• The Journal of the Korea Contents Association
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• v.11 no.11
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• pp.137-144
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• 2011

This study explored the risk sharing mechanism in the US TV drama industry. The hollywood system of TV production and distribution can be understood to be the result of the efforts to reduce the uncertainty and the risk of investment. Since the 1990s, the vertical integration of major studios and networks has been one of the core strategies for risk sharing. In the strategy, the most important role of networks is to schedule new series that the affiliated studios produce. Networks also provide the new series their brand value. On the other hand, the most important role of studios in the vertical integrated environment is to provide the affiliated networks the infrastructures for production and distribution, financial management, and product management. In addition, networks keep the right on the series in the secondary markets, and attempt to increase the aggressive investment on new series on the base of the rights. However, such a risky investment can be the potential burden and risk for the networks in the future. This paper shows the importance of the reasonable risk sharing in the television drama industry to the Korean TV drama industry that has experienced the conflict between networks and independent production companies.

• Proceedings of the Korean Institute of Information and Commucation Sciences Conference
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• 2014.10a
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• pp.125-127
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• 2014

Major Japan animation production house, Studio Ghibli has produced many masterwork animations and achieved commercial and artistic success. Therefore they has surpassed regional Japan, became the world major animation company and acquired grate fame. But Hayao Miyazaki who is the leader of the Studio Ghibli has failed making a his heir. To make matter worse his retirement is approaching, rumors that break up the studio Ghibli has been spread in recent time. Finally, In a general meeting of stockholders of studio Ghibli, June 2014, they announced that split up the animationmaking team. That means studio Ghibli changed their animation producing process, not disband a studio Ghibli. This paper will analyze reasons why did they have to change their animation producing process.

• The Optical Journal
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• s.132
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• pp.60-64
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• 2011

사진인들의 축제마당인 '2011 서울국제사진영상기자재전'이 4월21일부터 24일까지 나흘간의 일정으로 코엑스 본관 1층 A홀에서 성대하게 개최된다. 올해로 20회 째를 맞이하며 국내에서 개최되는 국제 규모의 사진 관련 행사 중 최대 규모를 자랑하는 이 전시회에는 삼성, 올림푸스, 소니, 니콘, 캐논, 파나소닉 등 메이저 카메라 업체가 대거 참가해 다양한 시연행사와 이벤트를 선보일 예정이다. 또한 출력장비, 사진 소프트웨어, 사진 액세서리, 사진 스튜디오 관련 장비 등을 한자리에서 봄으로써 최신 기술동항의 흐름 파악과 함께 참관객들에게 잊지 못할 즐거운 체험의 장을 선사할 예정이다.

• Cartoon and Animation Studies
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• s.36
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• pp.167-187
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• 2014

Animation-related films and game industries have been expanding their markets rapidly responding to sharply increasing public demand. The production processes of major studios are getting more and more specialized and detailed. Therefore, they feel burden to manage and maintain as the HR and physical sizes are getting greater. So, independent studios which perform partial processes of the works are increasing over North America and Europe. Specialized studios build previous functions and related business models. They are expanding their areas. Therefore, this study targeted studios specialized in digital concept art in free production step. The characteristics of such studios were analyzed. To this end, first definitions of digital concept art concepts and functional & artistic features of entire production, and their application to business were deliberated through documents and online. Based on the results, the features of 'concept art service', 'self-brand business/ communication', and 'education service' were drawn. Second, based on it, targeting three con cept art studios such as Atomhawk (UK), FengZhu Design (Singapore), and Studio Gage (Korea), case research was done. Comparative analysis for the cases was conducted. It turned out that concept art studio s lead new market demand through active business strategies such as related contents development, marketing, etc. based on specialization. This research is significant to understand global trend of newly establishing specialized studios market and suggest reference data to improve prospective domestic specialized studios competitiveness.

• 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.

• Cartoon and Animation Studies
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• s.37
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• pp.491-508
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• 2014

As number of making 3D feature animation films is increasing, 3D production pipeline become more complicated and more artists are needed than before. Major studios in foreign countries, in burden of producing high quality films with limited amount of budget and time, have been handling such difficulties by hiring technical directors in each department such as animation, rigging, cloth hair, and effect. Technical director is new occupation which appears after trend of producing animation is changed from 2D to 3D. Importance of technical director is increasing in respect to studios' needs which are related to complication in production time, manpower, budget, and production pipeline. This research is based on the researcher's work experience as an animation TD at Walt Diseny Animation Studio and Sony Pictures Imageworks, interview with working professionals, and related books and thesis. It focuses on the role of animation technical director in Disney's 3D feature animation film from two perspectives, 'Designing Production Pipeline' and 'Analyzing Problem of Shot'. Animation technical directors design and test production pipeline so that they can detect and solve problems that may arise in production process as early as possible. They not only analyze numerous problems of characters or shots limited to animation department but also in other departments such as modeling, mapping, character rigging, cloth, hair, lighting, rendering, software development in order to support artists to complete their shots according to the production schedule. In accordance with recent trend of increasing number of 3D feature animation film production in South Korea and collaboration with foreign studios outside of South Korea, it is vital to train animation technical directors who can develop production pipeline, analyze various problems of shots and characters to escalate efficiency in production.

• Cartoon and Animation Studies
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• s.39
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• pp.27-58
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• 2015

The crisis in profit and funding for animation is in evidence around the world. The change in media environment has forced broadcasting advertising revenue down and animation viewers spread out. Now, animation players in the strongest position are either the US major studios, or producers benefiting from domestic support schemes. Government support is available in many countries because many governments believe that support for domestic animation carries both economic and cultural benefits. This paper is designed to suggest new policy schemes for Korean animation industry. The new paradigm of animation policy needs a new perspective on content industry as a whole, not centered on the animation itself. The researchers on public policy for culture, audiovisual and content industry argued that the government should, (i) play the role of facilitator for virtuous cycle of industry value chain, (ii) provide fiscal support through automatic and selective schemes, (iii) provide tax benefit to strengthen the competitiveness of industry, and (iv) enforce the broadcasters to contribute to domestic programming and financing. Comparative analysis on French and Canadian audiovisual policy supports such arguments, and animation industry of two countries are enjoying the high audience ratings and sustainable production volume. From the analysis, this paper suggests the new government schemes for Korean animation industry, which are, (i) securing the public funding for fiscal support, (ii) introduction of automatic production support, (iii) modification of broadcasting quota, (iv) broadcaster's performance envelope and production quota, and (v) tax benefit as indirect support.