• The Journal of the Korea Contents Association
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• v.12 no.1
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• pp.91-102
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• 2012

Generally today's culture and the arts industry has been focusing more on economic value than the arts. Therefore this paper will elucidate the meaning of the culture and the arts can be a break though which can only include commercial and economic values but transcend its values ultimately. First of all, this paper will suggest an advanced 3D stereoscopic images by analysis of examples and environments of realistic media arts. Looking into the changes of related technologies and market environments, the motion-recognition technology, as seem in SF film "Minority report", has become a feasible technology. In the past, 3D stereoscopic images were shown in the theme park theatre and exhibition halls for group viewing. but recent 3D TV and display devices have changed those environments to personal. Since domestic researches of realistic media art has been little, this paper will analyze them respecting to three broad classifications. The results are : Firstly, in CAVE method, more impact capabilities of spectators are expected that they can manipulate interactive interfaces freely and the physical movements of spectators can operate interactively. Secondly, inter-network communications and expansion of viewers' perceptions are predicted by way of HMD method, sensor suites and communication equipments. Thirdly, combinations of HMD and motion tracking utilization is foreseen. With the convergent usages of these three features, we can prospect the possibilities of interactive 4D that spectators wearing 3D stereoscopic display devices can experience and make their own 3D stereoscopic images actively at the point of their views.

• Journal of the HCI Society of Korea
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• v.8 no.2
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• pp.21-27
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• 2013

Recently, the use of floating hologram has increased in many different aspects, such as exhibitions, education, advertisements, and so on. Especially, the floating hologram that makes use of half-mirror is widely used. Nevertheless, half-mirror, unfortunately, cannot lead users to the perfect three dimensional hologram experience. Even though it can make the vision look to be up on the air, it does not have the capacity to display itself up on the air, which is the ultimate goal of hologram. In addition, it looks inconsistent when a real object is located behind the half-mirror in order to show the convergence of the two (object and the half-mirror). In this paper, we did the study on comparison of 3D space perception for the stereoscopic AR holography. At first, we applied stereoscopic technology to the half-mirror hologram system for the accurate and realistic AR environment. Then, the users can feel as if the real 3D object behind half-mirror and the reflected virtual image are converged much better in the 3D space. Furthermore, by using depth camera, the location and direction of graphics can be controlled to change depending on the user's point of view. This is the effective way to produce augmented stereoscopic images simply and accurately through half-mirror film without any additional devices. What we saw from the user test were applying 3D images and user interaction leads the users to have 3D spatial awareness and realism more effectively and accurately.

• The Journal of the Korea Contents Association
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• v.11 no.12
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• pp.162-170
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• 2011

Through this thesis, I intended to analyze Hollywood animation through that achieved in box office by directing viewpoint. of Chris Sanders and Dean Deblois not only shows standard narrative structure of adventure, comedy, fantasy, but also express message of story and thorough visual. Analysis of directing classify contents and form. In contents, constitution of narrative and set up of character, irony of plot, characterization and popularity are embossed. In form, lighting and special effect, design and layout, 3D technology and stereoscopic camera technique based on the capital strength are outstanding. The high evaluation for film is possessed of box offic, remained within value and popularity, and delivered metaphysical theme without repulsion. The director's direction make success even if the pre-production manage by huge system approach.

• Journal of Digital Contents Society
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• v.16 no.4
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• pp.645-650
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• 2015

In this paper, we propose the method for creating a stable stereoscopic 3D contents with the production guidelines by removing the excessive depth value and scene changes for high quality. We have developed a three-dimensional depth analysis tool for detecting the scene changes out of the production guidelines and the depth value changes excessively. The Scenes detected by depth analysis tool can be modified at the post production and it helps to make a stable stereoscopic 3D contents.

• The Journal of the Korea Contents Association
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• v.11 no.7
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• pp.121-130
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• 2011

If you ask many Stereographers how to make a good S3D and you will get all different answers. There are several 3D knowledges and opinions that were not always in agreement. we have to choose which advice to follow and find our own way. But there will be no durable screening of S3D films without a minimal viewing comfort of all the audience whatever the differences of their vision. First of all, We always consider several factors to get an appropriate S3D shot before moving on to production. This is intended to provide a practical example on S3D film production. I hope that this article will encourage further research on this topic.

• Journal of Digital Contents Society
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• v.18 no.1
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• pp.123-132
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• 2017

The physical display technology is the ultimate display technology that human beings aspire, and the world makes use of laser, plasma and reflector plate. Besides, technology development of binocular stereoscopic display has been actively progressed, but there is a limitation to the intact physical representation such as influence of optical ambient light and brightness. In this paper, the display technology using physical deformation different from the existing optical display is approached as a cultural and emotional perspective. The purpose of this paper is to develop the multivariate display technology that can create 3D realistic stereoscopic images through projecting dynamic images on physically diversified screen by overcoming the limitations of 2D planar digital signage and study how to apply them to video, exhibition and performance.

• Cartoon and Animation Studies
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• s.49
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• pp.633-649
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• 2017

The purpose of this study is to conceptualize the changing aspects of human freedom of observation and viewing as the visual media evolves from film to 3D stereoscopic film and VR. The purpose of this study is to conceptualize the aspect of freedom and viewing aspect from the viewpoint of genealogy. In addition, I will identify the media aesthetic characteristics of VR and identify the identity and ontology of VR. Media has evolved around the most artificial sense of human being. There is a third visual space called screen at the center of all the reproduction devices centering on visual media such as painting, film, television, and computer. In particular, movies, television, and video screens, which are media that reproduce moving images, pursue perfect fantasy and visual satisfaction while controlling the movement of the audience. A mobilized virtual gaze was secured on the assumption of the floating nature of the so-called viewers. The audience sees a cinematic illusion with a view while seated in a fixed seat in a floating posture. They accept passive, passive, and passively without a doubt the fantasy world beyond the screen. But with the advent of digital paradigm, the evolution of visual media creates a big change in the tradition of reproduction media. 3D stereoscopic film predicted the extinction of the fourth wall, the fourth wall. The audience is no longer sitting in a fixed seat and only staring at the front. The Z-axis appearance of the 3D stereoscopic image reorganizes the space of the story. The viewer's gaze also extends from 'front' to 'top, bottom, left, right' and even 'front and back'. It also transforms the passive audience into an active, interactive, and experiential subject by placing viewers between images. Going one step further, the visual media, which entered the VR era, give freedom to the body of the captive audience. VR secures the possibility of movement of visitors and simultaneously coexists with virtual space and physical space. Therefore, the audience of the VR contents acquires an integrated identity on the premise of participation and movement. It is not a so-called representation but a perfection of the aesthetic system by reconstructing the space of fantasy while inheriting the simulation tradition of the screen.

• Proceedings of the Korea Contents Association Conference
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• 2011.05a
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• pp.419-420
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• 2011

본 논문의 목적은 실시간 인터렉티브가 가능한 3D 입체영상의 구현 방법에 있다. 기존의 입체영상 구현 방식의 광학적이며 하드웨어적인 한계범위를 실시간 구현을 통해 보정해 보는 것과 동시에 색합성을 통한 기초적 입체영상 방법을 실험해봄으로써 입체영상의 제작방법만이 아닌, 상호작용을 통한 입체깊이감의 구현이라는 새로운 기능성을 탐구해 보고자 함에 근본 목적이 있다. 이를 위해 사용된 영상구현시스템은 Max/Msp/Jitter를 사용하였으며, 실질적으로 입체감의 깊이감있는 재현을 위한 실험으로는 피터 위머(Peter Wimmer)가 제안한 애너그리프 합성방법을 사용해 보았다.

• Proceedings of the Korea Contents Association Conference
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• 2010.05a
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• pp.511-513
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• 2010

최근 국내에서 디지털 영상 매체 연구개발 분야 중 관심을 끌고 있는 분야가 바로 3D 입체영상 구현에 관한 분야이다. 특히 모바일 3D 영상 구현에 대한 연구는 시스템이 점차 디지털로 전환되면서 빠른 속도로 진보하고 있다. 하지만 그 개발방향은 현재 구현되는 영상매체와 기술에 대한 하드웨어적인 접근에만 집중되어 있다. 즉, 수용자의 태도와 인식과 같은 기술 외적인 부분에 대한 연구는 상대적으로 활발하게 이루어지지 못하고 있다. 이에 본 연구는 사용자 중심의 모바일 입체영상콘텐츠 개발의 소프트웨어적 특성과 입체영상에 대한 수용자의 태도를 분석함으로써 앞으로 미래의 모바일영상콘텐츠 개발방안에 대한 로드맵을 그려보고자 할 것이다.

• Journal of the Institute of Electronics Engineers of Korea SP
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• v.46 no.5
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• pp.56-65
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• 2009

Stereoscopic images consist of the left image and the right image. Thus, stereoscopic images have much amounts of data than single image. Then an efficient image compression technique is needed, the DPCM-based predicted coding compression technique is used in most video coding standards. Motion and disparity estimation are needed to realize the predicted coding compression technique. Their performing algorithm is block matching algorithm used in most video coding standards. Full search algorithm is a base algorithm of block matching algorithm which finds an optimal block to compare the base block with every other block in the search area. This algorithm presents the best efficiency for finding optimal blocks, but it has very large computational loads. In this paper, we have proposed fast disparity estimation algorithm using motion and disparity vector information of the prior frame in stereo image coding. We can realize fast disparity vector estimation in order to reduce search area by taking advantage of global disparity vector and to decrease computational loads by limiting search points using motion vectors and disparity vectors of prior frame. Experimental results show that the proposed algorithm has better performance in the simple image sequence than complex image sequence. We conclude that the fast disparity vector estimation is possible in simple image sequences by reducing computational complexities.