으로부터 3 차원 실린더 모델과 Optical flow를 이용하여 실시간으로 얼굴 모션을 추정하는 방법을 제안하고자 한다. 초기 프레임으로부터 얼굴의 피부색과 템플릿 매칭을 이용하여 얼굴 영역을 검출하고 검출된 얼굴 영역에 3 차원 실린더 모델을 투영하게 된다. 연속된 프레임으로 부터 Lucas-Kanade 의 Optical flow 를 이용하여 얼굴 모션을 추정한다. 정확한 얼굴 모션 추정을 하기 위해 IRLS 방법을 이용하여 각 픽셀에 대한 가중치를 설정하게 된다. 또한, 동적 템플릿을 이용해 오랫동안 정확한 얼굴 모션 추정하는 방법을 제안한다.

• Journal of the Korea Computer Graphics Society
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• v.7 no.1
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• pp.27-35
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• 2001

Shadows are important elements in producing a realistic image. In rendering. generation of the exact shape and position of shadow is crucial in providing the user with visual cues on the scene. While the shadow map technique quickly generates a shadow for the scene wherein objects and light sources are fixed. it gets slow down as they start to move. In this paper. we apply an image-based rendering technique to generate shadows in real-time using graphics hardware. Due to the heavy requirement of storage for a shadow map repository. we use a wavelet-based compression scheme for effective compression. Our method will be efficiently used in generating realistic scenes in many real-time applications such as 3D games and virtual reality systems.

• Journal of the Korea Computer Graphics Society
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• v.2 no.1
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• pp.68-76
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• 1996

One of the major problems in GIS(Geographical Information Systems) involves acquiring 3-D terrain data. Because conventional methods such as land surveying or analysis of aerial photographs are costly, the method of using existing paper maps has been gaining considerable attention. This method demands three processing steps: 1) extraction of contours, 2) assignment of height values to the extracted contours, 3) reconstruction of 3-D terrain data. In this paper we systematically develop a procedure for acquiring 3-D terrain data from contour solutions. For the first two steps, we describe the necessary operations and roughly sketch solutions. For the last step, we propose an efficient raster-based algorithm and present the results of experiments with existing paper map images.