• 동위원소뉴스
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• no.11 s.47
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• pp.5-6
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• 2000

• The Korean Publising Journal, Monthly
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• s.299
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• pp.63-63
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• 2001

• Journal of the Korea Institute of Information and Communication Engineering
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• v.9 no.8
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• pp.1793-1798
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• 2005

We model the nucleation and motion of defects in the liquid crystal display device with inhomogeneous surface by using fast Q-tensor method, which can calculate scalar order parameter S and nucleation of the defect in the liquid crystal director field. In order to model the defect, homeotropic aligned liquid crystal cell with step inhomogeneous electrode which has a height of $1{\mu}m$ is used. From the simulation, we can observe the nucleation and line of the defect from surface inhomogeneity and the experiment is performed for confirmation.

• Proceedings of the Korea Society of Design Studies Conference
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• 2003.05a
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• pp.28-29
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• 2003

• Cartoon and Animation Studies
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• s.49
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• pp.247-265
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• 2017

With the increasingly diverse, sophisticated and complex character animations that can be represented in 3D animations, the importance of rigging, which can most directly affect animating quality, is becoming more and more important. In addition, rapidity is another crucial aspect of 3D animation production. So, the importance of technical director's role which is accurate and rapid handling of rigging pipeline building and immediate application and, corrections of errors during the longest and manpower consuming animation production is more becoming key. Baek Ji Won and Kim Jae-woong (2014) said, "The technical director is adding new importance to the new job, which is created by 3D animation, in conjunction with the limited production period, manpower, budget and production process." Most major overseas studios are developing in-house software to handle rigging and animation processes. Software development code is used to freely develop and modify production pipelines in accordance with the direction of the work. They are making efforts to build an optimal environment for animators. However, too many efforts and ineffective efforts have been made to develop, adapt, and stabilize the rigging process for small producers, creators, and students who do not have the capacity to develop their own in-house software or hire a technical director. This study suggests the most suitable auto-rigging tool among the many auto-rigging tools released in the market, and suggests the most accurate and quick auto-rigging process setting method for those who have insufficient knowledge about 3D character rigging. The efficiency of use of auto-rigging tool was examined.

• Journal of Fashion Business
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• v.25 no.4
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• pp.14-35
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• 2021

This study compares and analyzes the designs of Burberry creative directors, Christopher Bailey and Riccardo Tisci. For this purpose, 322 photographs (176 Christopher Bailey and 146 Riccardo Tisci) were collected and the data analysis criteria were classified into color, shape, material, decoration, item, and fashion style. With respect to the data analysis method, statistical analysis and content analysis were combined. First, the design characteristics of Christopher Bailey top and bottom combined bright tone, tone-in-tone color scheme, H-line, heterogeneous material combination, and smart casual appeared very frequently. Second, the design characteristics of Riccardo Tisci top and bottom combined were monotone, tone-on-tone color scheme, H-line, heterogeneous material combinations, and street culture. Third, the design differences between creative directors were significantly different in color, tone, color arrangement, pattern, material type, material combination, detail, top and bottom items, and fashion style. Burberry men's wear maintains Burberry's traditional design identity with achromatic colors, beige-based colors, and beige checks. Christopher Bailey's design direction is characterized by modernity in a casual mood that emphasizes practicality. The design direction of Riccardo Tisci is characterized by a wide gap between images in a semi-formal style that emphasizes Burberry's tradition and a free-spirited casual style.

• Journal of Digital Convergence
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• v.17 no.2
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• pp.373-379
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• 2019

This study examines the process and scope of visual directing through the case of SM Entertainment, and explores the role of visual directors. As a result of the case study, SM created the visual directing team composed of art director and visual designers within the creative headquarters and was actively introducing visual directing for the development of idol. The visual directing process of SM, which is being developed as a part of the star marketing, consists of analyzing the environment in marketing strategy, establishing marketing strategy related to idol, setting up target image per artist, and finally planning and managing the visual directing project. The visual director in SM is required to have creative talent, logical persuasion, information analytical ability, visual expression ability, and field application ability. SM also applies visual directing accumulated from idol singers to SM business areas such as MD product design and production, product composition and designer collaboration, and SM town COEX artium. This paper have significance in attracting visual directing to the academic field.

• Proceedings of the Korean Operations and Management Science Society Conference
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• 2001.10a
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• pp.195-198
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• 2001

인터넷의 사용자가 급증하면서 고가용성(High Availability)과 확장성(Scalability)를 지닌 고성능 인터넷 서버들이 요구되고 있다. 클러스터 시스템은 이러한 요구사항을 만족시킬 수 있는 시스템으로 실제 작업을 처리하는 서버(Server)와 시스템 외부에서 유입되는 사용자 요구를 시스템에 속한 서버 노드에 분배하는 디렉터 (Director)로 이루어져 있다. 디렉터는 사용자가 요구한 작업을 서버노드에 분배하는 로드밸런서(Load-Balancer)의 역할을 하게 되는데, 작업을 분배하는 방법으로는 Round-Robin, Least-Connection 등의 방법이 주로 사용되고 있다. 본 논문에서는 각 작업분배 방법 중 효과적인 방법을 비교 선택하기 위해 대기이론을 적용하여 시뮬레이션을 통해 검증하였다.

• The Optical Journal
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• s.141
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• pp.28-29
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• 2012

한국광학기기산업협회가 지난 8월 23일 서울 방배동 소재 함지박 별관에서 '광분야 R&D 로드맵 관련 지식경제부 초청 간담회'를 개최했다. 이번 간담회에는 지식경제부 전자산업과에서 LED 및 광분야의 국가 로드맵을 담당하고 있는 오대곤 프로젝트 디렉터(PD)를 비롯해 20여 명의 한국광학기기산업협회 회원사 대표 및 관계자들이 참석해 국내외 광산업에 대한 다양한 의견을 나눴다.

• Journal of Game and Entertainment
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• v.2 no.2
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• pp.75-84
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• 2006

In terms of creating widespread popularity and a high value added business, TV drama is recognized as an unrivaled entertainment content above any other TV program genres Although recently some broadcasting companies have been trying to set up a drama production system, it seems that a well-structured system has not been established, yet. This study analyses the practices and mechanisms of drama producing processes based on the in-depth interviews with the experts in the drama production fields in three major broadcasting companies. It is found that the Korean drama production system is 'a producer-director system' and that the strategies for the windowing effects are not systematically applied from the pre-production stage. For the broadcasting companies to strengthen the competitiveness through drama, the expert-producer system should be introduced, the production elements should be systematically managed, and the multi-use strategies should be effectively established.