Recent advances in 3D data-driven digital twin research have revealed limitations in existing tree reconstruction methods, which rely solely on either scanning or procedural generation. To address this issue, this study proposes a hybrid pipeline that integrates data-driven reconstruction and procedural generation using Gaussian Splatting(GS) data. The proposed method converts multi-view GS outputs into dense point clouds and extracts a stable skeletal structure through color-density-based graph analysis. Fine branches and leaves are procedurally generated using a space colonization algorithm that incorporates botanical principles, achieving a natural and structurally coherent form. Quantitative evaluations using Chamfer distance and Intersection-over-Union metrics demonstrate high geometric similarity and volumetric consistency with the original GS data. The proposed GS-based hybrid framework ensures both visual realism and biological plausibility, enabling efficient and reliable digital twin tree modeling.

This study proposes a structured story generation system based on traditional narrative theory using a large language model (LLM). The proposed system sequentially constructs a three-act structure and a 15-step narrative structure of "Save the Cat!" based on the log line, character information, and genre input by the user, and each step is embodied through hierarchical generation and prompt chaining. In particular, when user modifications occur, the changes are designed to be automatically reflected in the upper and lower stages to maintain narrative consistency and logic. To verify the effectiveness of this system, human-written narratives, single-prompt-based generative narratives, and generative narratives from the proposed system were compared and evaluated, yielding excellent results in terms of narrative structure fidelity and logic. By demonstrating the structural controllability of LLM-based story generation, this study suggests applicability in the field of digital content production in the future.

본 연구는 대형 언어 모델(LLM)을 활용하여 전통 서사 이론에 기반한 구조화된 스토리 생성 시스템을 제안한다. 제안된 시스템은 사용자가 입력한 로그라인, 캐릭터 정보, 장르를 바탕으로 3막 구조와 「세이브 더 캣!」의 15단계 내러티브 구조를 순차적으로 구성하며, 각 단계는 계층적 생성(hierarchical generation)과 프롬프트 체이닝(prompt chaining)을 통해 구체화된다. 특히 사용자가 내용을 수정할 경우, 해당 변경사항이 상위 및 하위 단계에 자동으로 반영되도록 설계되어 서사의 일관성과 논리를 유지할 수 있도록 하였다. 본 시스템의 효과성을 검증하기 위해 사람에 의해 작성된 내러티브, 단일 프롬프트 기반 생성 내러티브, 그리고 본 시스템을 통해 생성된 내러티브를 비교·평가한 결과, 내러티브 구조의 충실성과 논리성 측면에서 우수한 성과를 보였다. 본 연구는 LLM 기반 스토리 생성의 구조적 제어 가능성을 입증함으로써, 향후 디지털 콘텐츠 제작 분야에서의 활용 가능성을 제시한다.

In LBXR, experiences unfold based on user behavior and environmental context. To maintain and design immersive experiences in these environments, tools are needed to track and adapt user reactions in real-time. This research proposes an XR operation system that visualizes the player's experience flow in a node-based interface, enabling operators to intuitively grasp the full context of the content and control it in real-time. The proposed system overcomes the limitations of existing XR operation tools that rely on fragmented information and provide only fragmented interactions, and enables integrated content management based on real-time data. This research will inform the design of future XR operational tools.

This paper proposes a Virtual-Physical bidirectional interaction system for connecting virtual user and physical user in an asymmetric XR environment. The proposed system is developed to implement the asymmetric XR experience <Treasure Hunter>, designed based on key storytelling elements for asymmetric environment, aiming to enhance the immersion and presence of both users. Unlike previous studies focusing on interaction in co-located environments or collaboration in industrial settings, this research distinctively integrates narrative and technical elements in asymmetric remote environments. It is expected to contribute to the design of future XR content and the development of integrated online-offline user experiences.

등록된 정보가 없습니다.

Immersive content overcomes spatial limitations through convergence with extended reality, artificial intelligence, and photogrammetry technology along with interest due to the COVID-19 pandemic, presenting a new paradigm in the content market such as entertainment, media, performances, and exhibitions. However, it can be seen that in order for realistic content to have sustained public interest, it is necessary to study storytelling method that can increase immersion in content rather than technological freshness. Therefore, in this study, we propose a immersive content storytelling method using artificial intelligence and photogrammetry technology. The proposed storytelling method is to create a content story through interaction between interactive virtual beings and participants. In this way, participation can increase content immersion. This study is expected to help content creators in the accelerating immersive content market with a storytelling methodology through virtual existence that utilizes artificial intelligence technology proposed to content creators to help in efficient content creation. In addition, I think that it will contribute to the establishment of a immersive content production pipeline using artificial intelligence and photogrammetry technology in content production.

실감 콘텐츠는 COVID-19 팬데믹으로 인한 관심과 더불어 확장현실, 인공지능, 포토그래메트리 기술과 융합을 통해 공간적 한계를 극복하며 엔터테인먼트, 미디어, 공연, 전시 등 콘텐츠 시장에서 새로운 패러다임을 제시하며 수요 역시 증가하고 있다. 하지만 실감 콘텐츠가 대중들에게 지속된 관심을 가지기 위해서는 기술적 신선함보다 콘텐츠에 대한 몰입도를 높일 수 있는 스토리텔링 방법 연구가 필요하다는 것을 알 수 있다. 따라서 본 연구에서는 인공지능 및 포토그래메트리 기술을 활용한 실감 콘텐츠 스토리텔링 방법을 제안한다. 제안된 스토리텔링 방법은 대화형 가상존재와 참여자가 대화를 통한 상호작용으로 콘텐츠 스토리를 생성하는 것이다. 이에 관객 주도적 참여를 통해 콘텐츠 몰입도를 높일 수 있다. 본 연구는 가속화되는 실감 콘텐츠 시장에서 콘텐츠 제작자들에게 제안된 인공지능 기술이 활용된 가상존재를 통한 스토리텔링 방법론으로 효율적인 콘텐츠 제작에 도움을 줄 수 있을 것으로 기대한다. 또한 콘텐츠 제작에 있어 인공지능 및 포토그래메트리 기술을 활용한 실감 콘텐츠 제작 파이프라인 정립에 기여할 것이라고 생각한다.

This paper presents the remediation of a nineteenth century Korean manuscript (the 1809 Uigwe ) as an interactive digital experience using creative algorithms and gesture recognition developed by LG Electronics. The interactive media project we created using sound visualization invites visitors to jointly experience Joseon ’s royal music and the manuscript’s pictorial illustrations. We present the media development process and the results of a survey assessing users’ engagement. Our findings show that technological remediation can be a fruitful way to elicit interest for cultural heritage. The Uigwe media project  enhanced the participants’ curiosity for the 1809 Uigwe , and the added sound of the traditional court music (Yeominlak ) and the images of the musical instruments increased users’ understanding of the 1809 Uigwe  and of royal court music. Overall, the study provides evidence about the use of multisensory digital media for fostering learning about and cultural appreciation of historical artefacts.

The virtual reality industry has an opportunity to take another leap forward with the surge in demand for non-face-to-face content and interest in the metaverse after Covid-19. Therefore, in order to popularize virtual reality content along with this trend, high-quality content production and storytelling research suitable for the characteristics of virtual reality should be continuously conducted. In order for content to which virtual reality characteristics are applied to be effectively produced through user feedback, a quantitative index that can evaluate the content is needed. In this study, the process of viewing virtual reality contents was analyzed and head movement was set as a quantitative indicator. Afterwards, the experimenter watched five animations and analyzed the correlation between recorded head movement information and immersion. As a result of the analysis, high immersion was shown when the head movement speed was relatively slow, and it was found that the head movement speed can be used significantly as an index indicating the degree of content immersion. The result derived in this way can be used as a quantitative indicator that can verify the validity of the storytelling method applied after the prototype is produced when the creator creates virtual reality content. This method can improve the quality of content by quickly identifying the problems of the proposed storytelling method and suggesting a better method. This study aims to contribute to the production of high-quality virtual reality content and the popularization of virtual reality content as a basic research to analyze immersion based on the quantitative indicator of head movement speed.

가상현실 산업은 Covid-19 이후 비대면 콘텐츠 수요 급증과 메타버스에 대한 관심과 더불어 재도약할 기회를 얻었다. 따라서 이러한 흐름과 함께 가상현실 콘텐츠를 대중화를 위해서는 양질의 콘텐츠 제작과 가상현실 특성에 맞는 스토리텔링 연구가 지속적으로 이루어져야 한다. 이처럼 가상현실 특성을 적용한 콘텐츠가 사용자 피드백을 통해 효과적으로 제작되기 위해서는 해당 콘텐츠를 평가할 수 있는 정량적 지표가 필요하다. 본 연구에서는 가상현실 콘텐츠를 관람하는 과정을 분석하여 머리 움직임을 정량적 지표로 설정하였다. 이후 실험자는 5개 애니메이션을 관람하고 이에 따라 기록된 머리 움직임 정보와 몰입도 간의 상관관계를 분석하였다. 분석 결과는 머리 움직임 속도가 상대적으로 느릴 때 높은 몰입도를 나타내었고, 머리 움직임 속도가 콘텐츠 몰입도 정도를 나타내는 지표로 유의미하게 사용될 수 있다는 것을 알 수 있었다. 이렇게 도출된 결과는 이후 창작자가 가상현실 콘텐츠 제작을 할 때 프로토타입 제작 후 적용된 스토리텔링 방식의 유효성을 검증할 수 있는 정량적 지표로 사용될 수 있다. 이러한 방식은 제안된 스토리텔링 방식 문제점을 빠르게 파악하고 더 나은 방식을 제안할 수 있어 콘텐츠의 질을 향상시킨다. 본 연구는 머리 움직임 속도라는 정량적 지표를 기반으로 몰입도를 분석하는 기초연구로 양질의 가상현실 콘텐츠 제작과 가상현실 콘텐츠 대중화에 기여하고자 한다.

This study starts with the possibility of a quantitative analysis of artworks through the convergent of art history and technology. The purpose of this study is to computationally analyze the distribution of brightness and saturation of Monet’s series through the Barycenter Pattern Analysis and to visualize the data. The results are as follows: In the three series, the positions of center point and the distribution of Barycenter Pattern of brightness and saturation differ depending upon the production time and season of the artworks (i.e. the change of light). In the case of ‘Wheatstacks,’ the distributions of brightness are affected by the arrangement of the subject, and the influences of light and weather on the distribution of the central point of brightness and saturation are presented in a certain pattern in the series of ‘Rouen Cathedral.’ In particular, in the case of ‘Water Liles’ series, several irregular patterns are revealed in the distribution of the Barycenter of brightness and saturation due to the the worsening of cataract problems. For example, the distribution of brightness and saturation in the artworks which were produced before the diagnosis of cataract reveals a certain pattern. On the other hands, the distribution of brightness or saturation in the artworks which were produced after the diagnosis of cataract becomes more irregular. The significance of this study is to prove the possibility of discovering the painter’s style change or the painter’s personal influence, which cannot be discovered by a qualitative method, through the Barycenter Pattern Analysis. As various technological approaches are converged with art research methodologies, we expect that the applications of quantitative methodologies can be expanded to illuminate the relevance between works of art and to identify art forgeries.

본 연구는 미술사와 공학이 융합된 정량적 예술작품분석에 대한 가능성으로부터 시작되었다. 본 연구의 목적은 하위 무게 중심 유형 분석(Barycenter Pattern Analysis)을 통해 정량적으로 모네의 연작에 대한 분석을 실행하고, 그 데이터를 시각화하는데 있다. 연구 결과 및 내용은 다음과 같다: 세 가지의 연작에서 작품의 제작 시간과 계절, 즉 빛의 변화에 따라 명도와 채도의 중심점 위치와 분포가 상이하게 나타났다. 건초더미의 경우, 대상의 배치에 따라 명도의 분포가 달라졌으며, ‘루앙대성당’의 경우에는 명도와 채도의 중심점 분포 변화에 대한 빛과 날씨의 영향력이 입증되었다. 특히 ‘수련’의 경우에는 명도와 채도의 분포에서 백내장으로 인한 시력의 영향력이 드러났다. 예를 들면, 백내장을 진단받기 전의 작품에서는 명도와 채도의 분포가 일정한 양식을 보였다. 반면, 진단을 받은 이후에는 명도나 채도의 분포가 더욱 응집되거나 더욱 산개되는 불규칙한 특징 나타났다. 본 연구는 정성적인 방법으로는 발견되지 못했던 화가의 양식 변화나 화가의 개인적 영향력 등을 명도와 채도의 무게 중심 유형 분석을 통해 발견할 수 있다는 가능성을 입증해 주었다는데 그 의의를 둘 수 있다. 다양한 공학적 접근이 미술사 연구방법론과 융합되면서, 향후 정량적 연구방법론은 예술작품간 관계성 및 위작 판별 등으로 그 응용이 확대될 것으로 전망된다.

After the first to present projected moving pictures to audiences, the film industry has been reshaping along with technological advancements. Through the full-scale introduction of visual effects-oriented post-production and digital technologies in the film-making process, the film industry has not only undergone significant changes in the production, but is also embracing the cutting edge technologies broadly and expanding the scope of industry. Not long after the change to digital cinema, the concept of artificial intelligence, first known at the Dartmouth summer research project in 1956, before the digitalization of film, is expected to bring about a big transformation in the film industry once again. Large volume of clear digital data from digital film-making makes easy to apply recent artificial intelligence technologies represented by machine learning and deep learning. The use of artificial intelligence techniques is prominent around major visual effects studios due to automate many laborious, time-consuming tasks currently performed by artists. This study aims to predict how artificial intelligence technology will change the film industry in the future through analysis of visual effects production cases using artificial intelligence technology as a production tool and to discuss the industrial potential of artificial intelligence as visual effects technology.

영화는 대중에게 처음 소개된 이래로 테크놀로지의 발전과 변화 과정을 함께하고 있다. 영화 제작 과정에 시각효과를 중심으로 한 포스트 프로덕션과 디지털 기술들이 본격적으로 적용되면서 영화 산업은 제작 방식에 있어서 큰 변화를 겪었을 뿐만 아니라 최신 기술들을 폭넓게 수용하며 산업적 기회의 폭을 넓혀가고 있다. 디지털 영화로 변화한 지 오래지 않은 지금, 영화의 디지털화가 시작되기도 전인 1956년 다트머스 회의에서 처음 알려진 인공지능이란 개념이 다시 영화 산업의 큰 변화를 가져올 것으로 예상된다. 디지털 영화의 제작 파이프라인은 거대한 디지털 데이터를 체계적으로 운용하고 만들어 내기 때문에 머신러닝과 딥러닝으로 대표되는 최근 인공지능기술들을 적용하기 용이하고 시각효과 제작 과정에는 반복적인 작업과 분석을 통한 재현이 많고 계산시간이 오래 걸리는 과정들이 있기 때문에 최근 주요 시각효과 스튜디오들을 중심으로 인공지능 기술의 활용이 두드러지고 있다. 본 연구에서는 제작 도구로서 인공지능 기술을 이용한 영화 시각효과 제작 사례에 대한 분석을 통해서 향후 인공지능 기술이 영화 산업을 어떻게 바꿔놓을지 예측하고 시각효과기술로서 인공지능의 산업적 가능성을 조망해 보고자 한다.

As hardware and software advancements in VR field increase, demand for VR negative contents is gradually increasing, and demands for highly finished contents. However, VR platforms have different characteristics from ordinary video platforms, which limits the application of existing video grammar and story boards that were previously used for producing images. In this study, we developed storyboard production tools, including painting and editing functions with VR platform characteristics, by releasing improvement directions through case studies on storyboard production tools that were previously used, and expanding them from 2D to 360° space. Storyboard production tools that are tailored to VR platform characteristics allow for detailed production during preproduction phase. Therefore, in this study, we expect that this writing tool will help produce highly mature content as it shares the process as a communication tool when producing animatics.

In this study, we develop a non-photorealistic rendering expression technique that can be used in a real-time rendering environment based on the out-of-register concept, which is a type of accidental printing error. First, to develop the expression technique, out-of-register causes and cases were analyzed. We considered why the out-of-register concept was developed as a graphic element. Second, each characteristic was analyzed by examining cases of non-photo-realistic rendering expressions. The implementation method was realized through a linear algorithm without the use of machine learning, which is one of many methods. It is implemented through a linear algorithm for constant and predictable result values. Furthermore, we utilized algorithms and interfaces for effective expressions. We constructed and applied simple 3D cube shapes, characters, and virtual environments in a real-time rendering environment using the implemented expression method. Given that various forms of media are being produced in a real-time environment through expression methods, it is expected that this paper will help with the expression of the essential parts of things and applications of expression techniques when creating content.

Along with the development of computer graphics, real-time rendering, motion capture, and artificial intelligence technology, virtual being that enables two-way communication has emerged in the content industry. Although the commercialization of technologies and platforms is creating a two-way communication virtual being, there is a lack of analysis of what characteristics this virtual being has and how it can be used in each field. Therefore, through technical background survey and case study for the production of virtual being, the two-way communication virtual being is analyzed on the characteristics necessary for emotional exchange. The characteristics needed for emotional exchange were divided into interaction, individuality, and autonomy, and this characteristic is classified as the focus and how two-way communication virtual being will be used in the content field. This study is expected to provide significant implications for the research of content production and utilization using virtual being as a basic study of virtual being, which analyzes the technical background and characteristics for two-way communication required for virtual being production.

컴퓨터 그래픽스, 실시간 렌더링, 모션 캡처, 인공지능 기술의 발전과 함께 양방향 소통이 가능한 가상존재가 콘텐츠 산업에 등장하였다. 기술 및 플랫폼의 상용화로 인해 양방향 소통 가상존재가 제작되고 있지만, 가상존재들이 어떤 특성이 있으며 각 분야에서 어떻게 활용될 수 있을 것인지에 대한 분석이 부족하다. 이에 본 연구에서는 가상존재 제작을 위한 기술적 배경조사와 사례연구를 통해 양방향 소통 가상존재가 감정 교류에 필요한 특성에 대해 분석한다. 감정 교류에 필요한 특성은 상호작용, 개성, 자율성으로 나누어졌으며, 이 특성들을 중심으로 가상존재를 분류하며 양방향 소통 가상존재가 콘텐츠 분야에서 어떻게 활용될 것인지에 대해 고찰한다. 본 연구는 가상존재 제작에 필요한 기술적 배경 조사와 가상존재가 양방향 소통에 필요한 특성을 분석하는 기초연구로써 앞으로 가상존재를 활용한 콘텐츠 제작 및 활용 연구에 있어 유의미한 시사점을 제공할 것이라고 기대한다.

In the case of games and animations in the entertainment industry, the importance of directing has been emphasized because the sense of immersion of audience in storytelling depends on the directing methods. Due to the nature of VR contents, however, the directing methods used in existing animations and games are bound to be used in a limited way. In this study, ‘DreamTherapy’, a VR animation, was produced by combining gaming and interaction elements to enhance immersion and efficient storytelling of VR contents. To sum up, these elements successfully convey the sense of accomplishment and immersion to the audience, but also allow storytelling to be faithful to the director’s intention. From practical and academic perspective, we hope that this study provides significant implications for immersion of storytelling methods of animation used in VR space.

The virtual reality (VR) cartoon is a format of VR contents that leverage the characteristics of webtoons that provides the simple story line and graphical storytelling tools to strategically surmount limitations of VR contents design. The VR cartoon enables people to experience the imaginary three-dimensional space in the webtoon as a real space by the transformation of webtoon contents through VR prototyping. The VR cartoon successfully presents focused environment where people can readily pay attention to the contents without notable motion sickness. People have been familiar with the storytelling strategy in the context of published cartoons and webtoons, likely we’ve understood the narrative of a movie through the continuous scenes projected in the screen. Indeed, it has been recognized as a popular toolset of communication, where visual images are sequentially delivered by replacing multiple planar spaces to tell a story narrative. While there are discrete panels with the time and space resolution in the graphical cartoons, people can distill a commit closure based on their past experiences. This is a typical "grammar" of the cartoon, which can be extrapolated to the VR cartoon that provides a seminal storytelling strategy. In this article, we review how the storytelling strategy in webtoons has been transformed into that in VR cartoons, and analyze the key components of VR cartoons. We envision that our research can potentially create keystones to produce variety of new VR contents by reflecting various narrative media including cartoon as a "sequential art".

VR 카툰은 웹툰의 간명한 스토리와 칸을 이용한 그래픽 스토리텔링을 VR 콘텐츠 디자인의 한계를 극복하는 전략으로 활용한 VR 콘텐츠 포맷이다. VR 프로토타이핑을 통해 웹툰 콘텐츠를 VR로 전환하여 웹툰 상의 3차원 공간에 실제 존재하는 듯 한 체험을 가능하게 하였다. 기존 VR 콘텐츠에 비해 어지럽지 않게 관람 가능하고 몰입이 잘 된다는 평균적인 피드백을 받을 수 있었다. 우리는 영화 스크린을 통해 스토리를 이해하는 데 익숙한 거처럼 그 동안의 출판 만화와 웹툰들을 통해 만화의 스토리텔링에 익숙해져 있다. 즉, 칸이라는 평면적 공간을 바꿔 가며 연속된 시각 이미지들을 통해 스토리를 전달하는 것은 우리에게는 보편화 된 커뮤니케이션 방법이다. 시간과 공간을 분할하는 만화의 칸 사이에는 아무것도 보이지 않는 홈통만이 존재하지만 우리는 경험에 의한 완결성 연상을 하게 된다. 바로 이러한 만화의 문법이 VR 카툰에서 차용하게 된 가장 핵심적인 스토리텔링 기법이다. 본고에서는 웹툰의 스토리텔링이 어떤 형태로 VR 카툰의 스토리텔링으로 전환 되었는지를 살펴보고 VR 카툰의 요소들을 분석해 본다. 이 연구를 통해 무한한 가능성을 가진 ‘연속 예술’, 만화를 비롯한 다양한 서사 매체들의 특성을 VR 콘텐츠 제작에 접목하는 시도의 기반 연구로서 역할을 할 수 있기를 기대한다.