• Journal of Korea Multimedia Society
• /
• v.14 no.4
• /
• pp.585-594
• /
• 2011

On live performance such as play and musical, various stage effects are utilized to attract a diverse audience. These stage effects include traditional direction techniques, striking display effects and all kinds of ways of being immersed in the scene. In this paper, we propose a novel digital visual effects(digilog) for controlling the surface texture of objects based on spatial augmented reality. For this purpose, we present a method of neutralizing the appearance of an arbitrary object using a projector-camera system. To make the object appear as if it is a transparent object by projecting a carefully determined compensation image onto the surface of objects, we use the homography method for a simple and effective off-line projector-camera calibration. The successful uses of the basic algorithm of Smart Projector for measuring radiometric parameters led us believe that this method may be used for temporal variation of plays and musicals.

• Cartoon and Animation Studies
• /
• s.36
• /
• pp.349-374
• /
• 2014

The light is the language. Directors have to describe the scene component effectively his intention to configure the scene as an appropriately. After this act of the character, the layout of the props and scene lights will enter to the scene components. Those things help to audiences can understand narrative of work and emotion that producer want to send. Expressing their emotions especially using the lights by adjusting the colors and contrast makes audience to concentrate on work and understand naturally. This lighting technique clearly appears on early year theaters stage of England and Rembrandt's paintings. Properly dividing and controlling the lights dramatically increases the beauty of the work elements to express a variety of emotions such as worries and fear. Therefore, it can be evolve depending on director's intent of using lights on his work. Lights can increase involvement of human emotion through basic features that cognition of object, visualization of space-time and by artistic method in the product. This study will examine the role and how to use lighting to express the proper sentiment based on the narrative of the work. Making research named "Lighting Research of 3D animated film which applying light features to express emotion" previous study and have to combine emotional vocabulary and emotion-based theory for classifying the emotional language that can be applied on 3D animation. And choosing most emotional scene from 3D animation for analyze how they used lighting to expressing emotions. Directors trying to show up about the light role through light method that matched perfectly with an emotional language. Expecting this research work of directing 3D animations light for expressing emotional feelings will be continue successfully.

• Cross-Cultural Studies
• /
• v.31
• /
• pp.35-64
• /
• 2013

This thesis seeks to compare China's Jing-ju and Japan's Kabuki for their common aspects and differences and examine how they are performed on the stage. Jing-ju is often called as Beijing Opera to refer to a musical play completed during the mid-Ching era and developed around Beijing. Jing-ju is composite arts of music, dance and play which are remarkable in its strict patterns in move along with luxurious costume and heavy make-up. Kabuki which was developed during the Edo-period, is expressional arts also structured with music, dance and play coupled with extravagant costume as well as even more strictly controlled move and emphasis on the beauty of form. The two plays seem very similar to each other in their time setting to gain popularity or features of play. It may look obvious that Jing-ju which had developed earlier than Kabuki, affected the latter's formation. However, general social practices or cultural trends in China and Japan at the time of their development also influenced literature and arts thus affecting play contents and performance expressions. Although the two plays have similar stage structure, they developed in different ways with detailed differences and actors' performance on the stage, way of using a stage and other ways of directing play are largely distinctive from each other. If a play's primary goal is to gain recognition of audience and draw their positive response, the relationship between play and stage becomes essential. With this understanding, this thesis aims to identify where such similarities and differences between the two plays are from by comparing historical background, stage structural development and directing manner development at a basic level.

• Journal of Broadcast Engineering
• /
• v.25 no.4
• /
• pp.518-527
• /
• 2020

360 VR technology is used not only in movies, but also in performing arts such as music, theater, dance, and so on due to the characteristics of immersion and presence. The technology allows the audience can be perceived a feel of participation in a story. This study is conducted an analysis of the techniques of 360 video shooting in order to find the answers of the following questionaries: how to make viewers enhance to a better understanding of a space, how to make the viewer feel comfortable ceding control of the experience, how to generate greater empathy with a 360 video. Thirty cases were analysed 360-degree videos of live performances performed on stage among 360-degree images of music performance content shared on Youtube from 2015 to 2020. The result shows that live performances are performed with the audience, so the stage shape and the layout of the audience seats are preferred to the characteristics of the performance. It was also shown that directing using a 360 VR camera was also greatly affected by the stage and audience placement. The stage is manly classified into three types, and the camera layout and characteristics mainly used are organized according to the number of 360 VR cameras, whether fixed or mobile cameras are used.

• Proceedings of the Korean Institute of IIIuminating and Electrical Installation Engineers Conference
• /
• 2009.10a
• /
• pp.121-124
• /
• 2009

전 세계적인 에너지 절약 정책에 대응하여 새로운 고효율 LED 및 드라이버 IC의 출시가 활발하다. 단색 또는 칼라 LED를 사용하여 경관조명, 무대조명, 음악분수 등에 많이 활용되는데 다양한 전압 및 LED 구동 방식 등에 따라 LED의 수명과 비용이 달라질 수 있다. 또한 LED의 밝기 및 색상 등을 조절하여 멋진 연출을 위해 마이크로컨트롤러의 사용이 필수적이고, 다수의 장치를 함께 연동하는 경우에는 이들을 통신으로 연결하여 사용하는데, 본 논문에서 조명 장치에 표준으로 많이 사용하는 DMX512 통신 프로토콜, 몇 가지 정전류 구동 방식에 대해서 살펴보고, 저가격의 마이크로컨트롤러를 사용하여 DMX512 수신 장치를 구현해 보았다.

• Proceedings of the Korea Information Processing Society Conference
• /
• 2017.04a
• /
• pp.1079-1080
• /
• 2017

Today multimedia technologies are playing an increasingly important role in games, movies, and live performances. In this paper, we design a flexible interactive system integrated with gesture recognition, skeleton tracking, internet communication, and content edition using multi-sensors to direct and control the performance on stage. In this system, the performer can control the elements showed on stage through corresponding gestures and body movements during the performance. The system provides an easier way for users to change the content of the performance if they intent to do.

• The Journal of the Korea Contents Association
• /
• v.9 no.5
• /
• pp.107-117
• /
• 2009

Depending heavily on CG technologies, the movies with CG generated characters and backgrounds focus on the reality effect in terms of the graphic itself. However, reality effect means a lot more in filmmaking than just pictorial representation. This study analyzes shot-by-shot a sample movie which has good staging as a part of film directing to increase reality effect in terms of diegesis and a film as a whole not just pictorial reality effect.

• TTA Journal
• /
• s.163
• /
• pp.8-15
• /
• 2016

올 1월 말 바르셀로나에서 열린 3GPP Next Generation Access Requirement AH는, 10여 년전 4G LTE가 처음 논의될 때와 비교하면 열기가 뜨겁다는 것은 여전하지만, 주역들은 많이 바뀌었음을 느낄 수 있었다. 4G 논의 때에는 유럽, 일본이 주도하고 북미, 한국은 따라가는 상황이었다면, 5G 논의는 중국이 전면에 나서고 한국, 유럽이 따라가는 패턴을 보여주고 있다. 엄청난 규모의 중국 내 TD-LTE 시장을 무기로 차세대 기술과 표준논의를 주도하고 있는 중국 사업자와 제조업체의 위상을 실감할 수 있는 자리로 보인다. 우리 나라는 LTE 기술 개발과 상용화 시점, 보급율 현황 등에서 타국의 추종을 불허하는 스피드를 보여주었고, 덕분에 우리 국민들은 세계에서 가장 앞선 모바일 서비스를 누리고 있고, 그 여세를 몰아서 5G 논의의 물꼬를 튼 것도 사실이다. 그러나 시장에서는 시작은 반이 아니고 시작일 뿐이다. 본 무대를 어떻게 연출해 가느냐에 따라 주도권을 계속 가져갈 수도, 한순간에 밀려날 수도 있는 것이 냉엄한 현실이다. 금년부터는 5G에 대한 기술 표준화가 본격화 되는데, 이와 병행해서 기술 개발, Joint Trial, 시험 주파수 할당, C-P-N-D-M 생태계 확보 등의 작업이 정신없이 진행될 것으로 예상된다. 한정된 국가적 자원을 효율적이고 효과적으로 활용하기 위한 산학연관의 지혜가 더욱 필요한 시기가 오고 있으며, 이번 5G특집이 그 고민의 계기가 되면 좋겠다.

• Proceedings of the Korea Contents Association Conference
• /
• 2018.05a
• /
• pp.299-300
• /
• 2018

혁신적이고 파격적인 리듬과 다채로운 관현악법으로 구성된 스트라빈스키의 발레음악 <봄의 제전>은 공상 속 '이교도들의 엄숙한 제전'이라는 장면에서 영감을 얻어 무대음악으로 형상화 시킨 작품이다. 이 작품은 작곡가가 구성하고자 하는 장면을 토대로 만들어진 음악이기 때문에 장면구성을 위한 음악적 요소와 특징이 존재한다. 이것은 분명 연주만을 위한 음악과는 의도하는 바가 다를 것이라고 생각하여 그것을 <봄의 제전>을 통해 분석해보았다. <봄의 제전>은 급변하는 템포와 잦은 변박, 혁신적인 리듬사용을 통해 원시적이고 본능적이며 생명력 있는 장면을 효과적으로 묘사하고 구성하였다. 음악적 분석을 바탕으로 모리스 베자르(Maurice Bejart)와 피나 바우쉬(Pina Bausch)의 안무 작품에 대입하여 실제 안무작품의 장면에서는 어떻게 활용되는지를 알아보았을 때, 세부적인 안무와 연출의 차이는 있지만 장면구성을 위한 특징적인 부분에서는 음악이 의도하는 장면과 같은 맥락의 움직임을 볼 수 있었다.

• The Journal of the Korea Contents Association
• /
• v.12 no.1
• /
• pp.265-274
• /
• 2012

This study aims to examine the physical language of dance art's acceptability of the discourse method of story-telling as a narrative discourse system from the view of story-telling of cultural contents. Dance, through the establishment of relationship between dancers and stage art, can form a discourse system with various literary devices including figures of speech, metaphors, and symbols. The argument over manifestation of dance's narrative components in the concept of story-telling is shown as follows; the background as an object can offer time and spatial backgrounds through stage art and the dancers' performance elements; and, for the character, the dancer himself can be the first-person-narrator and possibly makes plane personality descriptions. As for the elements of main affairs of dance, the stage art components present the background of primary motif of incident and the dancer's diverse relationships form conflicts through the correlation of solo dance, duet, and group dance. The plot as a process of developing the main affair is led by actant such as the dancer's mime actions, gestures, facial expressions, etc. The element of dance's revealing narration is the dance art itself and the developing structure of narration is the dance language's own grammar. Choreographers should compose persuasive dance texts to convey stories efficiently through character decisions, their actions, stage art's elements that display the time and spatial backgrounds, and the development of plot, as a narrative discourse of dance.