• 한국정보디스플레이학회:학술대회논문집
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• 2008.10a
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• pp.51-54
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• 2008

In this paper, we propose a practical method for displaying 2D/True3D mixed contents in real-time. Many companies released their 3D display recently, but the costs of producing True3D contents are still very expensive. Since there are already a lot of 2D contents in the world and it is more effective to mix True3D objects into the 2D contents than making True3D contents directly, people became interested in mixing 2D/True3D contents. Moreover, real-time 2D/True3D mixing is helpful for 3D displays because the scenario of the contents can be easily changed on playback-time by adjusting the 3D effects and the motion of the True3D object interactively. In our system, True3D objects are rendered into multiple view-point images, which are composed with 2D contents by using depth information, and then they are multiplexed with pre-generated view masks. All the processes are performed on a graphics processor. We were still able to play a 2D/True3D mixed contents with Full HD resolution in real-time using a normal graphics processor.

• Smart Media Journal
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• v.4 no.3
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• pp.31-37
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• 2015

Recently, computer graphics has made possible a close representation of the due diligence. But, prefer the feel of a 2D computer graphics. 2D computer graphics and compositing of 3D computer graphics have already been produced for a long time. But, the virtual 3D computer graphics application in 2D image or live-action have been used to effect expression of a 2D computer graphics. Recently, 2D computer graphics content is being expanded through the cartoons. In some cases increase the efficiency by making a 3D computer graphics on the camera angle or temporal and spatial part. Through practical work and want to present the proper direction.

• Journal of Broadcast Engineering
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• v.26 no.5
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• pp.553-565
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• 2021

Point cloud is a set of points for representing a 3D object, and consists of geometric information, which is 3D coordinate information, and attribute information, which is information representing color, reflectance, and the like. In this way of expressing, it has a vast amount of data compared to 2D images. Therefore, a process of compressing the point cloud data in order to transmit the point cloud data or use it in various fields is required. Unlike color information corresponding to all 2D geometric information constituting a 2D image, a point cloud represents a point cloud including attribute information such as color in only a part of the 3D space. Therefore, separate processing of geometric information is also required. Based on these characteristics of point clouds, MPEG under ISO/IEC standardizes V-PCC, which imitates point cloud images and compresses them into 2D DCT-based 2D image compression codecs, as a compression method for high-density point cloud data. This has limitations in accurately representing 3D spatial information to proceed with compression by converting 3D point clouds to 2D, and difficulty in processing non-existent points when utilizing 3D DCT. Therefore, in this paper, we present 3D Discrete Cosine Transform-based Point Cloud Compression (3DCT PCC), a method to compress point cloud data, which is a 3D image by utilizing 3D DCT, and confirm the efficiency of 3D DCT compared to V-PCC based on 2D DCT.

• The Journal of the Korea Contents Association
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• v.14 no.7
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• pp.1-9
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• 2014

Previous 2D-3D conversion methods to generate 3D stereo images from 2D sequence consist of labor-intensive procedures in their production pipelines. This paper presents an efficient 2D-3D conversion system based on scene structure reconstruction from image sequence. The proposed system reconstructs a scene space and produces 3D stereo images with texture re-projection. Experimental results show that the proposed method can generate precise 3D contents based on scene structure information. By using the proposed reconstruction tool, the stereographer can collaborate efficiently with workers in production pipeline for 3D contents production.

• Journal of Korea Multimedia Society
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• v.25 no.11
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• pp.1634-1642
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• 2022

Numerous studies have attempted to present converting 2D drawings to 3D. However, converting 3D shapes to exactly how a person thinks is challenging because 2D drawings include numerous variables and possibilities. This study focuses on visualizing 2D to 3D in a commonly used 3D animation software required in animation education or the 3D industry. We implemented our SketchTo3D tool to add the editing and automatic texture assigning method from the imported 2D image into the 3D software that previously had to be done manually. As a result, the SketchTo3D tool saves time to immediately visualize the composition, shape, and volume to express the 3D character, providing an opportunity to break down the barrier between 2D and 3D.

• The Journal of the Korea Contents Association
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• v.8 no.1
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• pp.212-227
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• 2008

Since 3D face can be rotated freely in 3D space and illumination effects can be modeled properly, 3D face modeling Is more precise and realistic in face pose, illumination, and expression than 2D face modeling. Thus, 3D modeling is necessitated much in face recognition, game, avatar, and etc. In this paper, we propose a 3D face modeling method based on 3D morphable shape modeling. The proposed 3D modeling method first constructs a 3D morphable shape model out of 3D face scan data obtained using a 3D scanner Next, the proposed method extracts and matches feature points of the face from 2D image sequence containing a face to be modeled, and then estimates 3D vertex coordinates of the feature points using a factorization based SfM technique. Then, the proposed method obtains a 3D shape model of the face to be modeled by fitting the 3D vertices to the constructed 3D morphable shape model. Also, the proposed method makes a cylindrical texture map using 2D face image sequence. Finally, the proposed method builds a 3D face model by rendering the 3D face shape model with the cylindrical texture map. Through building processes of 3D face model by the proposed method, it is shown that the proposed method is relatively easy, fast and precise than the previous 3D face model methods.

• Cartoon and Animation Studies
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• s.48
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• pp.45-67
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• 2017

Many of the modern animations have 3D technology, and as time goes by, their production technology becomes more diverse and sophisticated. When John Alan Lasseter insisted on studying CG animation technology, he might have taken our jobs to the computer in the near future, as many people were worried about. It may be premature to worry that an unstable future may become a reality at this point, but I do not think there will be any difference in the fact that many animations are being produced using 3D technology. Since the Toy Story was screened in 1995, the 3D animation production technology has started to develop rapidly and now it has been elaborately developed so that it can not distinguish the part where computer graphics technology is applied from the live film. On the other hand, Disney's 2D animation part falls into the decline path because the appearance of 3D animation was perceived as a new expression technique at that time, and the efficiency of the work process was superior to the 2D animation in addition to receiving the attention from the audience. Is it necessary to accept the retrogression of 2D animation technology, reflecting the environment of the animation industry that 3D animation production technology has become mainstream in the first 20 years since the first theatrical works appeared? Since 2D animation technology has a long history and is still attractive to the audience, it is not hard to find an attempt to combine 2D and 3D animation technology. In this paper, I want to study 2D hand - drawn character in 3D animation. Through this, it is hoped that animation convergence technology will be applied more actively in the future.

• Cartoon and Animation Studies
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• s.10
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• pp.121-135
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• 2006

At present, it is very common to use techniques beyond the 2D (two-dimensional) in animations which are found in motion pictures, OVA and TV series. As you can see, PIXAR and Disney have reduced their 2D departments and recently put more effort into 3D (three-dimensional) animation. There is no doubt that producing 3D animation is the big trend. Along with this trend, the national education institutions and the national support policies are also changing to be supportive of 3D animations. We, however, should ask ourselves, if we are on the right track with this change. Through the analysis of the methods of creating 2D animation which we should keep as it is, but instead we import and incorporate with 3D techniques of Japanese 2D animation, I would like to present the importance and the significance of the 2D animation and also to suggest an effective way to create 2D fused with 3D computer graphics techniques.

• Science of Emotion and Sensibility
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• v.17 no.4
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• pp.3-18
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• 2014

In this study, drivers' longitudinal car control, subjective fatigue, and perceived fidelity were compared between 2D and 3D display driving simulation. The results can be summarized as followings. First, in all target speed conditions, the drivers tended to drove faster in 2D display condition than 3D display condition. Second, speed deviation from target speed increased as target speed decreased. Third, distances between the lead vehicle and the driver's vehicle were significantly reduced in the 3D display condition when the speeds of the lead vehicle were relatively fast(i. e., over 80km/h). Fourth, although the perceived fidelity was not significantly different between the two display conditions, subjective fatigue was higher in the 3D display condition than in the 2D display condition.

• Journal of Korea Society of Digital Industry and Information Management
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• v.6 no.3
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• pp.141-149
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• 2010

The success of movie 'Avatar' make people be interested in 3D stereoscopic movie, and government and 3D industry acknowledge that it is another opportunity to develop 3D market since 1920s. However, despite much interest little research to evaluate the effect of 3D stereoscopic exists. The present research aimed to disclose 3D effect compared to 2D by assumption of the importance of 3D stereoscopic and little evaluation to that as well. When audience are exposed to 3D stereoscopic, many outcomes are supposed to be differentiated from when to 2D. From this hypothesis, this paper examined mood, attitude, and presence as dependent variables. Using polarized stereoscopic projection display, 30 participants watched 2D and another 30 watched 3D stereoscopic movie which were the same content. On conclusion, the two groups were not significantly different and this involved much insight.