수중사진 「생성과 소멸」에 내재된 몽상적 풍경 연구

이새벽 ( Sae Byeok Yi ),안홍국 ( Hong Kug An ) 한국사진학회 2012 AURA Vol.0 No.26

A photograph has ontological characteristics entitled ``trace of light`` and ``trace of time.`` These characteristics are perceived as sensuous cognition. This kind of notion has a thread of connection with the contention by French semiologist Roland Barthes who interpreted a photo as ``Proof of Existence and Proof of Absence.`` This study has attempted to investigate the trace of light in underwater photograph, underwater creatures which are formed in a flexible, high-density atmosphere (water) and the traces of wrecked ships from the esthetic perspective and the creation and extinction of underwater creatures from the philosophical point of view and re-illuminate the dreaming underwater scenery as a genre of underwater photography.

LED 월을 활용한 수중촬영 스튜디오 -실시간 시각화를 위한 수중촬영 스튜디오를 중심으로-

박영우,정재필 한국영상제작기술학회 2023 영상기술연구 Vol.- No.42

In the case of current underwater photography studios, it aims to provide new experiences to customers by using the blue color of waterproof paint, or by putting a blue screen, green screen, or colored translucent cloth in the water as a background. Accordingly, underwater filming sites are constantly changing by using props to provide a better experience, placing diorama sets in the background, or drawing pictures in the background. In particular, various forms of concept shooting, such as painters who draw in the water according to the concept desired by customers, underwater wedding photography, pole dance, mermaid, and characters in animation, are receiving great response from young people. In this study, in addition to producing a diorama set in a space called underwater photography, we tried to utilize Virtual Production technology that can create an environment as if it were in another place by using an LED wall behind a tank. Virtual production is a new concept that combines a series of filmmaking processes, including digital actors, 3D animation, art, filming, visual effects, and real-time game engine technologies, as well as production design, pre-visualization, and post-production. Introducing virtual production technology, which was used only in large studios, into underwater filming studios can provide new experiences for young people who want to leave a special daily life. Rather than filming with only a simple background or a diorama set, the results of filming by maximizing the three-dimensional effect by applying both techniques were able to produce new experiences and results different from before. Based on this, this paper proposes the composition of an underwater photography studio with LED walls of a virtual studio.

Off-Site Distortion and Color Compensation of Underwater Archaeological Images Photographed in the Very Turbid Yellow Sea

Young-Hwa Jung,Gyuho Kim,Woo Sik Yoo 한국문화재보존과학회 2022 보존과학회지 Vol.38 No.1

Underwater photographing and image recording are essential for pre-excavation survey and during excavation in underwater archaeology. Unlike photographing on land, all underwater images suffer various quality degradations such as shape distortions, color shift, blur, low contrast, high noise levels and so on. Outcome is very often heavily photographing equipment and photographer dependent. Excavation schedule, weather conditions, and water conditions can put burdens on divers. Usable images are very limited compared to the efforts. In underwater archaeological study in very turbid water such as in the Yellow Sea (between mainland China and the Korean peninsula), underwater photographing is very challenging. In this study, off-site image distortion and color compensation techniques using an image processing/analysis software is investigated as an alternative image quality enhancement method. As sample images, photographs taken during the excavation of 800-year-old Taean Mado Shipwrecks in the Yellow Sea in 2008-2010 were mainly used. Significant enhancement in distortion and color compensation of archived images were obtained by simple post image processing using image processing/analysis software (PicMan) customized for given view ports, lenses and cameras with and without optical axis offsets. Post image processing is found to be very effective in distortion and color compensation of both recent and archived images from various photographing equipment models and configurations. Merits and demerit of in-situ, distortion and color compensated photographing with sophisticated equipment and conventional photographing equipment, which requires post image processing, are compared.

수중 입체촬영을 위한 수면호버링 드론 설계

김형균,김용호 중소기업융합학회 2019 융합정보논문지 Vol.9 No.6

수중촬영을 위해서는 촬영자가 장비를 갖추고 수중으로 진입하여 촬영해야 한다. 촬영자가 직접 수중에 진입하기 때문에 수중에 존재하는 다양한 장애물이나 깊은 수심으로 인해 안전사고가 빈번하게 발생하고 있다. 이러한 문제점을 해 결하기 위해 본 논문에서는 수중 입체촬영을 위한 수면호버링 드론에 대해 제안하였다. 레이저 센서를 이용한 수위측정을 통해 드론이 일정 높이의 수면에서 호버링한 상태에서 촬영부만 수중으로 이동시켜 수중상태를 입체로 촬영하는 최적의 기법에 대해 기술하였다. 제안한 수중 입체촬영기법은 수중촬영에 드론을 사용함으로써 촬영자가 직접 수중으로 진입하지 않아도 되기 때문에 안전사고에 대한 문제점을 해결할 수 있으며 저비용으로 수중입체영상을 획득할 수 있는 장점을 갖고 있다. 입체촬영용으로 제안한 캠의 촬영각을 분석하여 적정한 입체영상의 시청이 가능한 조건을 수중 18cm높이에서 바닥 면 거리가 41.4cm 일 때로 규정하고 수면호버링 드론의 엘리베이션 체인에 의해 하강하는 촬영부의 높이를 조정하도록 제안하였다. In order to shoot underwater, the photographer must be equipped with shooting equipment and enter into the water. Since the photographer directly enters the water, safety accidents occur frequently due to various obstacles or deep water in the water. The proposed underwater stereo photography technique can solve the safety accident problem caused by the entry of the photographer into the water by using the drone for underwater photographing. In addition, this technique has the advantage of obtaining underwater images at low cost. In this study, the angle of the proposed cam for stereoscopic photography was analyzed and the condition that the proper stereoscopic image can be viewed was defined as the distance from the floor of 18cm to the floor distance of 41.4cm. This provision is proposed to be used to adjust the height of the shooting area descended by the elevation chain of the water surface hovering drones.

항공 우주 해상 : 해양환경 정보제공 콘텐츠 개발 연구 - 수중지형 및 수중생태 환경정보를 중심으로

성경 ( Kyung Sung ),김수열 ( Soo Yeol Kim ),박성수 ( Sung Soo Park ) 한국항행학회 2014 韓國航行學會論文誌 Vol.18 No.5

관광산업은 주 5일 근무제 시행 이후 여가시간이 증가함에 따라 양질의 성장을 보이고 있다. 관광산업은 전자·통신의 발달에 힘입어 다양한 형태의 문화와 결합하여 21세기 고부가가치 산업으로 각광받고 있다. 특히 삼면이 바다인 우리나라는 국민소득 이 증가함에 따라 해양레저산업에 더욱 관심을 갖고 있다. 해양수산부는 막대한 정책지원을 통해 해양 광진흥계획을 수행하 고 있으며, 어촌지역에 문화를 융합하여 타 지역 관광객 유치를 위해 노력하고 있다. 본 연구를 통한 텐츠를 활용하여 정책자 금이 동원되는 활동을 바르게 모니터링하고, 고부가가치 관광 산업을 육성하기 위한 유용한 콘텐츠 활용 전략을 제시하였다. Since the five-day workweek has implemented and the spare time increased, the tourist industry has been showing the growth with quality. The tourist industry takes center stage as the twenty-first century higher value-added business on the strength of electronic communication development. Especially as being surrounded by water on three sides and national income has incremented, people have the interest in marine leisure industry. The Ministry of Maritime Affairs and Fisheries carries out a plan to promote marine tourism promotion plan through the significant policy support. Also, they makes an effort to lure the tourist through blending cultures. Therefore, through the 360 degree camera, the activity that mobilizes the policy fund can be monitored rightly and the application strategy that is useful to promote a higher value-added tourist industry can be suggested.