• Journal of the Korea Computer Graphics Society
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• v.24 no.2
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• pp.29-40
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• 2018

Direct volume rendering (DVR) is a commonly used method to visualize inner structures in 3D volumetric datasets. However, conventional volume rendering on a 2D display lacks depth perception due to dimensionality reduction caused by ray casting. In this work, we investigate how emerging Virtual Reality (VR) can improve the usability of direct volume rendering. We developed real-time high-resolution DVR system in virtual reality, and measures the usefulness of volume rendering with improved depth perception via a user study conducted by 38 participants. The result indicates that virtual reality significantly improves the usability of DVR by allowing better depth perception.

• 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.

• Proceedings of the Korean Society of Broadcast Engineers Conference
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• 2009.01a
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• pp.55-58
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• 2009

Automatic segmentation of brain MRI data usually leaves some segmentation errors behind that are to be subsequently removed interactively, using computer graphics tools. This interactive removal is normally performed by operating on individual 2D slices. It is very tedious and still leaves some segmentation errors which are not visible on the slices. We have proposed to perform a novel 3D interactive correction of brain segmentation errors introduced by the fully automatic segmentation algorithms. We have developed the tool which is based on 3D semi-automatic propagation algorithm. The paper describes the implementation principles of the proposed tool and illustrates its application.

• 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.

• Proceedings of the Korean Institute of Information and Commucation Sciences Conference
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• 2003.05a
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• pp.808-812
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• 2003

The technology and concept of multimedia expands with the rapid growth of Digital technology. Digital broadcasting has already begun and movie industry is also switching the way of visualization from analog to digital. Image compositing is the core of the computer graphics related multimedia technology. Currently, various computer graphic technologies are being developed. Nevertheless, image compositing are being done manually because of not only the expensiveness image compositing equipments, but also the lack of experts in this area. This paper present a new image compositing technique for 3-Dimensional graphics and digital sources. A 2-Dimensional subject which will be used as a background was expanded into a 3-Dimensional by using the tracking technique. Thereafter, Effective image compositing has been obtained by precisely cooperating digital source images and 3-Dimensional model using 3-Dimensional graphics editing tool.

• Journal of the Korea Society of Computer and Information
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• v.17 no.7
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• pp.1-11
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• 2012

As process technology scales down, the number of cores integrated into a processor increases dramatically, leading to significant performance improvement. Especially, the GPU(Graphics Processing Unit) containing many cores can provide high computational performance by maximizing the parallelism. In the GPU architecture, the access latency to the main memory becomes one of the major reasons restricting the performance improvement. In this work, we analyze the performance improvement of the 3D GPU architecture compared to the 2D GPU architecture quantitatively and investigate the potential problems of the 3D GPU architecture. In general, memory instructions account for 30% of total instructions, and global/local memory instructions constitutes 60% of total memory instructions. Therefore, the performance of the 3D GPU is expected to be improved significantly compared to the 2D GPU by reducing the delay of memory instructions. However, according to our experimental results, the 3D architecture improves the GPU performance only by 2% compared to the 2D architecture due to the memory bottleneck, since the performance reduction due to memory bottleneck in the 3D GPU architecture increases by 245% compared to the 2D architecture. This paper provides the guideline for suitable memory design by analyzing the efficiency of the memory architecture in 3D GPU architecture.

• The KIPS Transactions:PartA
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• v.14A no.7
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• pp.421-434
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• 2007

Among many other CG generated natural scenes, the representation of ocean surfaces is one of the most complicated and time-consuming problem because of its large extent and complex surface movement. We present a hybrid method to represent and animate unbound deep-water ocean surfaces by utilizing graphics processor as both simulation and rendering core. Our technique is mainly based on spectral approaches that generate a high-detailed height field using Fourier transform on a 2D regular grid. Additionally, we incorporate Gerstner model and generate low-detailed height field on a 2D projected grid in order to represent large waves and main structure of ocean surface. There is no interruption between CPU and GPU, and no need to transfer simulation results from the system memory to graphics hardware because the entire simulation and rending processes are done on graphics processor. As a result we can synthesize and render realistic water surfaces in real-time. Proposed techniques are readily adoptable to real-time applications such as computer games that have heavy work load on CPU but still demand plausible natural scenes.

• 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.

• The Bulletin of The Korean Astronomical Society
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• v.22
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• pp.27.2-27.2
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• 1997

• 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.