• Journal of the Korea Society of Computer and Information
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• v.12 no.2 s.46
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• pp.21-28
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• 2007

The facial modeling and animation technology had been studied in computer graphics field. The facial modeling technology is utilized much in virtual reality research purpose of MPEG-4 and so on and movie, advertisement, industry field of game and so on. Therefore, the development of 3D facial model that can do interaction with human is essential to little more realistic interface. We developed realistic and convenient 3D facial modeling system that using a optional facial image only. This system allows easily fitting to optional facial image by using the Korean standard facial model (generic model). So it generates intuitively 3D facial model as controling control points elastically after fitting control points on the generic model wire to the optional facial image. We can confirm and modify the 3D facial model by movement, magnify, reduce and turning. We experimented with 30 facial images of $630{\times}630$ sizes to verify usefulness of system that developed.

• Journal of Digital Contents Society
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• v.16 no.1
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• pp.127-135
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• 2015

The development of stereoscopic display hardwares and 3D authoring softwares expands its application areas from particular virtual simulation applications to general movies, games, advertising applications. However, the binocular-based 3D stereoscopic images cause fatigue to viewers. Recent performed many research results about the binocular stereoscopy's depth perception and viewers' fatigue are derived from experimental users studies. In some results, watching and making guidelines for 3D stereoscopic imaging contents are introduced. The 3D stereoscopic-related contents have the contradictory aspects, which are audiences' pursuit of a tolerable minimum fatigue and producer's its of excessive depth changes for providing viewers' immersion. This paper provides user experiments and analysis data in aspects of 3D depth changes. For use of producers, a safety zone and translational velocity of 3D depth changes are introduced. Also, on the viewer side, we present the depth change adaptation time by using an EEG device.

• Journal of Digital Convergence
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• v.11 no.3
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• pp.299-304
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• 2013

Culture contents are connected directly with our lives. Experts who produce culture contents or work at such industry or most of people regardless of age and gender are exposed to media contents like movie, game, animation, broadcasting and advertising. There are a number of users who use smart phones and smart pads which can view such media contents. The era of smart device which people easily surf, watch, and produce media contents will be opened. Therefore, the efficient curriculum for producing more touchable media contents should be developed continuously. Most of people recognize the necessity of educations to enhance creativity at university education. This paper intended to research the method of roles curriculum of university produce culture contents which stimulate emotion, creative and show new technology. This paper suggests academic curriculum for department of culture and contents based on the basics, even though new media device emerges the proper talents can be fostered.

• Journal of Digital Contents Society
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• v.14 no.2
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• pp.151-159
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• 2013

Recently, gamification has garnered high attention in various fields outside the traditional game world through the adoption of game techniques. The introduction of gamification creates an alternate reality game. It appears virtually the same as other normal games, but is able to pull down the boundary between reality and imagination. At first, this was utilized by the entertainment industry for movies, advertisements, and drama publicity. We can see examples of gamification extending into the knowledge and information contents field. The purpose of knowledge and information contents is to pursue meaning and utility rather than fun, though the introduction of game methods remains interesting. In-depth examination of the conception of an alternate reality game via gamification will lead to the understanding of progression and quality of alternate reality games in the context of knowledge and information contents. As a result, we can effectively understand not only the immediate uses but also be able to measure the potential for utilization of gamification for various fields.

• Nuclear industry
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• v.37 no.8
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• pp.24-33
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• 2017

영화 '판도라'에 투입된 정도의 돈은 막대한 예산을 갖고 있는 국제 그린피스나 매년 전 세계 TV 광고에만 수천만 달러를 쏟아 붓는 천연가스 이익단체들의 예산에 비하면 조족지혈의 수준이다. 국제 그린피스의 연간 예산이 대략 4억 달러, EDF가 1억4천만 달러, 천연자원보호협회(NRDC)와 시에라클럽이 1억 달러가 넘고, 이들 단체가 예금이나 주식에 투자한 돈만 해도 수억 달러나 된다. 시에라클럽이나 NRDC, EDF는 블로그에 원자력을 화석연료로 대체하는 것에 반대하는 글을 올리면서 다른 한편으로는 뉴욕에 있는 Indian Point, 캘리포니아에 있는 Diablo Canyon, 그리고 오하이오에 있는 여러 원전들을 천연가스로 대체해야 한다고 주장하는 기만책을 쓰고 있다. 자연과의 조화를 위해서라도 신재생에너지를 사용해야 한다는 그들 주장의 베일 뒤에는 더 큰 어두운 그림자가 깔려 있다. 가난한 나라는 계속해서 가난하도록 해야 '과잉 인구'와 '과소비'를 막을 수 있다는 반인륜적인 멜더스(Malthusian) 이론과 그들이 주장하는 반핵의 오랜 역사는 서로 그 맥을 같이하고 있기 때문이다. 탈원전이 추진되면 전기요금도 올라가고 실업률도 증가한다는 사실, 그리고 환경 오염도 더 심해지고 그로 인해 조기 사망자 수도 증가한다는 사실을 보여주는 데 반드시 어려운 경제 모델이나 환경 모델이 필요한 것은 아니다. 원자력을 천연가스로 대체하면 그에 따른 비용 상승이 연간 최소 110억 달러나 된다. 물론 신재생에너지로 대체하게 되면 그 상승폭은 더욱 커지게 된다. 그리고 한 경제 분석 전문기관의 연구에 따르면 전기요금이 상승되면 한국의 경제는 저성장에서 벗어나지 못하게 된다. 결국 지금 우리에게 가장 필요한 것은 원자력 휴머니즘, 즉 원자력 에너지가 갖고 있는 훌륭한 도덕적인 목적을 다시 한 번 상기하면서, 우리 인류가 가지고 있는 가장 중요한 환경 기술을 반인륜적인 집단으로부터 구해내기 위한 풀뿌리 시민사회의 가열찬 노력이라고 할 수 있다. 우리와 같은 원자력 휴머니스트들에게는 그린피스나 기타 여러 반인륜적 집단들이 갖고 있는 풍부한 자원이 없다. 그러나 우리에게는 그런 종류의 자원이 필요한 것이 아니다. 우리에게는 그것보다 훨씬 더 중요한 진실이라는 자원이 있다는 사실을 결코 잊어서는 안될 것이다.

• Management & Information Systems Review
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• v.31 no.4
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• pp.217-236
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• 2012

This study attempts to suggest a model on the factors of the experiential intent. We propose a model that includes (1) the entertainment, aesthetic, empathy, information as exogenous constructs, (2) utilitarian value and hedonic value, as mediating constructs (3) experiential intent, as endogenous construct. To test the model, we analyze the data using the LISREL structural modeling. The results of our analyses suggest, as expected, that program traits -entertainment, aesthetic, empathy, information- influence utilitarian value and hedonic value, in turn, utilitarian value and hedonic value influence the experiential intent. We conclude with a discussion of managerial implications, including the potential to advance understanding the factors of experiential intent on broadcast program.

• Journal of Korean Ophthalmic Optics Society
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• v.16 no.3
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• pp.219-228
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• 2011

Purpose: The aim of this study was to analyze objectively customers' connotative meanings dependent on show window display types in optical shops. Methods: This survey was conducted on optometry students in Seoul in their 20's. We collected examples of the show window displays in Korean optical shops and deduced their representative types. After drawing out connotative meanings by the semantic differential method, we determined the connotative meanings correspondent to each show window display types by using a questionnaire and statisticl analyses. Results: Respondents chose 'clean and simple', 'luxury and simple', and 'folksy and practical' as connotative meanings of open-type, small amount-type, mass amount-type and commercial-type show window displays, respectively. Conclusions: Analyzing induced connotative meanings and correspondents' preference, we think that the small amount-type show window is the most appropriate display for college students consumer group.

• Journal of Game and Entertainment
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• v.2 no.2
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• pp.61-69
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• 2006

Along with advance in visual culture, the importance of motion graphic has been increasingly emphasized day by day, which can maximize information delivery using image illustration and typography, graphic factors of images. In addition, we can easily see increasing cases where what a designer intends is visualized using creative typography in diverse mass media such as TV commercials, movies or web. Thanks to the effects of this trend, various ways of manufacturing works have been proposed in the field of motion typography by applying diverse factors including verbal ones, time, form, motion, colors, and sound for the purpose of expressing formless semantic notions through visual form of typography. However, physiological features such as sex, age, health status, pathological conditions, and body size can have a bigger effect on the process of real communication. Therefore, if property of quasi-verbal sound can be reflected appropriately in motion typography where communication is expressed only by visual form, it can enable people to understand what a designer intends faster and more exactly.

• Cartoon and Animation Studies
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• s.9
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• pp.127-142
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• 2005

Not only in Korea but throughout the entire world millions of people are in contact with images. Images have become a medium through which to transmit anything from simple visualizations of moving images to knowledge and information. The age of the internet has arisen thanks to scientific development, and the internet generation's acquisition of information is continuously becoming faster. The spectators, ufo must choose amongst the excessive amount of available information, are changing along with it just as quickly. The method of visual transmission has changed to match the demands of the fast-changing pace of the new generation. In order to receive an instantaneous selection amongst much information, the primary requisite is attracting one's attention, and then presenting a corresponding feeling of satisfaction. The early stages of film arose from the desire to capture one's actual situation as it realty is. Unsatisfied with the still picture, people developed the motion picture. Research has succeeded in reproducing 3-dimensional images more realistic than the actual image we perceive as a result of the difference in visual perspective of both eyes and their response to rays of light From color film to 3-dimensional pictures, people enjoy the magnificent results of this. All fields within the category of film are continuously studying the human desire to pursue their visual side, namely the pursuit of visual images with a maximum sense of reality. The images that millions of people around the world see now are flat. The screen's depth and optical illusions effectively give a sense of reality while conveying information. However, although the flat screen is able to create a sense of depth using the different visual perspective of each eye for the realization of a cubic effect, there are limitations. Entering the 21s1 century, there is a quickly-arising branch within the field of image media which seeks to overcome these limitations Although 3-dimensional images began in films, entering the latter half of the 20th century, due to development of 3-dimensional images using the mediums of the animation field, cellular phones, advertisement screens, television etc., without restriction is designated as 'image.'. With research having started around 1900 and continuing for over 100 years, we are now able to witness the popularization of 3-dimensional films happening before our very eyes. Within our own country, we can frequently see them at amusement parks and museums. In the future, through the popularization of HDTV etc., there is a good outlook for practical use of 3-dimensional images in televisions with advanced picture qualify as well as in other areas. Together with the international current, research on 3-dimensional films has been activated in Korea and is rising as a main current in the film industry. Within this context, the contents and understanding of 3-dimensional images must keep in step with the pace of technical advancements. In order to accelerate of development of film contents to keep in pace with technical developments, this dissertation presents the techniques and technical aspects of future developments, and shows the need to prepare in advance to make the field grow- and thereby avoid having a lack of experts and being conquered by other nations in the field - rather than only advancing the technical aspects and importing the contents. This dissertation aims to stimulate interest and continual research by progressive-thinking people related to the film industry. Part II looks into the definition and types of 3-dimensional motion pictures, the terminology, the fundamentals of image formation, current market fluctuations, and looks into 3-dimensional techniques which can be borrowed and introduced in 3-dimensional animations. Part III concerns 3-dimensional animated films. It analyzes 3-dimensional production techniques while using the introduction of specific animation techniques in the 2004 production Lee Sun Shin and Nelson - Naval Heroes 3-dimensional animation produced in 2004 by Clay & Puppet Stop-Motion Animation & Computer Graphic. Original Korean title: 해전영웅 이순신과 넬슨. as an example, and it also looks into how current film techniques used in animations can be applied in 3-dimensional films. Additionally, the actual stages of the various fields of 3-dimensional animations are presented. Given the current direction and advancement of 3-dimensional films making use of animations and the possible realization of this field, the author plans to weigh the development of this yet unexploited new market Not looking at the current progress of the field, but rather the direction of the hypothetical types of animation techniques, the author predicts the marketability and possibility of development of each area.

• Proceedings of the Korea Contents Association Conference
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• 2006.11a
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• pp.824-828
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• 2006

Introduction of motion capture system to the field of digital entertainment paved the way to accelerate the development of 3D character animation all the more. Motion capture system has been developed of the level that it can capture the fierce motions of character particularly in the digital game image and improve the dynamic characteristics by capturing the movement of human muscle or express the human's true emotion by capturing wrinkles and expression on face. Such an extension of realistic expression enables them to be used increasingly in movie, TV, advertisement, music video, etc centering around the game industry in the field of digital entertainment. The fact is, however, that many difficulties are held in the image production process compared with the competing countries such as USA and Japan, owing to inferiorities in technical expertise and capital in the image production process using the local motion capture, insufficient professional human resources of motion capture and small size of local motion capture image market. Hence, this study intends to suggest the plan to improve the technical problems in terms of integrated motion capture system, motion capture professional human resources and motion capture in-house program development in the production process of digital entertainment image using the motion capture system by surveying local and overseas examples of image production.