• Journal of The Korean Digital Architecture Interior Association
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• v.5 no.1
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• pp.9-16
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• 2005

In Interior design, light is the most important factor in deciding color, texture and illumination level which are the basic factors of spatial design. To apply rendering technologies on prediction of illuminating effect, it is important to understand and analyse the basic properties of the illumination models that are local illumination model and global illumination model. The illumination models in computer graphics express the factors which determine the surface color, texture and light distribution through the reflection. The purpose of this study is to propose the best way of shading algorithm in interior space provided by the computer, based on the experimental analysis that 5 shading methods are applied to the interior space. The results of this study were as followed. 1) Local illumination models that are Lambert shading, Ground shading and Phong shading are not suitable to the prediction of interior illumination effect. 2) Ray tracing that is global illumination model could be adopted to interior illumination effects. Ray tracing is a very versatile algorithm because of the large range of lighting effects it can model. 3) Neither radiality nor ray tracing offers a complete solution for simulating all interior illumination effects. 4) Radiosity excels at rendering diffuse-to-diffuse inter-reflections and ray tracing excels at rendering specular reflections. By merging both shading techniques, that offers the best of both. Using computer technologies to simulate lighting in preliminary design stage which will provide information for designers and occupants to determine the effect of using artificial light sources at each stage of their design process. Further study in illumination analysis, prediction of illumination effect, and lighting calculation is required as computer media expands.

• KSII Transactions on Internet and Information Systems (TIIS)
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• v.5 no.11
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• pp.2175-2190
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• 2011

This paper presents the effects of depth map quantization for multiview intermediate image generation using depth image-based rendering (DIBR). DIBR synthesizes multiple virtual views of a 3D scene from a 2D image and its associated depth map. However, it needs precise depth information in order to generate reliable and accurate intermediate view images for use in multiview 3D display systems. Previous work has extensively studied the pre-processing of the depth map, but little is known about depth map quantization. In this paper, we conduct an experiment to estimate the depth map quantization that affords acceptable image quality to generate DIBR-based multiview intermediate images. The experiment uses computer-generated 3D scenes, in which the multiview images captured directly from the scene are compared to the multiview intermediate images constructed by DIBR with a number of quantized depth maps. The results showed that there was no significant effect on depth map quantization from 16-bit to 7-bit (and more specifically 96-scale) on DIBR. Hence, a depth map above 7-bit is needed to maintain sufficient image quality for a DIBR-based multiview 3D system.

• 한국HCI학회:학술대회논문집
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• 2006.02a
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• pp.871-877
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• 2006

물체의 반사(specular reflection)는 물체의 재질 및 기하학적 모양을 표현하는데 있어 매우중요한 요소이다. 사진품질의 사실적 렌더링에서는 기존의 국소 반사 모델을 사용하여 좋은 결과를 얻을 수 있지만, 사용자의 주관이 중시되는 비사실적 렌더링(non-photorealistic rendering)에서는 사용자가 원하는 반사 효과를 표현할 수 있어야 한다. 텍스처는 사용자가 직관적으로 원하는 반사 효과를 표현할 수 있는 수단이며, 이를 모델에 투영하면 원하는 반사효과를 얻을 수 있다. 이 때 사용자는 텍스처가 투영될 위치와 크기, 방향을 직접 키프레임으로 정해 줄 수 있다. 그러나 모든 반사 효과를 사용자가 직접 정해준다는 것은 번거로운 일이며, 실시간 응용분야에는 적용할 수 없다. 본 논문에서는 국소반사모델(local reflection model)과 주곡률(principal curvature) 해석을 통해 반사효과의 위치, 방향, 크기를 결정하기 위한 텍스처 투영기의 새로운 설정 방법을 제시한다. 광원과 시점 정보를 사용하여 투영기의 위치를 정하고 물체의 주방향(principal direction)과 곡률반지름(radius of curvature)을 이용하여 투영기의 방향과 투영 피라미드의 크기를 정한다 텍스처 투영기의 단순한 이동, 회전을 통하여 반사 영역의 이동, 회전 및 확대/축소가 가능하다. 본 논문에서 제시한 방법은 DirectX 9.0c와 프로그래이 가능한 셰이더 2.0을 사용하여 GeForce FX 7800 그래픽 카드에 구현되었다. 본 논문의 연구 결과는 게임과 같은 실시간 응용분야에 사용될 수 있으며, 실험 결과에 의하면 수천 개의 다면체 모델에 대한 렌더링을 실시간에 수행할 수 있다.

• Journal of Digital Contents Society
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• v.9 no.2
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• pp.363-369
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• 2008

In this paper, we have proposed 3D shape reconstruction using superquadrics and single z-buffer Constructive Solid Geometry (CSG) rendering algorithm. Superquadrics can obtain various 3D model using 11 parameters and both superquadrics and deformed-superquadrics play a role of primitives which are consisted of CSG tree. In addition, we defined some effective equations using z-buffer algorithm and stencil buffer for synthesizing 3D model. Using this proposed algorithm, we need not to consider the coordinate of each 3D model because we simply compare the depth value of 3D model.

• Journal of Korea Multimedia Society
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• v.13 no.7
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• pp.1105-1114
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• 2010

This thesis is a summary of the research result about the 20 seconds official trailer requested from the Pusan International Film Festival organizing committee. Since producing digital content is very significant at this moment, I tired to make an official trailer for 13th Pusan International Film Festival by integrating 3D animation with ink-and-wash painting. Motivated by a western-style painter, Shin Chang Sic's painting,' Arirang_HopeⅠ(An Official poster), I got to know how to express ink-and-wash painting by using digital technique and considering ink stick depth, line control and color elements for modeling, shading and rendering stage.

• Journal of Digital Contents Society
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• v.7 no.3
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• pp.207-210
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• 2006

A synchronized multimedia presentation consists of a collection of objects, with each object having one or more rendering intervals within the presentation timeline. These intervals specify the objects' start times and end times relative to the presentation timeline. In this paper we consider the problem of streaming a multimedia presentation from a server to a client over a bandwith-limited communication network. We suppose that each of the static objects is layered-encoded. For a given maximum delay, we consider the problem of finding the optimal number of quality of the presentation. We devise efficient algorithms for determining an optimal policy for several criteria. We also consider the problem of gradual rendering of objects after their start times.

• International Journal of Advanced Culture Technology
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• v.11 no.2
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• pp.397-402
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• 2023

With the rapid adoption of 5G, the gaming industry has undergone significant innovation, with the quality of game content and player experience becoming the focal point of attention. ZBrush, as a professional digital sculpting software, plays a crucial role in the production of 3D game models. In this paper, we explore the application methods and techniques of ZBrush in game weapons production through specific case analyses. We provide a detailed analysis of two game weapon models, discussing the design and modeling process, lowto-high poly conversion, UV unwrapping and texture baking, material texture creation and optimization, and final rendering. By comparing the production process and analyzing the advantages and disadvantages of ZBrush, we establish a theoretical foundation for further design research and provide reference materials for game industry professionals, aiming to achieve higher quality and efficiency in 3D game model production.

• KSII Transactions on Internet and Information Systems (TIIS)
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• v.5 no.7
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• pp.1311-1328
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• 2011

We re-render a photographic image as a simulated pencil drawing using two independent line integral convolution (LIC) algorithms that express tone and feature lines. The LIC for tone is then applied in the same direction across the image, while the LIC for features is applied in pixels close to each feature line in the direction of that line. Features are extracted using the coherent line scheme. Changing the direction and range of the LICs allows a wide range of pencil drawing style to be mimicked. We tested our algorithm on diverse images and obtained encouraging results.

• International Journal of CAD/CAM
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• v.9 no.1
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• pp.93-102
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• 2010

Shaping realistic hairstyles for digital characters is a difficult, long and tedious task. The lack of appropriate interaction metaphors enabling efficient and simple, yet accurate hair modeling further aggravates the situation. This paper presents 3D interaction metaphors for modeling virtual hair using haptic interfaces. We discuss user tasks, ergonomic aspects, as well as haptics-based styling and fine-tuning tools on an experimental prototype. In order to achieve faster haptic rates with respect to the hair simulation and obtain a transparent rendering, we adapt our simulation models to comply with the specific requirements of haptic hairstyling actions and decouple the simulation of the hair strand dynamics from the haptic rendering while relying on the same physiochemical hair constants. Besides the direct use of the discussed interaction metaphors in the 3D modeling area, the presented results have further application potential in hair modeling facilities for the entertainment industry and the cosmetic sciences.

• International Journal of Internet, Broadcasting and Communication
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• v.16 no.3
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• pp.170-183
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• 2024

In producing anamorphic 3D advertisement projects, it is necessary to apply the principles of illusion art to distort the images output to the screen (Image Distortion) so that their display aligns with our visual perception in a real three-dimensional environment. We focuse on the methods of image distortion in the creation of content for anamorphic 3D advertisement screens in this thesis. We propose using Unity 3D's real-time rendering instead of the offline rendering method of compositing method, and employing UV grid mapping to replace the manual correction in Adobe After Effects(AE). The significance of this paper lies in simplifying the image distortion processing workflow in anamorphic 3D projects and optimizing the image distortion creation methods used in compositing method. In outdoor anamorphic 3D advertisement projects, the proposed image distortion creation method demonstrates significant advantages in terms of production time, process simplification, flexibility, and expansion possibilities. Our research provides new perspectives and methods for the creation of anamorphic 3D content, offering theoretical and methodological references for professionals working on similar contents.