• Journal of Digital Convergence
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• v.12 no.9
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• pp.353-358
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• 2014

Interactive art is implemented by participants interaction, characterized by the virtuality, immersion, interactivity. Among these features, immersion is important factor to absorb in the interactive art. From now, Interactive art measurement methods are mainly used in interview, questionnaire, and physiological methods. But these methods are difficult to measure the exact immersion, can give interfere with viewer's participation in the interactive art. In this paper, we propose the immersion measurement method which based on participant's moving lines, observation time with mobile devices, camera. This paper can help to analyse degree of immersion on interactive art.

• Journal of Korea Game Society
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• v.11 no.2
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• pp.105-114
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• 2011

In a game such as MMORPG, players often see occlusions between primary actors in a shot where shows a close quarter combat. This paper proposes an occlusion resolution technique(MOS) by grafting a medium shot technique and an over-shoulder shot technique to strengthen a confrontation structure. A medium shot technique sets 4 reference points at the up/down/left/right on the sphere of target. An over-shoulder shot technique is a technique of locating the reference points on the side variably. An occluder is replaced with 2 spheres. If a ray is emitted to a reference point from the camera point and intersects a sphere of occluder, it becomes a potential occlusion state. If so, we start to move the camera to the right or left of the occluder, keep moving it while new position of camera is in potential occlusion state, and stop its movement when the occlusion is resolved. Our experiments show that MOS technique consumes operational time of $13.7{\mu}s$ per shot on average, and that it resolves occlusions in 9.26% of ratio on average, and so doesn't have any effect on viewer's sight.

• The Journal of Korean Institute of Communications and Information Sciences
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• v.26 no.11A
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• pp.1938-1945
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• 2001

In this paper, a new scheme for image conversion of the 2D input images into the stereoscopic 3D images by using differential shifting method is proposed. First, the relative depth information is estimated by disparity and occlusion information from the input stereo images and then, each of image objects are segmented by gray-level using the estimated information. Finally, through the differential shifting of the segmented objects according to the horizontal parallax, a stereoscopic 3D image having optimal stereopsis is reconstructed. From some experimental results, it is found that the horizontal disparity can be improved about 1.6dB in PSNR for the reconstructed stereo image using the proposed scheme through comparing to that of the given input image. In the experiment of using the commercial stereo viewer, the reconstructed stereoscopic 3D images, in which each of the segmented objects are horizontally shifted in the range of 4 ∼5 pixels are also found to have the mast improved stereopsis.

• Journal of Digital Convergence
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• v.17 no.11
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• pp.459-466
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• 2019

In these days, the term 'snack culture' has been popularized as on of the tendency of new content consumption, and various related contents are introduced. This study is an analytical study related to the snack animation content based on the webtoon which can be considered as a representative snack culture content. The Purpose of this study is to investigate the frequency of use of transition techniques, which are importance for viewer to help to understand story by making space and time change in the moving image. To do this, I analyzed the each type of transition technique about the whole contents of NAVER's play webtoon, which is representative snack animation platform. Then I derived and contemplated the result of the analysis with a viewpoint of composition of shot. Through this process, I think this study could provide another basic data about snack animation contents which are not been studied enough yet.

• The Journal of Industrial Distribution & Business
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• v.10 no.1
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• pp.59-67
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• 2019

Purpose - The Millennial Generation, which grew in the wake of the spread of the Internet and rapid changes in the media environment, is rapidly moving from the traditional broadcasting environment to the Internet-broadcasting environment in terms of content acceptance. With the emergence of UGC (User-generated content), the change in the status of single-person content creators enables the growth of multi-channel networks (MCN), a new content-distribution platform and an agency concept for single creators. Youtube-based MCN produces multiple single star producers and casts and provides its own video series through Youtube. It is also emerging as a major M&A target for global media providers in terms of providing content to a wide range of consumers with the same interests and consumption characteristics. In addition, for the Millennials generation, which are part of their lives, MCN is becoming the most suitable media for TGIF (Twitter, Google, i-phone, Facebook). Accordingly, this study defines newly emerging MCNs and analyzes the factors for accepting MCN-produced content based on the push-pull-mooring (PPM) model. Research design, data, and methodology - An empirical analysis is performed through a questionnaire survey. For this purpose, 204 people who have experience of watching MCN were studied. Collected data is processed through analysis of a structural equation model using R to test the hypothesis. Results - For the MCN service to become an alternative to existing media, it is necessary to continuously promote cultural diversity and diversity of attempts that conventional media cannot provide. It is the attractiveness of the alternative that has the greatest influence on the intention to switch to a MCN service. When we look at MCN content so far, certain patterns such as game progress, introduction, food, and chat rooms have already appeared. We need to overcome this and develop a completely new conceptual content that we have never seen before. This requires a more generous viewer perception of the topics covered. For diversity, linguistic and verbal violence should be tolerant in common sense to provide a foundation for securing cultural diversity. Conclusions - In this study, we tried to develop a comprehensive approach to the substitution effect of MCN. In terms of academic achievement, the PPM model is used to enhance the utilization of media and broadcasting. Practical implications are to provide an analytical framework for verifying alternative or complementary effects when viewers switch to MCN.

• Cartoon and Animation Studies
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• s.49
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• pp.697-712
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• 2017

In recent years, film and animation for cinematic release have embraced stereoscopic vision and the three-dimensional depth it creates for the viewer. The maturation of consumer-level virtual reality (VR) technology simultaneously spurred a wave of media productions set within 3D space, ranging from computer games to pornographic videos, to Academy Award-nominated animated VR short film Pearl. All of these works rely on stereoscopic fusion through stereopsis, that is, the perception of depth produced by the brain from left and right images with the amount of binocular parallax that corresponds to our eyes. They aim to emulate normal human vision. Within more experimental practices however, a fully rendered 3D space might not always be desirable. In my own abstract animation work, I tend to favour 2D flatness and the relative obfuscation of spatial relations it affords, as this underlines the visual abstraction I am pursuing. Not being able to immediately understand what is in front and what is behind can strengthen the desired effects. In 2015, Jeffrey Shaw challenged me to create a stereoscopic work for Animamix Biennale 2015-16, which he co-curated. This prompted me to question how stereoscopy, rather than hyper-defining space within three dimensions, might itself be used to achieve a confusion of spatial perception. And in turn, how abstract and experimental moving image practices can benefit from stereoscopy to open up new visual and narrative opportunities, if used in ways that break with, or go beyond stereoscopic fusion. Noteworthy works which exemplify a range of non-traditional, expanded approaches to binocular vision will be discussed below, followed by a brief introduction of the stereoscopic animation loop III=III which I created for Animamix Biennale. The techniques employed in these works might serve as a toolkit for artists interested in exploring a more experimental, expanded engagement with stereoscopy.

• Journal of the Korea Society for Simulation
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• v.25 no.1
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• pp.53-61
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• 2016

This paper introduces 'EgresSIM', which is microscopic evacuation simulation software. EgresSIM developed in this paper is a three-dimensional (3D) pedestrian evacuation simulator based on the improved model advanced from the floor field model(FFM), a microscopic pedestrian model. This software can simulate large size buildings that consist of a number of floors, stairs, rooms, and exit doors. Moreover, this software can arrange several hundreds or thousands of pedestrians in indoor space and check their movements through the 3D viewer in real time, as well as produce detailed results about evacuation situations such as which paths are employed by individual pedestrians, how long does it takes to evacuate, and how many evacuees are gathered at each of the exit doors. Building data needed in the simulation are constructed as XML files according to pre-defined indoor data models and information of simulation results is also created as XML log files. A moving pattern of pedestrians can be represented in many ways by adjusting the sensitivity parameters of two walk models supported by EgresSIM. Thus, evacuation simulation can be done based on many assumptions of situations such as movement to the nearest exit door or blackout after outage.

• Cartoon and Animation Studies
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• s.50
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• pp.101-130
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• 2018

Since the advent of the Smart Devices, the smartphone has become a popular tool to view Webtoon. This phenomenon has caused the convergence of cutting-edge technologies and Webtoons in diverse forms, creating unique versions of Webtoons including, but not limited to Smart-toon, Effect-toon, Cut-toon, Dubbing-toon, Moving-toon, AR-toon, VR-toon, and Interaction-toon. By comparison to these rich diversities of Webtoons in the online industry, there is a lack of academic research on this topic. There are some papers which talk about the different types of multimedia technology conversion and its case presentation or the effectiveness and problems of visual effect, but the effects of these convergence technologies on comic readers' concentration and reading effectiveness have never been investigated so far. Therefore, this paper will discuss the unique method of immersive storytelling that is often used in comics and analyze each aspects of immersive method in technology-converged Webtoons along with its problems. Furthermore, this paper will analyze different aspects of "immersion" and interaction elements that can be found in the popular Interaction-toon, (Encountered). Through this, this paper discusses the positive influence of the interaction elements on comic readers' immersion level and its limitation. To classify the technology-converged Webtoons in terms of the immersion level, the Effect-toon sometimes interferes viewer's flow by using excessive use of multimedia effect, creating information overload. The Smart-toon which applied motions to each frame under horizontal mode of smartphones was a good try, but it hindered the readers' activeness and made it hard for the readers to be fully absorbed in the story. The VR-toon, which utilizes virtual reality gadgets to allow viewers to explore the world of Webtoon was also a nice try to overcome the limitation of vertical screens. However, it often caused dispersion of user's attention and reduced the users' immersion level. The Moving-toon which only emphasized the reading convenience also invaded readers' activeness and disturb users' concentration. On the other hand, the cartoonist Il-Kwon Ha applied high technologies such as face recognition technology, augmented reality techniques, 360-degree panorama technology, and haptic technology to his cartoon (Encountered). This allowed the readers to form a sense of closeness towards the cartoon characters which let the readers to identify themselves with the characters and interact with them. By this way, the readers can be fully immersed in the story. However, technology abuse, impractical production and hackneyed storylining often showed later in the story remains as its limitations.

• 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.

• Journal of Popular Narrative
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• v.25 no.3
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• pp.303-345
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• 2019

This article analyzes the multi-layered communication in the Webtoon Princess Pari, released on the Daum portal site, created (written and illustrated) by Kim Naim, through analyzing the narrative structure and comments with the qualitative / quantitative methodology. The webtoon Princess Pari is structured in an omnibus style in which unit narratives are intermittently articulated, multi-lined, and interconnected. As integrated narratives which link with unitary narratives, Pari's growth story as a shaman and a romance narrative are structured. The classical original story of the shaman was used as a prehistory corresponding to the prequel of the webtoon through a preview, and the writer restructured the narrative to overcome the contradictions of the gender asymmetry and the patriarchal ideology of the original text. The viewer then creates a conversational space by giving critical and reflective comments. According to a statistical analysis conducted through sampling, the types of comments can be classified as follows: Appreciation and criticism of the contents ≫ Emotional response ≫ Intuitive overall review ≫ Knowledge and reflection ≫ Comments on comments. In the process of creation and acceptance of the Webtoon, a multi-layered dialogue between classical and modern, content and audience, acceptance and creation has been at play. In the creation dimension, the writer used a device to fill the gap of mythical symbols of the contents. At the level of the audience, they formed a culture of sharing information, knowledge, and reflection about tradition/folk/culture through comments. This corresponds to classical and modern dialogue through the webtoon. The viewers form a sympathetic bond, attempt hermeneutical coordination, supplement the information, and search for a balanced angle through controversial conversation. In addition, by commenting on attitudes, views, and perspective, the commentators showed a behavioral pattern corresponding to meta-criticism in literature. The viewers' comments acted as feedback on the creation of the webtoons, so that the creation and acceptance itself influenced the production of the content of the webtoon. The webtoon Princess Pari, which was based on Korean classical narrative, has been reorganized onto 'moving and dynamic' content, which leads to sense, thinking, criticism and reflection through the formation of various dialogues.