• Journal of Broadcast Engineering
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• v.26 no.5
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• pp.508-518
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• 2021

Recently as a result of covid 19, it has emphasis on the importance of non-contact. VR content has been attracting attention as an alternative to visual arts, media art, new media exhibitions and performances with limited offline activities. Although interest in 360 VR video contents such as VR contents for exhibitions and performances is increasing, research on immersion and satisfaction is focused on games and animation VR contents. In this paper, it verified the effect of the difference in the position and height of the VR camera in exhibitions and performances on the user's presence and satisfaction. For this experiment, the presence and satisfaction were measured after experiencing the VR contents of the convergence exhibition and performance filmed at different locations and heights. As a result of the experiment, the difference of VR camera's position had a significant effect on presence and satisfaction, the difference of VR camera's height had a significant effect only Realistic immersion of the presence.

• Physical Therapy Korea
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• v.29 no.4
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• pp.262-268
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• 2022

Background: Virtual reality (VR) programs based on motion capture camera are the most convenient and cost-effective approaches for remote rehabilitation. Assessment of physical function is critical for providing optimal VR rehabilitation training; however, direct muscle strength measurement using camera-based kinematic data is impracticable. Therefore, it is necessary to develop a method to indirectly estimate the muscle strength of users from the value obtained using a motion capture camera. Objects: The purpose of this study was to determine whether the pedaling speed converted using the VR engine from the captured foot position data in the VR environment can be used as an indirect way to evaluate knee muscle strength, and to investigate the validity and reliability of a camera-based VR program. Methods: Thirty healthy adults were included in this study. Each subject performed a 15-second maximum pedaling test in the VR and built-in speedometer modes. In the VR speedometer mode, a motion capture camera was used to detect the position of the ankle joints and automatically calculate the pedaling speed. An isokinetic dynamometer was used to assess the isometric and isokinetic peak torques of knee flexion and extension. Results: The pedaling speeds in VR and built-in speedometer modes revealed a significantly high positive correlation (r = 0.922). In addition, the intra-rater reliability of the pedaling speed in the VR speedometer mode was good (ICC [intraclass correlation coefficient] = 0.685). The results of the Pearson correlation analysis revealed a significant moderate positive correlation between the pedaling speed of the VR speedometer and the peak torque of knee isokinetic flexion (r = 0.639) and extension (r = 0.598). Conclusion: This study suggests the potential benefits of measuring the maximum pedaling speed using 3D depth camera in a VR environment as an indirect assessment of muscle strength. However, technological improvements must be followed to obtain more accurate estimation of muscle strength from the VR cycling test.

• International Journal of Internet, Broadcasting and Communication
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• v.13 no.3
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• pp.73-83
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• 2021

With the development of science and technology, virtual reality (VR) has become increasingly popular, being widely used in various fields such as aviation, education, medical science, culture, art, and entertainment. This technology with great potential has changed the way of human-computer interaction and the way people live and entertain. In the field of animation, virtual reality also brings a new viewing form and immersive experience. The paper demonstrates the production of VR animation and then discusses camera's position in VR animation. Where to place the VR camera to bring a comfortable viewing experience. The paper, with the proxemics as its theoretical framework, proposes the hypothesis about the camera position. Then the hypothesis is verified by a series of experiments in animation to discuss the correlation between camera position and proxemics theory.

• The Journal of the Korea institute of electronic communication sciences
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• v.11 no.8
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• pp.767-772
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• 2016

The purpose of this paper is to develop a gimbal system installed in the UFV(unmanned flight vehicles) for 360 degree VR video. In particular, even if the UFV rotated any direction the camera position is fiexd to minimize the shaking using the gyro sensor and the camera system is stable for taking $360^{\circ}$ panorama VR images.

• Journal of Korea Multimedia Society
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• v.19 no.12
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• pp.2036-2043
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• 2016

The $360^{\circ}$ Virtual Reality (VR) live-action movies are filmed by attaching multiple cameras to a rig to shoot the images omni-directionally. Especially, for a live-action film that requires a variety of scenes, the director of photography and his staff usually have to operate the rigged cameras directly all around the scene and edit the footage during the post-production stage so that the entire process can incur much time and high cost. However, it will also be possible to acquire high-quality omni-directional images with fewer staff if the camera rig(s) can be controlled remotely to allow more flexible camera walking. Thus, a $360^{\circ}$ VR filming system with remote-controlled camera rig has been proposed in this study. The movie producers will be able to produce the movies that provide greater immersion with this system.

• Journal of Korea Multimedia Society
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• v.22 no.1
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• pp.110-116
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• 2019

Virtual reality (VR) sickness can have an influential effect on the viewing quality of VR 3D contents. Particularly, watching the 3D contents on a head-mounted display (HMD) could cause some severe level of visual discomfort. Despite the importance of assessing the VR sickness, most of the recent studies have focused on unveiling the reason of inducing VR sickness. In this paper, we subjectively measure the level of VR sickness induced in the viewing of omnidirectional 3D graphics contents in HMD environment. Apart from that, we propose an objective assessment model that estimates the level of induced VR sickness by calculating the difference between head movement velocity and global camera motion velocity.

• Journal of Broadcast Engineering
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• v.25 no.4
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• pp.518-527
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• 2020

360 VR technology is used not only in movies, but also in performing arts such as music, theater, dance, and so on due to the characteristics of immersion and presence. The technology allows the audience can be perceived a feel of participation in a story. This study is conducted an analysis of the techniques of 360 video shooting in order to find the answers of the following questionaries: how to make viewers enhance to a better understanding of a space, how to make the viewer feel comfortable ceding control of the experience, how to generate greater empathy with a 360 video. Thirty cases were analysed 360-degree videos of live performances performed on stage among 360-degree images of music performance content shared on Youtube from 2015 to 2020. The result shows that live performances are performed with the audience, so the stage shape and the layout of the audience seats are preferred to the characteristics of the performance. It was also shown that directing using a 360 VR camera was also greatly affected by the stage and audience placement. The stage is manly classified into three types, and the camera layout and characteristics mainly used are organized according to the number of 360 VR cameras, whether fixed or mobile cameras are used.

• Journal of Broadcast Engineering
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• v.21 no.5
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• pp.714-725
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• 2016

With the recent emergence of VR contents, a lot of attention has been drawn on actual image based VR 360° video production using photography system. It was very complicated and difficult to make conventional VR contents. Therefore, such making was performed only in a research level. These days, as cameras have been made smaller, VR live-action has become more common in contents makers. In the circumstance, this study tries to compare a variety of contents making equipment based on action-cam that is mainly used for producing VR contents, and suggest their problems. To solve the problems, this study uses a cinema grade camera to do VR filming. As a result, it is revealed that, in order to make VR contents with quality, it is necessary to use a cinema grade camera, rather than an action cam, and to conduct technical research for standard lens based contents.

• The Journal of the Korea Contents Association
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• v.18 no.8
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• pp.272-286
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• 2018

VR movies form a relationship with the audience in completely different ways from general movies with their screen. In VR movies, the audience becomes the camera and also the subject of the camera viewpoint, which raises a need for a frame theory unique to VR movies to examine the first person viewpoint and replace the edition of frames to deliver a narrative. In VR movies, the frames delivering a narrative are not revealed and perform the symbolic narrative function, thus being called "implicit frames." The study discussed their related theoretical backgrounds including Russian Ark made in the one shot, one cut method by Alexander Sokurov, off-screen elements, and the Fourth Wall. In VR movies, the audience gets immersed in the narrative based on their paradoxical dilemma, which means that they exist in reality but are absent on screen at the same time, and experiences hyper-reality. In VR movies, space has a couple of attributes including the blocking of eyeline to move it and telepresence to tie up presence between reality and virtuality.

• Journal of Broadcast Engineering
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• v.23 no.6
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• pp.876-885
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• 2018

Although e-sports broadcasting market based on VR(Virtual Reality) is growing in these days, technology development for securing market competitiveness is quite inadequate in Korea. Global companies such as SLIVER and Facebook already developed and are trying to commercialize 360 VR broadcasting technology which is able to broadcast e-sports in 4K 30FPS VR video. However, 2D video is too poor to use for 360 VR video in that it brings less immersive experience and dizziness and has low resolution in the scene. this paper, we not only proposed and implemented virtual camera technology which is able to capture in-game space as 360 video with 4K 3D by 60FPS for e-sports VR broadcasting but also verified feasibleness of obtaining stereo 360 video up to 4K/60FPS by conducting experiment after setting up virtual camera in sample games from game engine and commercial games.