• The Journal of the Korea Contents Association
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• v.12 no.1
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• pp.166-175
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• 2012

(2010) and have showed possibility of Korean 3D cinema production. From the experience, many problems were deduced in terms of 3D cinema techniques and work-flow. this study is analysis of 's production. The analysis is focused on the problems from the 3D cinema production and pipeline of . By making an analysis the experience, trial and error of production, it will be giving practical information and analysis result to staffs who are willing to create an next Korean 3D cinema. As a result of analysis, has failed to achieve technical accomplishment and to build effective production pipeline. Never the less, it is positively evaluated that it has tried to establish the foundation of Korean 3D cinema production.

• Journal of Satellite, Information and Communications
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• v.8 no.4
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• pp.21-25
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• 2013

The dual-stream based stereoscopic 3D HDTV broadcasting service was launched recently. Although the dual-stream based HDTV service has been successfully provided, the 3D HDTV broadcasting system requires more bandwidth efficient transmission schemes because it should convey both left and right HD resolution images simultaneously in the finite 6MHz bandwidth. In this paper, we consider more advanced ATSC transmission schemes that use higher modulation such as 16-QAM and concatenated RS code and block LDPC codes. Compared with conventional ATSC system and the modified ATSC system in [2], the proposed system has about 2.97dB and 1.12dB SNR gain at the payload data rate of 19.44Mbps compared with the existing ATSC system and the modified ATSC system [2]. Also, the proposed scheme requires only 1.05dB power increase for the 3D HDTV service, which is reasonable SNR increase value and applicable to the advanced 3D high definition broadcasting realization in limited 6MHz bandwidth.

• Proceedings of the Korean Society of Broadcast Engineers Conference
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• 2012.07a
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• pp.140-141
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• 2012

최근 영상분야의 키워드는 초고품질화, 초실감화, 스마트화로 대표될 수 있다. 그 중에서도 무안경식 3D는 초실감화를 이루기 위한 핵심응용분야 중 하나이다. 하지만 무안경식 3D 단말기가 성공적으로 보급되기 위해서는 연구되어야 할 분야가 여전히 존재한다. 그 중에서도 본 논문에서는 고화질의 무안경식 3D 스마트 콘텐츠 제작에 필요한 자동 스테레오 정합 기법을 제안하였다. 이전까지 연구된 변이지도 추출을 위한 알고리즘은 전역적 최적화 방법을 사용할 시 영상의 해상도와 깊이 정도에 따른 연산량의 증가로 많은 수행시간이 요구되었다. 또한 좌/우 영상의 intensity 정보만으로는 정확한 변이지도 추출이 어렵다는 한계점이 존재하였다. 이러한 이유로 본 논문에서는 스트림 영상에서 프레임 간의 정보를 이용하여 신뢰지도와 경계정보를 생성하였으며 belief propagation 스테레오 정합 방법을 이용하여 고화질의 정확한 변이지도를 추출하였다. 또한, 알고리즘의 연산량에 대한 문제를 해결하기 위한 고속화 방안으로, 최근 많은 연구가 이루어지고 있는 GPU(graphics processing units) 를 이용한 병렬처리를 연구하였다. 마지막으로 연구결과의 신뢰성을 향상하기 위하여 다양한 데이터를 이용한 실험을 통해 고화질의 영상정보를 고속으로 추출할 수 있음을 확인하였다.

• KSII Transactions on Internet and Information Systems (TIIS)
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• v.6 no.4
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• pp.1171-1187
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• 2012

A depth adjustment method for visual fatigue reduction for depth-image-based rendering (DIBR) system is proposed. One important aspect of the method is that no calibration parameters are needed for adjustment. By analyzing 3D image warping, the perceived depth is expressed as a function of three adjustable parameters: virtual view number, scale factor and depth value of zero parallax setting (ZPS) plane. Adjusting these three parameters according to the proposed parameter modification algorithm when performing 3D image warping can effectively change the perceived depth of stereo pairs generated in DIBR system. As the depth adjustment is performed in simple 3D image warping equations, the proposed method is facilitative for hardware implementation. Experimental results show that the proposed depth adjustment method provides an improvement in visual comfort of stereo pairs as well as generating comfortable stereoscopic images with different perceived depths that people desire.

• Journal of Broadcast Engineering
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• v.27 no.4
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• pp.569-580
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• 2022

In this study, we investigated the effect of peripheral blur on binocular fusion to resolve binocular fusion failure which is one of the 3D visual fatigues in the perspective of human visual system. With stimulus having discrete disparity change, binocular fusion failure rate for target stimulus having crossed and uncrossed disparity decreased. And target stimulus having continuous disparity also required relatively larger binocular disparity when peripheral blur was presented with target stimulus rather than when peripheral blur was not presented. These results imply that peripheral blur facilitated binocular fusion in the situation of binocular disparity change, and suggest that considering the characteristics of human three-dimensional visual systems, manipulating 3D contents can improve visual discomfort caused by binocular displays at low costs.

• Journal of Broadcast Engineering
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• v.17 no.1
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• pp.49-59
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• 2012

Although 3D stereoscopic movies had been paid attention to a few times since the 1900's, the interest had not been last. Most researchers pointed out the reason came from human factors because the early in the 3D technology growth had to develop technological possibility to realize 3D videos and ignore the importance viewers' perspective. In the 2D video research, many studies have explored the factors which make people got immersed or involved and felt visual fatigue, but they have not been the main issues in the 3D research until now. The present research believes human factor issue is one of the most important parts to accelerate 3D industry and thus, we try to make reliable and valid assessments to evaluate 3D video which are perceived characteristics, impression, and presence.

• Journal of Broadcast Engineering
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• v.19 no.4
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• pp.478-490
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• 2014

In order to make 3-D display technique a better tool to provide viewers with realistic stereoscopic experience, various researches have been done in the many relevant fields. This psychophysical study was designed to investigate whether there was any difference in the perceptual processing between a dominant and non-dominant eye when a 3-D cue was provided exclusively to only one eye. We measured the reaction time for detecting a depth change by providing the viewer's each eyes with differential 3-D stimuli, which have systematical patterns. We obtained that there was a consistent 3-D perceptual performance when the 3-D cue was provided to the viewers' left eye regardless of their eye dominance. The result suggests that it might be a better technique to arrange the camera for left eye to carry 3-D cues to get the viewer's consistent 3-D perception.

• Journal of the Korean Society of Surveying, Geodesy, Photogrammetry and Cartography
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• v.28 no.6
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• pp.669-676
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• 2010

Visualization requires for effective analysis of the spatial data collected by various sensors. The best way to convey 3D digital spatial information which is modeling of the real world to the users, realistic 3D visualization and display technology. Since most of the display is based on 2D or 2.5D projection to the plane, there is limitation in representing real world in 3D space. In this paper, data from airborne LiDAR for topographic mapping, Flashi-LiDAR as emerging sensor with great potential to 3D data acquisition, and multibeam echo-sounder for underwater measurement, were stereoscopically visualized. 3D monitors are getting popular and could be information media and platform in geoinformatics. Therefore, study on creating 3D stereoscopic contents of spatial information is essential for new technology of stereo viewing systems.

• Journal of Broadcast Engineering
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• v.19 no.5
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• pp.677-686
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• 2014

This paper analyzes the 3D accuracy of stereo images captured from a mobile phone. For 3D accuracy evaluation, we have compared the accuracy result according to the amount of the convergence angle. In order to calculate the 3D model space coordinate of control points, we perform inner orientation, distortion correction and image geometry estimation. And the quantitative 3D accuracy was evaluated by transforming the 3D model space coordinate into the 3D object space coordinate. The result showed that relatively precise 3D information is generated in more than $17^{\circ}$ convergence angle. Consequently, it is necessary to set up stereo model structure consisting adequate convergence angle as an measurement distance and a baseline distance for accurate 3D information generation. It is expected that the result would be used to stereoscopic 3D contents and 3D reconstruction from images captured by a mobile phone camera.

• 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.