• Journal of Digital Contents Society
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• v.18 no.5
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• pp.849-858
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• 2017

With the fast improvement of software and hardware technology of Virtual Reality, VR(Virtual Reality) film get attention for the new possibility of future film. Already, the production of virtual reality film festivals and Hollywood films is highly active, but it is still poorly related to virtual reality films in Korea. Due to this, this research analyze VR film with Realism films and Post-modernism films in four aspects that are film's frame(Mise-en-$Sc{\grave{e}}ne$), shot(montage), vew point and interactivity to deduct characteristics of VR film. Moreover, we also deduct an esthetical characteristic of VR films beyond the Realism films and Post-modern Films through analysing various VR films. This can be said as 'Digital Realism' that is come from the viewers' positive interaction and realization of Realism through Virtual Reality technology. There will be a successful development of VR film based on this research that analyse suitable directing method for Virtual Reality environment. At last, this research focused on characteristics of digital realism aspect for HMD based first person view VR animation .

• Journal of the Korea Academia-Industrial cooperation Society
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• v.19 no.2
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• pp.238-246
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• 2018

The production of hyper-realistic digital rendering images has been available due to radical improvements of recent digital rendering and CGI (Computer-Generated Imagery) software technologies. The photorealism of digital architectural rendering images requires further studies and discussions in that architectural visualization becomes a foundation of other fields using digital rendering technology, such as movies, games, and VR industry. The principles for achieving photorealism on digital architectural rendering images were re-defined and detailed elements were analyzed through theoretical analysis of the former studies. Four principles were drawn from the architectural rendering images produced by newly-developed technologies: physically-accurate lighting calculations, accurate object geometry representation, realistic material and texture, and characteristics of photography. The sub-elements of those four principles are categorized into either essential or selective for photorealistic imagery and the randomness of the selective elements could explain the variety of photorealistic architectural rendering styles.

• The Journal of the Korea Contents Association
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• v.16 no.7
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• pp.541-551
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• 2016

In order to attain 'reality', technology, style and narrative have developed throughout the history of cinema. The projection of digital image necessitated a new perspective beyond the conventional relationship between film and reality. In the SF film, DISTRICT 9, strong realism elements are evident despite its genre. Advanced technologies enabled the digital images to vividly reproduce the realm of imagination. The encounter of the realistic approaches embedded in the style and narrative with the digital images emphasizes the social context of the cinematic background, as well as extending the potentialities of verisimilitude and perceptual realism. The amount of freedom in editing process derived from this film's documentary-like style opened a possibility for the effective delivery of the vast information-furthermore contributing to the realism of the film by encompassing the diversity that exists in the reality.

• The Journal of the Korea Contents Association
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• v.12 no.1
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• pp.138-145
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• 2012

, Korea's popular television comedy program cast the strategy of making fun by word game interweaving meaning and nonmeaning and started to making fun by narrative game. So called Digital Narrative strategy seems to reflect the changes of social trends. Getting verisimilitude by detail description, parody realism, hierarchy of word body naked, anxiety for influence or star cameo seems to be principal strategy. With a minute realism strategy, new method of making meaning appropriate to digital era seems to appear.

• The Journal of the Korea Contents Association
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• v.17 no.7
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• pp.22-30
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• 2017

CGI not only performed a crucial role to make cinema and animation evolved into digital cinema and digital animation but also CGI, an important visual format, settled realism-centric spectacle image culture in public commercial cinema and animation. The fact that CGI visual format could be structuralized in three different view points is discovered through Iconicity, photorealism, verisimilitude, uncanny valley, hyperrealism, and spectacular realism discourse research which explain image culture. First, a formative viewpoint that comes up in an iconic difference between drawing and photograph. Secondly, a cognitive viewpoint that sees visually perceived naturalness and abnormality as a realistic probability issue. Lastly, a customary viewpoint which is rooted in aesthetic tradition of cinema and animation. After that, the features of CGI which is used in the movie 'jungle book'(2016) were analyzed using the structured visual format. Consequently, this movie has hyper-realistic photographic iconicity on the base of realistic probability. Also, by following image-aesthetic convention which uses overstated and amplified narrative as a visual format, at the same time, the movie also has sufficient image-aesthetic convention in animation by personified animal character.

• Cartoon and Animation Studies
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• s.37
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• pp.439-461
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• 2014

Art has evolved into remarkable changes in its art form maintaining a close link with the contemporary scientific technologies that gave birth to new tools of expression in each era. Animation is an art form in an inextricable connection with technological aspects because it was spawned by the technical background like movies. In this regard, animation is often viewed very strongly by technical advancements in terms of an aesthetic approach. John Whitney Sr., one of the pioneers in computer graphics arts, turned his attention to the new technology called computer graphics as a means to visualize images and movement. The advent of a new medium had a strong influence not only on tools and means for novel expression but also on the gradual shift in thinking about arts and even the audiences' taste. In the 1980s, animation was combined with computer technology and the rapid progress of computer graphic technology opened up the era of new visual aesthetics, Today, the development of digital technology presents a different dimension of realism, either advocating hyperrealism by digital actors or presenting new illusionism by classic cartoon characters emphasized in a distortion or metamorphosis from a real life in order to consolidate animation realism. Based on the two perspectives mentioned above, this study can identify methods of digital character appropriation focused on the works of the ACM SIGGRAPH Asia and find how the relationship between art and technology has changed the digital realism and evolved the digital character as the digital technology has developed.

• The Journal of the Korea Contents Association
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• v.10 no.2
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• pp.146-154
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• 2010

Argument on the postmodernism of philosophy and history, epic and effect, and culture and art is becoming more ambiguous in scope due to digital technology development. Digital technology makes to change of aesthetic approach over the length and breadth of art and culture including medium art. Analysis of Digital images is changed from presence of images to feature analysis of images which is made by digital technology, and raise the question of how to analyze the images of reproducing digital technology focused on realism. Digital image, focused on hyper reality, should be approached not by film aesthetic approach but by shot unit. Due to emphasizes image reality reproduction by frame unit and not the short unit of the narrative approach, the artistic approach should differ from previous realism practice. Particularly, when considering movies which is focused on illusion, the realistic approach should be realized not in the of realistic approach in narrative aspect but in the aspect of realistic approach in painting aspect.

• Korea Multimedia Society
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• v.8 no.1
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• pp.76-85
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• 2004

1960년대 시작된 컴퓨터 그래픽스에 관한 연구는 그 목표를 사진과 같은 영상을 만들어 내는데 두었다. 지난 30년간 포토리얼리즘이라는 용어로 대변되듯, 기존 컴퓨터 그래픽스의 궁극적인 관심은 얼마나 실제와 같은 영상을 만들 수 있는가에 집중되었다. 이러한 전통적인 컴퓨터 그래픽스는 레디오시티나 광선추적법같이 사물의 물리적인 특성이나 역학적인 특징을 그대로 흉내 내어 매우 사실적인 영상을 만들어내었다.(중략)

• Journal of Digital Convergence
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• v.14 no.10
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• pp.277-285
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• 2016

The purpose of this study is to quantitatively and empirically investigate whether cartoon-realism, which is referred to as a guideline for avoiding the uncanny valley phenomenon, is actually effective. An experiment was carried out to investigate whether or not methods that try to realistically express the texture of human skin while making 3D models whose outward appearance abstract like a cartoon actually reduce the negative sentiments associated with the uncanny valley phenomenon. The results found that when human skin textures were applied to cartoon-type 3D models, the degree of eeriness significantly increased (p<0.05), while there was no change in the degree of human likeness. When cartoon-style skin textures were applied to human-type 3D models, there was no significant difference in the degree of eeriness, but the degree of human likeness significantly decreased (p<0.05). These results show that, cartoon realism is not actually effective, and rather creates a perceptual conflict and induces the uncanny valley phenomenon. The results of this study are expected to be used as quantitative and empirical data for developing design guidelines that will overcome the uncanny valley phenomenon in the future.

• The Journal of the Korea Contents Association
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• v.8 no.9
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• pp.94-100
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• 2008

These days, there are a lot of digital images, which are using to communicate with each other people, can make a liberal and creative media. In this environment, the studies on the digital animation would play a leading role of the aesthetic and technology developments for creative digital images. Digital animation images have their own aesthetics, and characteristics. They should be considered as a part of technology expansions. In particular, hyperrealistic digital animation should be more concentrated in the mutual relation between technology and aesthetic, because hyperrealistic digital animation has not only an appartus feature as a side of aesthetics, but a technology feature as a post modernistic media. Therefore the technology of digital animation as a the possibility of future growth for media should adhere strictly the peculiarity of digital aesthetics.