• Cartoon and Animation Studies
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• s.20
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• pp.47-61
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• 2010

The Uncanny Valley is a hypothesis introduced by a roboticist, Masahiro Mori. The theory holds that as robots and other facsimiles of humans look and act more human-like, the emotional response from a human spectator to them will become increasingly empathic, until they approach realistic similarity to humans but not quite exactly like them, when those images stop being likable and instead become repulsive and "uncanny." Although the scientific validity of this hypothesis is still debatable, it is true that many spectators has tendency to reject hyper-realistic animation. For that reason, the great success of the recent movie Avatar is remarkable. Computer animations that try to represent humans in hyper-realistic way fall into a paradox: successful result images would look too mundane and unsuccessful ones look "wrong". On top of that, audience would expect from hyper-realistic animation to see same level of acting of live-action films, which is usually not the case. The subtle differences between digital characters and real actors irritate spectators and hinder them in absorbtion. The biggest difference between Avatar and other hyper-realistic animation is the referent of their representation. While Avatar pursues a similar hyper-realistic visual style, the referents of the representation shown in this movie are totally alien to us thus impossible to compare with the real counterparts. Unlike characters in other hyper-realistic animations who had to fight an uphill battle with great actors in real life, those in Avatar have criteria of their own. That is why this movie can be free from the dreadful valley and let the audience absorb into the spectacle.

• Journal of the Korean Society of Floral Art and Design
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• no.44
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• pp.53-73
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• 2021

This study is on the creation of art works through the methodological process of deducting the experiences and inspired feeling which the researcher experienced in the subconscious level as well as the conscious level in the field of floral art creation. The scene setting technique was applied to seize inner experiences and feeling in subconscious level. More concretely, visual note technique and image research technique were applied to record and preserve scenes as the seized inner mental images. To delineate the contents, the researcher created art works based on the experiences during the preparation period at the small town of Tours in France as well as the competitive and tough every day life during the attendance at the fashion school of ESOMD International Paris. The researcher was able to create 5 art works of Deja Vu, 'ㅅ(Seoul-Paris)', '崩(A Mountain on Two Moons)', '燈 (Load out and Stay)', 'ㅇ'deducting the deep experiences and inspired feeling through the methodological process in the subconscious level as well as the conscious level. The researcher was able to explore inner experiences finding self in disquietude and process of personal realization through the creation. The meaning of this research could be found as a case of qualitative research which presents approaches utilizing method of deducting experiences in subconscious level and applying to the creation of art works.

• Journal of the Institute of Electronics Engineers of Korea SP
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• v.43 no.2 s.308
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• pp.1-11
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• 2006

In this paper, we propose the novel video retrieval algorithm using non-parametric based motion classification in the shot-based video indexing structure. The proposed system firstly gets the key frame and motion information from each shot segmented by scene change detection method, and then extracts visual features and non-parametric based motion information from them. Finally, we construct real-time retrieval system supporting similarity comparison of these spatio-temporal features. After the normalized motion vector fields is created from MPEG compressed stream, the extraction of non-parametric based motion feature is effectively achieved by discretizing each normalized motion vectors into various angle bins, and considering a mean, a variance, and a direction of these bins. We use the edge-based spatial descriptor to extract the visual feature in key frames. Experimental evidence shows that our algorithm outperforms other video retrieval methods for image indexing and retrieval. To index the feature vectors, we use R*-tree structures.

• The Journal of the Korea Contents Association
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• v.13 no.6
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• pp.77-85
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• 2013

This study aims to analyze the effects that video image in Seo-an's , claiming to China's first gigantic historic dance drama, has on the performance; it focuses on investigating which video image is used to accomplish the effects in showing specific themes and materials in . Image is meant by 'reflection of object', such as movie, television, dictionary, etc, with its coverage being extensive. The root of a word, image', is founded on imitary, signifying specifically and mentally visual representation. In other words, video image is considered combination of two synonymous words, 'video' and 'image'. Video is not just comprehension of traditional art genre, like literary value, theatrical qualities, and artistry of scenario, but wholeness as product, integrating original functions of all kinds of art and connecting subtle image creation of human being. The effects of video image represented in are as followings; first, expressive effect of the connotative meaning, reflecting the spirit of the age and its culture. Second, imaginary identification. Third, transformation scene. Fourth, dramatic interest through immersion. Last but not least, visual effect by dint of dimension of performance.

• 한국HCI학회:학술대회논문집
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• 2007.02a
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• pp.143-149
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• 2007

영상은 동적인 시각 이미지와 청각의 결합에 의해 감성적인 반응을 유도한다. 다양한 영상 기법을 통하여 감성적 반응의 극대화를 추구하는 영화는 영상의 시청각적 요소들을 감성의 관점에서 효과적으로 설계하는데 본보기가 된다. 그러나, 제품의 설계속성들에 대한 감성적 평가결과를 모형화하는 감성공학적 관점에서 볼 때 영화는 시청각적 자극의 수준이 극히 다양하고 동적인 경험재로 모형화의 어려움이 있다. 본 연구에서는 영화의 감성 모형을 구축하기 위한 사전연구의 단계로 영화에서의 시청각적 요인들을 문헌조사를 통해 수집, 정리, 선별하고 이러한 시청각적 요인들 중에 영화를 관람하는 관객의 감성적, 인지적 반응에 영향을 주는 유효한 요인들을 객관적이고 체계적으로 탐색하고자 하였다. 이를 위해, 감성 및 인지적 반응의 변화를 생체신호를 통해 측정하는 한편, 생체신호의 측정 시 사용된 영화의 시청각적 자극요인을 Video/Audio Processing방법에 의해 연속적인 수치로 정량화하였다. 생체신호와 정량화된 시청각적 자극요인을 동기화하고 통계적으로 분석함으로써, 생체신호의 반응과 시청각적 자극요인과의 인과관계를 통계적으로 신뢰성있는 수준에서 검증하고자 하였다. 생체신호를 종속변수로, 시청각적 자극요인을 독립변수로 하는 896개의 부분선형회귀모형(Partial Linear Regression Model)들 중 통계적으로 유의한 선형관계에 있는 경우의 빈도분석에 의하면, 시각적 요인들 중에는 밝기(Brightness), 대비(Contrast), 색상(Color), 움직임(Motion), 장면전환속도(Shot change Rate), 주요대상의 상대적 크기가, 청각적 요인들 중에는 Peak주파수, Peak주파수의 음량, 평균음량, 소음비(Sound-to-Noise Ratio)가 생체신호의 변화에 통계적으로 유의한 영향을 주는 것으로 나타났다. 이는, 위의 시청각적 자극 요인들은 특히 관객의 감성 및 인지적인 반응에 유의한 영향을 주는 요소로 작용할 수 있음을 시사하고 있다. 이를 토대로, 위의 시청각적 자극 요인들이 가지는 다양한 조합들을 설명변수로 하는 통계적인 영화의 감성 모형을 구축할 수 있을 것으로 기대한다.

• Journal of Internet Computing and Services
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• v.4 no.1
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• pp.27-37
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• 2003

This paper presents the Web service generation system using virtual environments and databases. Main features include that the environments and databases are generated and maintained correspondingly. It means that the virtual environments are changed automatically if the databases are updated, and also that the databases are maintained accordingly as the information about the environments are modified at the scene End users can modify the property of the virtual environments in the scene directly using the VRML edit interface, which visualizes the structures of virtual environments. Each object can be accessed through the VRML editor, its property be modified directly, and the information is updated in the database automatically. Web service pages are maintained accordingly. In addition, we define a texture mapping method based on weighted view interpolation using 2 photo images for a scene. A texture mapping interface Is also provided for end users to generate realistic images themselves.

• The Journal of the Korea Contents Association
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• v.20 no.5
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• pp.261-270
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• 2020

In film, color is a tool for storytelling and a metaphor for a story's theme. This study constructs efficient and objective data by analyzing color images of movies delivered to the audience. This Research the visual perception process of color in films and studies the processes accepted by the audience. Through this research process, we examine the emotional response caused by the visual stimulus of film color and quantify the visual factor through color in the film as a factor that effectively induces the emotional response of viewers who watch the movie. This study analyzes the mise-en-scene of Wes Anderson's film, Royal Tenenbaum, and studies the role of communication in cinematic colors. Quantitative analysis of color distribution data is performed using computer color analysis program on the colors displayed through 10 chapters of mise en scene. Through color analysis, it was analyzed that Anderson composed the movie scenes in red and yellow red (YR) with low saturation and medium brightness. Through this analysis, we study how color is used throughout the film and how the quantitative form of its use is to be used as the psychological factor controlling audience's emotion.

• 한국게임학회지
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• v.6 no.1
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• pp.55-57
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• 2009

멀티미디어 정보 표현에 있어서 서로 다른 미디어간의 동기화를 효과적으로 처리하는 것이 아주 중요하다. 멀티미디어 특성이 적용된 게임 개발에 있어서 각각의 시각 객체들이 시간 경과에 따라 공간 영역에서 동시에 움직여야 하므로 게임에서 필요한 멀티미디어적인 게임 요소들을 게임 운용상에 적절히 배치시키기 위해서는 게임 장면을 통한 시간과 공간 개념의 동기화가 필요하고 게임 객체 자신이 가지고 있는 시공간 특성이 논리적으로 설계되어 게임을 운용시켜야 한다. 따라서 멀티미디어 시스템에서 혼합된 형태의 미디어로 구성된 데이터의 표현을 위해서는 객체가 나타내는 상대적인 위치와 상대적인 시간을 나타내 주는 공간 합성과 시간 합성을 명시할 수 있는 정형화된 표현 연구가 요구된다. 간(刊)기존 연구들은 대부분 시간적 동기화와 공간적 동기화 각각에 대한 표현에 많이 치우쳐 있으므로 시간과 공간이 통합된 미디어들의 동기화 표현에 대한 연구가 필요하다. 시공간이 통합되지 않는 기존의 멀티미디어 표현법을 게임 개발에 적용할 때에는 게임에 사용되는 미디어 객체간의 원활한 동기화 표현이 쉽지 않다. 이러한 문제를 해결하기 위하여 게임 시나리오 스케치에서 나타난 게임 객체들의 시공간 개념이 적절히 표현될 수 있는 정형적 연구가 필요하다. 간(刊)본 논문에서는 시간 개념과 공간 개념이 통합된 형태의 시공간 동기화를 표현하기 위하여 명세 단계에서 멀티미디어 데이터가 시간 및 공간 개념을 적절히 변형하여 표현될 수 있도록 시간 및 공간 동기화가 통합된 새로운 표현법을 제안한다. 이를 위하여 게임 요소들의 시간적, 공간적 동기화를 표현하기 위한 방법을 언명으로 정의하고 시공간 관계성에 대한 확장을 제시한다. 간(刊)본 논문이 제안하는 언명 기반 멀티미디어 객체의 시공간 동기화 모델(an Assertion-based Multimedia objects Spatio-TEmporal Synchronization model : AMSTES)는 시간과 공간 모두에 적용되는 게임 객체들의 시공간 동기화 표현 방법과 이를 이용하여 실제 실행 가능한 코드 생성을 위한 시공간 공식을 제공한다.

• The Journal of the Korea Contents Association
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• v.11 no.7
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• pp.121-130
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• 2011

If you ask many Stereographers how to make a good S3D and you will get all different answers. There are several 3D knowledges and opinions that were not always in agreement. we have to choose which advice to follow and find our own way. But there will be no durable screening of S3D films without a minimal viewing comfort of all the audience whatever the differences of their vision. First of all, We always consider several factors to get an appropriate S3D shot before moving on to production. This is intended to provide a practical example on S3D film production. I hope that this article will encourage further research on this topic.

• 한국HCI학회:학술대회논문집
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• 2009.02a
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• pp.449-454
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• 2009

The human face has "expression" as an important visual factor in contrast with general objects. For this reason, cartoonists draw shadow that emphasizes facial shape and facial expression in order to convey atmosphere of scene and trait of character. This shadow should be considered when doing cartoon rendering for facial expression although it is not an physical shading. This paper proposes a cartoon rendering system for facial expression based on shading techniques of real cartoonist. First of all, we searched such techniques of cartoonist through variety of collected cartoon images and defined shadow templates according to character's facial expression to do cartoon rendering diffently. After that, we demonstrated cartoon rendering system of facial expression on the basis of survey result that effectively emphasizes facial shape and facial expression. Finally, we showed the usefulness through the user questionnaire.