• Journal of Digital Convergence
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• v.17 no.7
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• pp.341-349
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• 2019

Today, art education needs education of media image production or media in the extended field. The purpose of this study is to develop the basic visual grammar and communication ability. We developed and applied the teaching plan for the interview video production as the fusion lesson. 3 classes were conducted for 30 middle school students. The results obtained through the analysis of the pre & post questions and student works are as follows. First, the students used the shot size and stable composition through the interview video production. As a result, this class was effective for the acquisition of the basic video grammar. Second, students improved their ability to ask and listen, understand and organize through interview. As a result, students were able to apply the basic video grammar through the interview video production lesson, effectively producing the interview image.

• Trans-
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• v.1
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• pp.45-66
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• 2016

The study uses the image technique of the movie (analysis) since there are limited analyses and data of the dance film's (cinematic) grammar. The films are limited to the Wim Vandekeybus's Blush. From the analysis of the one film, films are directed using basic movie grammars. Although the films are of the same genre, it differs from the method of using image techniques as well as the director's personal art preference. The cinematic grammars enhance the effect of the movement and it emphasizes the objectives to deliver the audience true meaning of the films. Dance film is not a simple word combination of dance and film to record new type of art; dance is used for the movie's artistic and aesthetic enhancement. To find out dance is the language and important expressive tool of the dance film, at the same time cinematic grammar enhances effect of dance and objective of the film, the study uses image technique analysis. These are the results of dance film analysis by using image techniques. Firstly, Dance film can transcend time and space. Secondly, The creative director could emphasize some part that the audience should focus on to clearly deliver the intention of the choreographer. Lastly, To popularize the dance genre. If the dance film produces with more diversified stories than the resent, it will be a part of a cultural industry and could create profits. Dance film might lose the sense of realism, which is the main characteristic of the stage art; however it could feel the beauty of the film through the mise en scene.

• Cartoon and Animation Studies
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• s.47
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• pp.1-29
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• 2017

360-degree virtual reality has been a technology that has been available for a long time and has been actively promoted worldwide in recent years due to development of devices such as HMD (Head Mounted Display) and development of hardware for controlling and executing images of virtual reality. The production of the 360 degree VR requires a different mode of production than the traditional video production, and the matters to be considered for the user have begun to appear. Since the virtual reality image is aimed at a platform that requires enthusiasm, presence and interaction, it is necessary to have a suitable cinematography. In VR, users can freely enjoy the world created by the director and have the advantage of being able to concentrate on his interests during playing the image. However, the director had to develope and install the device what the observer could concentrate on the narrative progression and images to be delivered. Among the various methods of transmitting images, the director can use the composition of the short. In this paper, we will study how to effectively apply the technique of directing through the composition of this shot to 360 degrees virtual reality. Currently, there are no killer contents that are still dominant in the world, including inside and outside the country. In this situation, the potential of virtual reality is recognized and various images are produced. So the way of production follows the traditional image production method, and the shot composition is the same. However, in the 360 degree virtual reality, the use of the long take or blocking technique of the conventional third person view point is used as the main production configuration, and the limit of the short configuration is felt. In addition, while the viewer can interactively view the 360-degree screen using the HMD tracking, the configuration of the shot and the connection of the shot are absolutely dependent on the director like the existing cinematography. In this study, I tried to study whether the viewer can freely change the cinematography such as the composition of the shot at a user's desired time using the feature of interaction of the VR image. To do this, 3D animation was created using a game tool called Unreal Engine to construct an interactive image. Using visual scripting of Unreal Engine called blueprint, we create a device that distinguishes the true and false condition of a condition with a trigger node, which makes a variety of shorts. Through this, various direction techniques are developed and related research is expected, and it is expected to help the development of 360 degree VR image.

• Journal of Digital Convergence
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• v.15 no.9
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• pp.453-461
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• 2017

The video image in the movie has become more spectacular than ever, and the expression area and the subject have been infinitely expanded, but it can not be said that the range of imagination has expanded. Instead, the 60s and 70s, which were the epochs of popular culture, The film that implements the artististic visual style and expression style of the artist. Stanley Kubrick's "Clockwork Orange", which has been pursuing technological perfection and experimental style, was created using traditional video grammar and gained a great repercussion with outstanding material and high artistic expression technique at that time. These techniques have led audiences to rational observation through irony, rather than emotional sympathy for the situation, for extreme violence and sensational films. This is because the purpose of the director was not to be in technological perfection but to reveal the contradictions of the real society and to reflect on the meaning of the existence of society itself. These creative traditional visual grammar and expression methods are a good visual style that enables the intentionally transmitted message to be transmitted more intensely and effectively, and the artistic depth can be created at the same time by unconsciously perceiving the meaning present on the back to the audience.

• Cross-Cultural Studies
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• v.50
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• pp.453-482
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• 2018

This study is about the French preposition de. This preposition is considered to have no meaning in the French language, and to have only the grammatical function in its use. This study begins with doubts about such views regarding this preposition. We organize and classify general descriptions of the uses of this preposition. The uses are classified as 'expressing starting point,' 'giving characteristics' and 'performing grammatical functions' and this data is analyzed in terms of the associated cognitive grammar. In the case of expressing the starting point, it is assumed that the trajector moves from the starting point, to the destination point, in the domain of space and in the domain of time. Therefore, it is noted in this case that the preposition de has a dynamic concept. On the other hand, it is significant to understand that the preposition of the 'giving characteristics' defines an outline of a particular class by giving the class's characteristics. The preposition de has a static concept in this case. For the preposition de which introduces the infinitive, all of these dynamic and static concepts are faded and extremely grammaticalized.

• Proceedings of the Korean Society for Emotion and Sensibility Conference
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• 2009.05a
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• pp.35-38
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• 2009

심미적차원의 접근을 통한 영상디자인의 틀을 인간이 가진 오감의 특성을 최대 활용하여 전시상황에 따른 감성문법을 활용하여 감각적이며 사용자중심의 니즈에 맞는 선택적이며 시대흐름에 맞는 패턴분석을 적용하여 감성적인 욕구를 심리적인 방법으로 파악하며 영상으로 접근하는 것이다. 이러한 감성패턴분석들은 VJ(비디오쟈키)의 영상활용과 증강현실, 전시디자인의 광고 또한 건축물에 있어서 효과적인 영상활용법을 적용한 감성디자인의 확장을 보여주고 있다. 오감을 활용한 인터랙티브한 미디어아트에서의 영상활용과 콘서트홀에서의 관객과 소통을 인한 커뮤니케이션장치들이 확장되며 도구들 속에서 진정한 인간의 통합된 감각을 전달하기 위한 감성이 필요하다. 이번 연구를 통하여 감성디자인을 적용한 영상사례들을 살펴보며 소통을 위한 감성디자인의 영상을 활용하여 최적화된 전시디자인에 활용되는 감성적 접근방법과 활용에 대해 이해하고자 한다.

• Proceedings of the Korean Information Science Society Conference
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• 2004.04b
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• pp.904-906
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• 2004

영화를 제작하는 과정에 필수적으로 사용되고 있는 대본에는 필요한 부분마다 영상기법이 명시되어 있어서 실제 장면을 구현하는 과정에 원작자가 의도하는 상황을 비교적 정확하게 재현하는 것이 가능하다. 이에 비하여 교통사고 사건보고서나 동화 등을 기반으로 디지털 영상을 자동으로 제작하려는 경우 이러한 영상기법이 명시되어 있지 않다. 그러므로 자연언어로 기술된 자료로부터 디지털 영상을 자동으로 제작하기 위해서는 작가의 의도를 파악하여 적절한 영상기법을 추출하는 방안이 있어야 한다. 본 논문의 선행 연구에서는 동화를 대상으로 하는 애니메이션 자동 생성을 위해서 시간 관리, 참조 해결, 위치 설정, 세부 명령 결정 및 다수 캐릭터 제어 등의 요소 기술이 필요하다는 것을 보이고 특히 시간 관리 중에서 적절한 장면전환이 필요한 경우를 자동으로 파악하는 방안을 제시하였다. 본 논문에서는 결합범주문법을 사용하여 동화 문장에 나타나는 작가의 의도를 분석하고, 이에 부합하는 다양한 카메라 운용기법을 자동으로 파악하여 적용한 디지털 영상 제작 방안을 제시하고 구현한 시스템을 보인다.

• Journal of KIISE:Computer Systems and Theory
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• v.30 no.11
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• pp.629-654
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• 2003

A new multiresolutional scheme that reconstructs a polygonal mesh from the set of contours is presented. In the first step, we apply a radial gradient method to extract the contours on the sampled slices from a volume data. After classifying the types of the edges on the contours, we represent the contour using the context-free grammar. The polygons between two neighboring contours are generated through the traversal of the derivation trees of the context-free grammar. The polygonal surface of the coarsest resolution is refined through the refinement of the contours, which is executed by casting more rays on the slices. The topologies between the polygonal surfaces of various resolutions are maintained from the fact that the radial gradient method preserves the topologies of the contours of various resolutions. The proposed scheme provides efficient computation and compression methods for the tiling procedure with the feature preservation.

• Proceedings of the KAIS Fall Conference
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• 2007.05a
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• pp.181-184
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• 2007

자연영상에 포함된 텍스트는 많은 중요한 정보를 포함하고 있으므로 자연영상에서 텍스트 정보를 검출하는 연구가 활발히 진행되고 있다. 본 논문에서는 문자 영역의 구조적인 특정을 배열문법으로 정의한 적응적 문자-에지 맵을 제안하여 텍스트 영역을 검출한다. 캐니-에지 검출기로 에지를 추출하고, 생성된 에지 이미지를 레이블링하고 그 영역의 문자구조 특징을 분석하기 위해서 적응적 문자-에지 맵을 분석한다. 적응적 문자-에지 랩의 분포 상태를 분석함으로서 텍스트 후보 영역을 검출하고, 텍스트 영역의 에지 히스토그램 프로파일을 분석함으로서 텍스트 후보 영역에 대한 검증을 수행하여 최종적인 텍스트 영역을 검출한다. 제안한 방법은 다양한 종류의 자연영상을 대상으로 실험하였고, 기울어진 텍스트와 다양한 크기의 텍스트 구성된 자연영상에서 텍스트 영역을 효과적으로 검출하였다.

• Journal of the Korean Institute of Telematics and Electronics
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• v.26 no.3
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• pp.85-94
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• 1989

This paper proposes a method to recognize vowels and consonants in a handwritten Hangul text, in which the sizes of chracters and the spaces between characters are not uniform. In this method, all characters in the thinned image of a handwritten Hangul text are transformed into strokes, and the attributes which represent the relations between strokes are extracted from these strokes, and the attributes which represent the relations between strokes are extracted from these strokes. The vowels and consonants are recognized by applying attributed grammars to the strokes and attributes.