• The Journal of the Korea Contents Association
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• v.12 no.8
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• pp.114-122
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• 2012

The world focus on enhancing national prestige based on the value of traditional culture and history to preserve cultural heritage that make an effort to popularize in public. Hence, the true issue of paradigm for traditional culture are given at recreation for the value of cultural heritage. To study level of awareness of the importance in cultural heritage, proceed on experimental research for two groups that each group as for professionals and laymen. There are five experiment with two groups that of level of immersion, educational effect, interest, intelligibility score in the documentary in achieve which are recorded image and recorded film. The result of experiments, it showed difference between professionals and laymen, high scored of immersion and intelligibility score in professionals group of recorded image, other highly scored of immersion and educational effect in laymen of recorded film. Consequently, it will need historical recording documents to supply divisively with as considering levels and cognitive situation for professionals and laymen to satisfy their intention. And also, the needs for public to develop various source and contents of heritage to have people's interests. For the expert, it demand on educational projects and contents to be initiated in skills and arts.

• Proceedings of the Korean Society of Broadcast Engineers Conference
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• 2017.11a
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• pp.146-148
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• 2017

기술의 발전에 따라 촬영기기 및 영상장비들의 성능이 비약적으로 향상되고, 본격적인 UHD(Ultra High Definition) 시대가 맞이하여 자연스럽게 소비자들은 더 나은 화질을 요구하고 많은 콘텐츠업체들은 초고화질기술을 적용시킨 작품을 제작하고 있다. 또한, 고품질 콘텐츠에 대한 요구 뿐 만 아니라 데이터 관리(Data Management) 및 색보정(Calibration) 등 이와 관련된 기술의 중요도 증가되고 있다. 따라서 본 논문은 DIT(Digital Imaging Technician) 작업을 차량 내에서 할 수 있도록 특수제작 된 차량을 제작함으로써 현장에서 실시간으로 컬러 그레이딩(Color Grading), 데이터 관리(Data Management) 업무를 수행하여 업무 효율성을 높이고 제작편의성을 증대하고자 한다. 컬러 그레이딩과 데이터 관리라는 요소들이 현재 방송분야보다는 영화와 관련한 분야에서 많이 사용되지만 UHD 시대가 열리는 미래의 방송환경에서는 방송에서도 중요한 요소가 되고 있다.

• Proceedings of the Korea Information Processing Society Conference
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• 2013.05a
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• pp.336-337
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• 2013

전 세계적으로 3D영화 및 디스플레이 기기에 대한 일반인들의 관심이 증가하고 있다. 하지만 편안한 시청영역(Comfort Zone)에서도 3D를 인식하지 못하는 사람들도 적지 않지 않다. 이런 사람들은 "자신의 눈"에 이상이 있는 것도 모른 채 3D 콘텐츠를 멀리하게 되지만, 안과적 조치를 통해 3D영상 시청 시 어지럼증 유발을 상당부분 제거할 수 있다. 기존의 입체시 검사 도구는 왜곡 및 실감정도를 파악할 수가 없다. 이를 세밀하게 측정할 수 있는 3D 콘텐츠 깊이 측정기를 제작하고, 이에 적합한 콘텐츠를 제작하였다. 3D 콘텐츠 깊이 측정기는 기능을 제어하는 콘트롤 부와 콘텐츠를 보여주는 컨벌젼스 룸으로 구성되어 있으며, 장비를 통해 3D 오브젝트의 깊이나 돌출거리와 같은 여러 파라메타들을 측정할 수 있다. 콘텐츠 제작에 대해선, 오브젝트의 위치는 여섯 부분으로 분류하고, 양안시차(disparity)는 $+2^{\circ}{\sim}-3^{\circ}$ 범위에 $1^{\circ}$ 간격으로 6레벨로 구성하였다. 하나의 오브젝트에 대해 서른여섯개의 오브젝트를 제작하였고, 이들의 조합을 통해 다양한 콘텐츠를 구성하도록 했다. 이를 바탕으로, 안간거리 6.5cm를 대상으로 돌출거리를 측정하였다.

• Journal of Advanced Navigation Technology
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• v.25 no.6
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• pp.557-561
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• 2021

A meatadata has become an essential element in order to recommend video content to users. However, it is passively generated by video content providers. In the paper, a method for automatically generating metadata was studied in the existing manual metadata input method. In addition to the method of extracting emotion tags in the previous study, a study was conducted on a method for automatically generating metadata for genre and country of production through movie audio. The genre was extracted from the audio spectrogram using the ResNet34 artificial neural network model, a transfer learning model, and the language of the speaker in the movie was detected through speech recognition. Through this, it was possible to confirm the possibility of automatically generating metadata through artificial intelligence.

• Journal of Popular Narrative
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• v.25 no.4
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• pp.263-288
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• 2019

Barrier-free films enhance accessibility to audiovisual image contents by providing specific information on screen and through sound so that people with vision or hearing loss can receive the same amount of information as those without disabilities and immerse themselves in the audiovisual images. This study pays attention to barrier-free audiovisual contents in relation to the cultural civil rights of people with vision or hearing loss in South Korea. While institutional efforts have been made in the 2010s to improve the access to audiovisual media of people with vision or hearing loss, the goal of enabling people with vision or hearing loss to fully enjoy all audiovisual contents at a level equal to the non-disabled has not yet been realized. Amid the lingering conflict between disabled groups and multiplexes that has lasted years, the global video streaming service Netflix has aggressively threatened the dominance of local multiplexes with the launch of its Korean service. As Netflix, which is subject to U.S. regulations guaranteeing the rights of people with vision or hearing loss, has produced original dramas and movies involving Korean production teams, the cultural civil rights discourse of the disabled has transitioned to the issue of the rights of cultural consumers crossing national borders in the era of globalization. Changes in the media environment raise the issue of civil rights guarantees in which disabled people enjoy the right to simultaneously watch movies and comment on movies by participating in a common discourse, equally with non-disabled people. The "right to be part of the audience for Korean cinema" for Korean deaf people, which has long been neglected, should also be considered as a cultural civil right that crosses the boundaries of language, nation and disabilities. This essay examines the current issues surrounding the right to cultural entertainment of people with vision or hearing loss in South Korea in conjunction with the contemporary trend of rapid changes in the media environment and the global spread of the movement for cultural civil rights of people with disabilities, and suggests the need for visual culture studies to take a serious step toward disability studies.

• Journal of the Korea Computer Graphics Society
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• v.14 no.3
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• pp.19-30
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• 2008

Fluid simulation for computer graphics is a field of generating the realistic movements of water, smoke, fire, explosion, sand and related phenomena to be used in motion pictures and video games. In this paper we review the fluid simulation technologies and present a trend analysis for the simulation methods used in the recent movies. First of all, for this purpose, the two methods that are most widely used for fluid simulation are explained as well as their technical issues. These two methods are classified into Eulerian grid-based and Lagrangian particle-based approaches. Next, focusing on the achievements of the scientists and engineers that the 2008 Sci-Tech Oscar Awards are given to, the features of their fluid simulation technologies are analyzed. Finally, we anticipate that there are and will be the needs for visualizing fluid interaction with rigid and soft bodies and topological change among solid, fluid and gas, creating digital creatures based on fluid simulation and presenting interaction between creature and fluid.

• Trans-
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• v.2
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• pp.75-94
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• 2017

The film director is the responsible for artistic quality of the film. In Hollywood, the director considered as a technician only visualizes the given scenario. In the 1950s, young critics of the Cahiers du cinéma, who were at the center of Nouvelle Vague, re-qualified some Hollywood directors, for example Alfred Hitchcock, Howard Hawks and John Ford. They are considered "auteurs(authors)" because their films have their own styles. In France, the word "auteur-directoir" is often used in the film production. It refers to the person who writes the original screenplay of a movie. Auteur's legal definition of copyright is set out in Article L.111-1 of the Intellectual Property Code: "the auteur of a work of the mind enjoys the work by reason only of its creation, of an exclusive intangible property right and opposable to all. On the other hand, in the definition of producer, it is the natural or legal person who takes the initiative and responsibility for the realization of the work according to Article L. 132-23 of the same code. We study here the competence and responsibility of the French director as an "auteur" by consulting the two types of contract: director-technician and author-director. We rant to offer a reflection on the position of the film director and the relationship between the director and the producer.

• Cartoon and Animation Studies
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• s.44
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• pp.1-31
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• 2016

In this thesis, the movie with mise-en-scene established was compared with the peculiarity of the play that is the etymological source of the term to identify the peculiarity of mise-en-scene which was substituted into animation to find the peculiarity of mise-en-scene in animation. To emphasize the direct connection between the frame's visual peculiarity and the director's opinions, the mise-en-scene of director centered animation created under a restricted environment was reviewed. Mise-en-scene which started from movie critics theory does not simply mean the arrangement of images in a frame. Mise-en-scene emphasizes the exposure of the work's motive by the visual components. The animation's assuming the middle point of environmental share possessed by play and movie when schematizing the genre peculiarity of animation, play and movie was a noteworthy result. It can be said that the cause is that the animation's peculiarity yield different results depending on the making methods; we verified that this is a key factor in the analysis of animation's mise-en-scene. I emphasized that the peculiarity of animation mise-en-scene is in its making method and material and suggested identifying the work's making methods and analyzing the work's aesthetic results derived in this way. The russian animation which was perceived as peripheral arts was relatively free from the burden of censorship while receiving support from the Soviet as a media for propaganda. The russian animation's mise-en-scene which found the material for its works in the country's folklore was metaphorical, focused on new expression forms and achieved experimental elements. Russian animation pursues a unique aesthetic world through space expression based on the forms of opera or ballet and heavy motions formed static inbetweens.

• Proceedings of the Korea Contents Association Conference
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• 2006.11a
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• pp.759-762
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• 2006

Historically, internet is the fastest growing media together with the ICT development and the key of the development is contents. Digital contents indicate information which covers voice, DB, game, publications and music etc. and the areas have been creating new technology business opportunities. The value chain of digital contents consists of production, collection, processing, services, connection and navigation and is expected to be reorganized around business players of production and distribution areas. This paper presents on those changes occurring in business environment and examples of business models, and further provides industries and academias with technology commercialization strategies.

• The Journal of the Korea Contents Association
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• v.7 no.5
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• pp.85-93
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• 2007

The motion capture system has shown its great potential as a new image expression means for handling such challenging tasks as realistic animation of humans or animals in motion, which cannot be handled by the existing key frame method satisfactorily, and also projects involving a large scale or a burdensome economic expenses. Its applications also has been intensified and widened in the entertainment arena including motion pictures, TV, advertisements, documentaries, music videos, etc. centering around games. Despite of these merits, though, a number of issues have been surfaced in the digital image expression utilizing the motion capture system, such as a burdensome amount of preparatory work, the needs for attachment of markers and for remedial corrections of motion data, and the lack of trained manpower. We would like to present in this paper a new direction for making the digital image production more efficient, based on the extensive analysis of prior image production projects that used the motion capture system.