• Journal of Broadcast Engineering
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• v.23 no.1
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• pp.63-73
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• 2018

These days, VR contents are created in three ways: CG based method, game engine based method, and live action shooting method. The most universal method is live action shooting. So far, most live actions are shot with action cams. Therefore, this method is different from professional image production method for movies and TV dramas. This study tries to point out the difference between professional image production method and action cam based shooting method, and proposes an alternative. The proposed method is log shooting based HDR filming and editing. As the result of test shooting and editing, the proposed method was able to obtain more color information than conventional action cam based shooting method and thereby to implement high-definition images which are hard in an action cam.

• The Journal of the Korea Contents Association
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• v.15 no.7
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• pp.57-74
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• 2015

This paper will concentrates on martialarts acting system. I will sugest a kind of actor's training system for the safe method of action acting. In this study I solve the following problems. First, what is main factors to interfere with performer to act and how do they get rid of factors. Second, what is very economic and effective challenge to develope the new acting system for action acting performers. For this discussion I studied four parts. The first, I gives purpose and direction of the safe for martialarts actor. The second, I traces the development of contemporary idea of acting such as Stanislavsky and Meyerhold. The third I introduces Korean martialarts training system. The last I conclude which refer to effective action acting by result of training 'Korean traditional martialarts acting system'.

• The Journal of the Korea Contents Association
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• v.22 no.9
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• pp.147-155
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• 2022

This article analyzed the new changes Hong Kong director Lin Chaoxian has brought to theme films of Mainland China and the factors affecting these changes. The objects of the analysis are Lin Chaoxian's films (2016), (2018), and (2020). Compared with Mainland China directors suffering from heavy political burden, Dante Lam directed theme films based on the model from commercial films and adopted lots of elements from Hong Kong films. There, the ideology expression in these theme films was no longer rigid, but a diversified value embodiment resonating with the audience. At the same time, these theme films achieved higher commercial value, in which the stereotyped and unrealistic hero images were replaced by realistic and compound characters, and the display of cool or violent action scenes contributed to lots of visual feasts. All the changes were influenced by the audience preferences and the development of private enterprises in Mainland China.

• Cartoon and Animation Studies
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• s.22
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• pp.17-30
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• 2011

This paper analyzes Blood: the Last Vampire (2009) in comparison with the original Blood: the Last Vampire (2000). This digital movie, released in 2009, faithfully re-presents the visual of the original animation using more budget and more developed technology. Though these two movies share very similar visual style, they have slightly different modes of expression that can be easily detected in their opening scenes. The original Blood chooses to tell its story in more indirect way. Some shots are intentionally vague and forcefully separated by black credit screen, leaving audience guessing exactly what happened. The remake version of Blood provides faster, more diverse, and more sophisticated images. It also uses invisible and slick editing, leaving no room to guess. These differences comes mainly from the difference of media. However, since the differences between two movies lie mainly in their narratives, we can ascribe the box office slump of the digital movie version of Blood: the Last Vampire to its narrative flaws. The heroin's inner conflicts were not convincing enough, supporting roles were not probable enough, and the whole story was not unique enough. As a result, the new Blood: the Last Vampire became another bad example that shows the importance of narrative in films.

• The Journal of the Korea Contents Association
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• v.14 no.1
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• pp.48-55
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• 2014

A new relation between technological changes and arts is begins to create by the modernization of the West. Because the arts in the past that were enjoyed by specific individuals and small number of people are now massively produced via technological development, public acceptance of such arts is now possible. In this study, movement between each frame, which can be the core in animation, is investigated. We can see that the animation's cinematic movement cannot be identified with motions reproduced in live action films, let alone the motions in real world, no matter how the reproduced motions in animation are faithfully made. In the end, while crating the detailed expressions of movement of animation, along with cinema factors, and the continuity of such expressions, we can gradually exert the power of animation art form with enlivened reality that only animation has.

• The Journal of the Korea Contents Association
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• v.16 no.2
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• pp.96-105
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• 2016

This study examined determinants of movie success from foreign countries except the U.S. in Korea. This research is based on analyses of data based on 500 movies between 2004 and 2013. The major results are following; firstly, in terms of movie success, there were significant differences among three attributes including the origin of countries, genres and distributors. Although determinants of movie success from Japan were animation genre and major distributors, they were action genre and major distributors for European countries. Determinants of movie success from other countries was only animation genre. However, there were no any explanation factions for Chinese movies.

• The Journal of the Korea Contents Association
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• v.16 no.3
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• pp.137-148
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• 2016

The purpose of this study is to examine viewers' intentions to watch movies after viewing online banner advertisements of movies, and verify the mediation effect of flow and association to research how the interactivity of movie banner advertisements influences viewers. For the study, trailer and advergame banners for three genres of movies were made, and an online survey was conducted with 146 adults. As a result, based on 5 hypothesis tests, the study enables us to conclude that the interactivity of the advergame banners results in a higher viewer intention of watching movies compared to trailer banners by inducing a flow experience among banner users not an association experience.

• Journal of Internet of Things and Convergence
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• v.7 no.3
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• pp.55-61
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• 2021

This study explores four Korean films: Silenced (2011), Unbowed (2012), The Attorney (2014), and New Trial (2017). Based on these films, this study explores the features of courtroom films and their social significance on society. The ability of Korean courtroom films to have such a profound impact on Korean society is something that is not usually witnessed in other countries. Also, the fact that they are low-budget works, not action/thrillers within the 'guaranteed star' system, and the fact that they present opportunities for netizens to call for change is a defining feature of Korean courtroom films. All four films have sparked controversy over the level of realism in Korean courtroom films, but what is more important is the way in which they portray contemporary social change. In summary, these four Korean courtroom films highlight the characteristics of social action and the means of mobilization required to effect it.

• Journal of Broadcast Engineering
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• v.25 no.6
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• pp.861-869
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• 2020

We introduce the application that automatically makes several images stored in user's device into one video by using the different climax patterns appearing for each film genre. For the classification of the genre characteristics of movies, a climax pattern model style was created by analyzing the genre of domestic movie drama, action, horror and foreign movie drama, action, and horror. The climax pattern was characterized by the change in shot size, the length of the shot, and the frequency of insert use in a specific scene part of the movie, and the result was visualized. The model visualized by genre developed as a template using Firebase DB. Images stored in the user's device were selected and matched with the climax pattern model developed as a template for each genre. Although it is a short video, it is a feature of the proposed application that it can create an emotional story video that reflects the characteristics of the genre. Recently, platform operators such as YouTube and Naver are upgrading applications that automatically generate video using a picture or video taken by the user directly with a smartphone. However, applications that have genre characteristics like movies or include video-generation technology to show stories are still insufficient. It is predicted that the proposed automatic video editing has the potential to develop into a video editing application capable of transmitting emotions.

• The Journal of the Korea Contents Association
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• v.14 no.7
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• pp.83-92
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• 2014

We examined the annual film distribution portfolio of a Korean film distributor, Lotte Entertainment, investigating how the company puts big-budget films and low-budget movies together. As a result, the distributor was found to invest more than 80% of its whole budget in producing medium-size movies. The more successful box office, however, was witnessed from big-budget films that the company spent more than 6 billion Korean wons. With respect to genre, comedy and drama were the most and second-most frequently produced. However, Those two genres were not the most successful genres in the box office. Korean movie-goers favored actions and thriller the most and second most. Comedy took only the third place of the Korean box office, signifying a discord between the portfolio and the Korean box office.