• Journal of the Korea Computer Graphics Society
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• v.26 no.3
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• pp.49-59
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• 2020

In this paper, we propose a speech animation synthesis specialized in Korean through a rule-based co-articulation model. Speech animation has been widely used in the cultural industry, such as movies, animations, and games that require natural and realistic motion. Because the technique for audio driven speech animation has been mainly developed for English, however, the animation results for domestic content are often visually very unnatural. For example, dubbing of a voice actor is played with no mouth motion at all or with an unsynchronized looping of simple mouth shapes at best. Although there are language-independent speech animation models, which are not specialized in Korean, they are yet to ensure the quality to be utilized in a domestic content production. Therefore, we propose a natural speech animation synthesis method that reflects the linguistic characteristics of Korean driven by an input audio and text. Reflecting the features that vowels mostly determine the mouth shape in Korean, a coarticulation model separating lips and the tongue has been defined to solve the previous problem of lip distortion and occasional missing of some phoneme characteristics. Our model also reflects the differences in prosodic features for improved dynamics in speech animation. Through user studies, we verify that the proposed model can synthesize natural speech animation.

• Journal of the Korea Computer Graphics Society
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• v.26 no.3
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• pp.9-19
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• 2020

With the recent development of various kinds of virtual reality devices, there has been an active research effort to increase the sense of reality by recognizing the physical behavior of users rather than by classical user input methods. Among such devices, the Leap Motion controller recognizes the user's hand gestures and can realistically trace the user's hand in a virtual reality environment. However, manipulating an object in virtual reality using a recognized user's hand often causes the hand to pass through the object, which should not occur in the real world. This study presents a way to build a visual feedback system for enhancing the user's sense of interaction between hands and objects in virtual reality. In virtual reality, the user's hands are examined precisely by using a ray tracing method to see if the virtual object collides with the user's hand, and when any collision occurs, visual feedback is given through the process of reconstructing the user's hand by moving the position of the end of the user's fingers that enter the object through sign distance field and reverse mechanics. This enables realistic interaction in virtual reality in real time.

• Journal of the Korea Computer Graphics Society
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• v.28 no.3
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• pp.1-11
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• 2022

Body ownership illusion (BOI), which means 'the illusion that a non-bodily object feels like my body', has been actively studied since the Rubber-hand Illusion showed that a person can feel a rubber hand like one's own hand. It has been proven that BOI can be elicited for virtual bodies in virtual reality. Although many studies have been examined the effect of visuomotor (VM) and visuotactile (VT) stimuli, which are mainly used for the elicitation of BOI, there were very limited studies that delivered both stimuli to the whole body at the same time. In this paper, we investigated how each stimulus affects BOI when delivering VM and VT stimulisimultaneously to the virtual avatar, and examined user experience that appears as presence, emotion, and virtual motion sickness. The results showed that BOI was high when VM is synchronous, but there was no significant difference according to VT levels. In the case of presence, it was confirmed that VT affects only when VM is synchronous, and in the case of emotion, both VM and VT affect valence, and in the case of virtual motion sickness, a statistical difference is not found.These results suggest that overall synchrony of VM is important factor in BOI with virtual avatars, but that the matching VT affects subjective experience such as presence when VM is synchronous.

• Journal of the Korea Computer Industry Society
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• v.7 no.4
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• pp.427-436
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• 2006

State-space method for the analysis of the dynamic characteristics of a body motion is set up as mathematical tool for the solution of differential equation by computer. Representation of a system is described as a simple form of matrix calculation and unique form of model is available for the linear or nonlinear, time variant or time invariant, mono variable or multi variable system etc. For the analysis of state-space method a complicated vector calculation is required, but this analysis can be simplified with the specific functions of a software package. Recently as the Graphical User Interface softwares are well-developed, then it is very simplified to execute the simulation of the dynamic characteristics for the state-space model with the interactive graphics treatment. The purpose of this study is to developed the simulator for the educational analysis of the dynamic characteristics of body motion, and for the analysis of the longitudinal dynamic characteristics of an aircraft that is primarily to design the simulator for the analysis of the transient response of an aircraft longitudinal stability.

• 제어로봇시스템학회:학술대회논문집
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• 1992.10a
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• pp.537-540
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• 1992

This paper presents Samsung CNC (Computer Numerical Controller) system with an intel 80486/487 as the main CPU and a 32 bit floating point DSP(Digital Signal Processor) TMS320C30 as the motion control CPU. The Samsung CNC system diverse user-frienly characteristics such as multi-tasking, powerful menu system, internal PLC system, and 2/3 dimensional graphics in wire and solid mode. The main CPU executes central processing program, user interface program, interpreter, BMI, etc while the motion control CPU carries out some interpolations, acceleration/deceleration, and PID control algorithm with feedforward terms. Complex interpolations except linear and circular ones are performed on the main control CPU. The experimental results for the circular interpolation under linear acceleration/deceleration shows that the proposed CNC system can be widely used in controlling machining centers with good machining accuracy.

• Journal of the Korean Society of Costume
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• v.54 no.4
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• pp.63-74
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• 2004

This study shows that clothes to be just the same as the real thing can be Produced through the third dimension computer graphics, and then presents that not only the area of fashion design can be expanded in the virtual reality field by doing the simulation of the fashion show, but also the information can be made the real time public ownership and the communication can be fulfilled smoothly. In this study, analyzing the third dimension computer graphic programs to be used much at present, Alias Wavefront Company's Maya software which was the most effective in the clothes simulation and the clothes CAD SGS OptiTex 8.7 which went well substitutive for it were used of them. The conclusions of this study that got through the work manufacture are as follows： The first, if the file manufacturing in the clothes CAD by using the computer was stored, the pattern used 3D simulation was available because it could be summoned in 3D software. The second, if the data of DXF form in Maya program was summoned, they could not be applied by Maya Cloth supported in Nurbs only because they were recognized as the DXF＿layer. So the curve along the outer lines of the pattern was drawn and Maya Cloth was applied to be possible to get the natural silhouette of clothes. The third, when the clothes were manufactured by 3D, if the draping character was applied according to the textile special quality, not only the control of textile's thickness, weight, quality feeling, and silhouette was available, but also the clothes were available to graft the special textile materials. The fourth, the natural motion of model was produced by capturing the actual model's walking action In order to produce the fashion show motion and also the dynamic fashion show was available by the angle of camera, the establishment of lighting, and etc. in the final rendering. The clothes manufactured by 3D are available to change the design by changing the materials, or by adding the details, or by utilizing the special materials on clothes. Therefore, the trial and error following at the clothes manufacture can be reduced. But the elevation of the rendering speed, the price down, the strengthening of personal security, and etc. are required.

• Journal of Broadcast Engineering
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• v.7 no.1
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• pp.21-27
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• 2002

This paper presents a mews event reenactment system (NERS), which generates virtual character animations in a quick and convenient manner. Thus, NERS can be used to produce computer graphics(CG) scenes of news events that are hard to photograph, such as fire, traffic accident, cases of murder, and so on. By using plenty of captured motion data and CG model data this system produces an appropriate animation of virtual characters straightforwardly without any motion capturing device and actors in the authoring stage. NERS is designed to be capable of making virtual characters move along user-defined paths, stitching motions smoothly and modifyingthe positions and of the articulations of a virtual character in a specific frame. Therefore a virtual character can be controlled precisely so as to interact with the virtual environments and other characters. NERS provides both an interactive and script-based (MEL: Maya Embedded Language) interface so that user can this system in a convenient way. This system has been implemented as a plug-in of commercial CG tool, Maya (Alias/wavefront), in order to make use of its advanced functions

• The Research Journal of the Costume Culture
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• v.25 no.3
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• pp.301-314
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• 2017

This study focused on the movement adaptability of $19^{th}$ century classical opera stage costumes. Researchers focused on a basic $19^{th}$ century women's jacket. The study analyzed movement adaptability using ROM (range-of-motion) tests of the upper limb flexion and abduction postures. It developed two research garments to mimic basic $19^{th}$ century style jackets with or without gussets at the axilla. The ROM experiment identified the gusset size as 11cm in length. Experimental postures included upper limb flexion and abduction. The study measured subjective comfort at 8 postures. These postures included the flexion and abduction of the arms and torso. Subjects also evaluated the subjective comfort of the rotation posture of the torso. Researchers evaluated the similarities between research garments' silhouettes and the $19^{th}$ century women's jacket. The study used a 3D virtual fitting system to evaluate fit, and specialists further analyzed fit with photographs and 3D virtual graphics. The results are as follows. The silhouettes of both research garments were similar to the silhouettes of the $19^{th}$ century western women's jacket. The jacket with axilla gusset had a better fit than the basic style jacket. The basic style jacket without the axilla gusset showed limited movement adaptability at the shoulder joint and it caused discomfort at the axilla and elbow. The 3D virtual fit test was not a suitable method for analyzing silhouette similarity.

• The Journal of the Korea Contents Association
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• v.16 no.12
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• pp.27-34
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• 2016

The application of computer graphics, which is characterized by reality, has even reinforced reality of image and motion expression in digital animation. But reality of digital animation succeeds to traditional aesthetic characteristics of animation for overcoming physical limitations of the real world and realizing imagination through transformation, rather than copying actuality as it is. But it does not succeed to drawing animation wholly. Digital animation adds cartoonish transformation, based on three-dimensional realistic expression and those animation situations look as if they get over realistic restrictions, while drawing animation constantly reminds of mediality in drawing motion, based on two-dimensional plane and handwork. n other words, cartoonish exaggeration that is intermittently inserted between these reinforced realities, expresses digital animation's own aesthetic characteristics as a dialectical sum by crashing into contrast coming from a cross between reality and imagination.

• Journal of Korea Game Society
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• v.15 no.4
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• pp.189-198
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• 2015

This paper is about a serious game controlled by EEG and motion capture. We developed our game for 2 users competitive and its method is as follows. One player uses a controlling interface using EEG signals based on the premise that the player's facial movements are a depiction of the player's emotion and intensity throughout the game play. The other player uses a controlling interface using kinect's motion capture technology which captures the player's vertical and lateral movements as well as state of running. The game shows the first player's EEG as a real-time graphic along the map on the game screen. The player will then be able to pace himself based on these visualization graphics of his brain activities. This results in higher concentration for the player throughout the game for a better score in the game. In addition, the second player will be able to improve his physical abilities since the game action is based on real movements from the player.