• Cartoon and Animation Studies
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• s.19
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• pp.161-181
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• 2010

Human beings experience the outside world through senses and have developed various ways of representation to preserve what they've experienced. The rapid progress of digital technology has opened a new era of representation technology, and furthermore, is functioning as a technology which offers new experiences. The sensory experiences through the sense of sight, which humans depend on more than 70% to perceive the outside world, have been becoming the center of representing the reality as the 3-D graphics technology has been growing, and developing by being grafted onto different areas of study. Various technologies to express the sense of reality, such as the technology to reinforce the virtual reality and to represent it in the reality, computer graphic, TUI technology, and five sensory technologies which apply humans' senses, are making advancement based on humans' visual features and sensory elements. In particular, the 3-D technology to display solidness provides not only representation but also new sensory experiences, and is emerging as the key technology to image contents. However, compared to the development of technology of 3-D graphics, there have been few basic studies on the principles of the sense of vision. Therefore, in this study, the principles and elements to sense videos will be examined. The sensory features of 3-D images to represent the sense of reality will be researched into, especially focusing on the experiential and physiological elements to sense 3-D structures, and the physical and psychological elements to sense shapes, which might be hopefully the basic study for producing 3-D contents.

• Journal of Broadcast Engineering
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• v.25 no.1
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• pp.25-35
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• 2020

Recently, the development of image processing technology, as well as hardware performance, has been continuing the research on 3D point processing technology that provides users with free viewing angle and stereoscopic effect in various fields. Point cloud technology, which is a type of representation of 3D point, has attracted attention in various fields because it can acquired/expressed point precisely. However, since Hundreds of thousands, millions of point are required to represent one 3D point cloud content, there is a disadvantage that a larger amount of storage space is required than a conventional 2D content. For this reason, the MPEG (Moving Picture Experts Group), an international standardization organization, is continuing to research how to efficiently compress, store, and transmit 3D point cloud content to users. In this paper, a V-PCC bitstream generated by a V-PCC (Video-based Point Cloud Compression) encoder proposed by the MPEG-I (Immersive) group is composed of an MPU (Media Processing Unit) defined by the MMT. In addition, by extending the signaling message defined in the MMT standard, a parameter for a segmented transmission method of the 3D point cloud content by area and quality parameters considering the characteristic of the 3D point cloud content, so that the quality parameters can be selectively determined according to the user's request. Finally, in this paper, we verify the result through design/implementation of the verification platform based on the proposed technology.

• ETRI Journal
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• v.36 no.5
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• pp.752-760
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• 2014

This paper proposes a conditional replenishment algorithm (CRA) to improve the visual quality (where spatial resolutions of the left and right views are mismatched) of a hybrid stereoscopic 3DTV that is based on the ATSC-M/H standard. So as to generate an enhanced view, the CRA is to choose the better substitute among a disparity-compensated view with high quality and a simply interpolated view. The CRA generates a disparity map that includes modes and disparity vectors as additional information. It also employs a quad-tree structure with variable block size by considering the spatial correlation of disparity vectors. In addition, it takes advantage of the disparity map used in a previous frame to keep the amount of additional information as small as possible. The simulation results show that the proposed CRA can successfully improve the peak signal-to-noise ratio of a poor-quality view and consequently have a positive effect on the subjective quality of the resulting 3D view.

• Journal of the Korean Society of Surveying, Geodesy, Photogrammetry and Cartography
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• v.25 no.5
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• pp.475-482
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• 2007

Most golfers believe that knowing yardages will improve their score. Certainly it helps with club selection. But, simple "Graphic" yardage guides being notorious for error and inaccuracies, which a serious golfer will pick immediately, only serve to erode the players enjoyment and ultimately, golf course satisfaction. Someone believes with low-level aerial photographic images, golfer will be impressed with the accuracy of the depiction, helping them play a more confident game. But, there are no mapping products in true 3-D available in the world that allows a golfer to determine shot distances in yards or meters. So, we suggest an lenticular technology for real 3-D display as a viable alternative to conventional image map solution. This technology is an image display method for the generation of multi-image effects like 3D visualization or animation. This methodology is cutting edge stereoscopic image which overcomes the limitation of conventional photo tech by recomposing and producing 3 dimensional images. A significant strength of this methods its versatility concerning display effects. The main use of the hardcopy 3-D lenticular displays is in the fields of science, education, planning, and representation. This paper gives a concise overview of the lenticular foil technology and describes the production of the true 3-D yardage book of golf courses. For this study, 3-D effects are achieved and evaluated with the lenticular display by incorporation multiple synthetic images based on digital topographic terrain model and by using the two images of the actual stereopair.

• Journal of Broadcast Engineering
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• v.21 no.1
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• pp.76-86
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• 2016

This study was investigated whether the perceived depth was changed depending on the measurement methods. In the method of direct comparison, virtual object with one of the various binocular disparities was presented in the frontal space with LEDs which were used for depth estimation for a binocular stimulus, while in the method of indirect comparison, visual object was presented in the frontal space but the LEDs were placed rightward at the angle of 45 degree from the mid-sagittal line. In these experimental setup, the depth of binocular stimulus was directly matched that of LED in direct comparison condition. In indirect comparison condition, however, observer estimated the depth of binocular stimulus, turned one's head rightward to the array of LEDs and turned on the LED which was supposed to be the same depth as binocular stimulus. Additionally, it was investigated whether the perceived depth was different depending on observer's stereo acuity. The results showed that perceived depths measured in the direct comparison were more similar to the depth predicted from geometry than those in the indirect comparison, and that the perceived depths from observers with high stereo acuity were similar to the predicted depth from geometry those from observers with low stereo acuity. These results indicated that stereoscopic depths of the binocular stimuli would vivid and compelling when binocular stimuli was simultaneously presented with real objects in the same visual space, like a mixed reality.

• Journal of Broadcast Engineering
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• v.17 no.2
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• pp.411-421
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• 2012

The stagnant growth in 3D market due to 3D movie contents shortage is encouraging development of techniques for production cost reduction. Elimination of vertical disparity generated during image acquisition requires heaviest time and effort in the whole stereoscopic film-making process. This matter is directly related to competitiveness in the market and is being dealt with as a very important task. The removal of vertical disparity, i.e. image rectification has been treated for a long time in the photogrammetry field. While computer vision methods are focused on fast processing and automation, photogrammetry methods on accuracy and precision. However, photogrammetric approaches have not been tried for the 3D film-making. In this paper, proposed is a photogrammetry-based rectification algorithm that enable to eliminate the vertical disparity precisely by reconstruction of geometric relationship at the time of shooting. Evaluation of proposed algorithm was carried out by comparing the performance with two existing computer vision algorithms. The epipolar constraint satisfaction, epipolar line accuracy and vertical disparity of result images were tested. As a result, the proposed algorithm showed excellent performance than the other algorithms in term of accuracy and precision, and also revealed robustness about position error of tie-points.

• Journal of Digital Convergence
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• v.12 no.8
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• pp.467-474
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• 2014

Augmented reality in the smart environments is the interaction between the user and the media through the expansion of a variety of experiences is provided. How to use the location information, how to use markers, utilizing real-time marker-less interaction with the real world and the virtual world, such as the mapping method intermediary situated in real-time. Expansion of the elements of experience, and augmented reality as a tool of information being utilized. Educational Edutainment AR card to take advantage in terms of content was a real-time marker-less approach to create an image map image map was constructed urbanization. Stereoscopic 3D environment, taking advantage of the object produced by combining augmented reality and way of interaction, educational content. Help in terms of active and passive involvement pra realistic interest leads to a way of giving tangible.

• Journal of Fashion Business
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• v.18 no.6
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• pp.57-66
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• 2014

The purpose of this study is to design appropriate digital tools for the production of makeup designs. In this study, we used a three-dimensional facial avatar simulation program developed by the Electronics and Telecommunications Research. This study is based on the creation of three-dimensional CG digital art of facial avatar makeup, produced by using simulation technology. First, the actual application and the tools for digital-optimization and media features were created, leading to the research and cleanup. Second, the theoretical background was applied to the formative elements of oriental colors in the designing process. Makeup design elements include point, line, surface, color, and texture. In this study, effective makeup design was interpreted to be based on the representation of particular elements, notably the design principles of balance, proportion, rhythm, repetition, emphasis, contrast, harmony, and unity. In Asia, design is based on the visibility of red, blue, black, yellow, and white-the colors of the five elements-and the use of points, lines, and shapes. This study was recently under scrutiny in relations to digital simulation and various three-dimensional designs, in terms of how to take advantage of a wide range of applications, and how to apply the findings through media and the dissemination of basic research. This study applies the characteristics of the limited existing stereoscopic three-dimensional and digital simulation programs in order to take advantage of the empirical research, providing a basis to implement this research in a meaningful way. A follow-up study is needed to extend these findings and theoretical foundation through continuous observation and in-depth technical development and research.

• Journal of Broadcast Engineering
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• v.17 no.5
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• pp.789-807
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• 2012

The purpose of this paper is to find various disparity factors in conjunction with situations and contexts of the contents that cause viewer's discomfort, which is to make a content production guideline for viewer's safety, eventually. As a methodology, we extract the experimental data by letting various viewers push a pre-defined key as long as they feel discomfort during watching stereo 3D contents. For each contents, we extract the disparities and disparity changes for the focal point, vicinity of the focal point (ROI, region of interest), and the whole image. For each contents, each point or part of contents is analyzed to find the factors causing discomfort with the two prepared data with watching the contents in 3D. Then, all the analyzed data are re-analyzed to find the strength of each factor. The results from the analyses are explained from the factors having relatively high strength first. It includes the factors that are not known as well as the ones that we can already guess.

• Proceedings of the Korean Society of Broadcast Engineers Conference
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• 2010.11a
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• pp.145-148
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• 2010

본 논문에서는 3차원 스테레오 영상에서의 시각적 피로도와 안구의 운동량과의 상관관계를 도출하고 시각적 피로도 측정 시스템을 제안한다. 제안한 측정 방법은 3차원 스테레오 영상 시청자의 피로도가 누적되었을 때, 안구의 단속성 운동(saccade)이 감소할 것이라는 가정에 기반을 둔다. 액티브 셔터글라스 방식의 3D 안경을 착용한 시청자의 동공을 검출하고 추적하기 위해 적외선 광원 및 적외선 카메라를 이용한다. 획득한 영상에 대해 이진 임계화를 적용하고 타원 피팅을 수행하여 동공의 위치를 검출한다. 피팅된 타원의 이심률과 크기 및 위치를 제한하여 검출 오류를 줄인다. 검출된 동공의 위치를 바탕으로 안구의 단속성 운동량을 측정한다. 실험에는 변이 정도가 크지 않아 편안하게 시청 가능한 스테레오 영상과 과도한 변이를 가져 시청하는데 불편한 영상이 분리되어 사용되었다. 이들 영상에 대해 각각 실험자의 단속성 운동량을 측정하였다. 실험 결과에서 안구의 단속성 운동량이 변이가 큰 영상에서 그렇지 않은 영상에 비해 감소하는 경향이 나타났다.