• Journal of Digital Convergence
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• v.15 no.12
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• pp.531-541
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• 2017

Realistic videos using multi-view videos are created so that the contents shown on multi-view displays or screens look realistic. These images have been mostly used for special videos for exhibition, but, recently, systems such as Screen X have given rise to multi-view images as a format for storytelling contents such as movies. This study used HD-level broadcasting digital video camera with three zoom lenses for shooting wide to close-up shots focusing on a person, in the same way as Screen X, and identified and analyzed problems found during multi-view image registration correction. The results of this study suggested, provided the shooting technique and equipment are improved, the multi-view format can be used for conveying stories and information. Future research will need to investigate and supplement relevant techniques that will enable production of high-quality multi-view image contents by using a cinema-grade camera with standard lenses, instead of using broadcasting-grade zoom lenses.

• Trans-
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• v.11
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• pp.37-63
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• 2021

This paper focused on documentaries and for specific places and described the documentary shooting methodology from the perspective of a Cinematographer. 'Old Seoul Station' and 'DSME' (DAEWOO Shipbuilding & Marine Engineering Co., Ltd.) are monumental spaces that reflect the value of Korea modernization and are shared by Koreans' collective memories, unconsciousness, and unique feelings for the place. 'Old Seoul Station' has changed its place identity to a new space called "Culture Station Seoul 284." 'DSME' is a large-scale industrial complex that still functions actively, and it is like an organism that seeks to change according to changes in its industrial structure. and observe and record images of space related to place identity and the people related to it. It shows the construction of staring into a space in a particular place and continuously recording and placing moments of experience, such as the appearance of people working and resting. If it is not recorded through this, it allows us to see intangible narratives related to volatile place identity, and enables specific place experiences through theaters. This study focuses on production theory based on examples of documentary filming methods for these specific places.

• Digital Contents
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• no.11 s.114
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• pp.92-95
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• 2002

DVD(Digital Versatile Disk)에 관한 관심이 고조되고 있다. DVD가 현재 침체기에 있는 PC시장을 활성화시킬 수 있는 구세주로 등극할 것으로 예상되면서다. 최근 시장조사기관 IDC와 일본 파이오니어의 공동 보고서에 의하면 DVD와 관련된 홈 시어터, DVD 레코딩, 비디오 편집 분야가 PC 시장의 새로운 변수로 작용하고 있다. DVD롬 드라이브를 통한 DVD영화 시청은 물론, 직접 캠코더로 촬영한 동영상을 편집하고 DVD로 굽는 일련의 작업을 PC를 통해 수행하는 소비자들이 빠른 속도로 증가하고 있다는 얘기다. 이에 따라 관련업계의 움직임이 바빠지고 있다. 특히 DVD 관련 업체들의 DVD 표준 규격 확보를 위한 경쟁은 전쟁을 방불케하고 있다. 현재 마쓰시타, 소니, 도시바, HP, 삼성, LG 등 주요 광 드라이브 업체들이 DVD-R/RW, DVD-RAM, DVD+R/RW 등 각기 다른 차세대 기록형 DVD 규격을 놓고 경쟁하고 있다. 표준 규격을 거머쥐는 쪽이 향후에 전개될 차세대 DVD 시장을 주도할 것으로 예상되기 때문이다. 본 고에서는 현재 제기되고 있는 기록형 DVD 표준화 동향을 중심으로 차세대 DVD시장을 진단해본다.

• Proceedings of the KSLP Conference
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• 2003.11a
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• pp.151-152
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• 2003

말소리가 만들어지는 과정 중에서 성대에서 성대음이 만들어지는 과정이 가장 핵심적인 과정이라고 할 수 있다. 이때의 성대의 진동을 관찰할 수 있는 방법은 1) 초고속 영화 촬영(Ultra-speed cinematography), 2) 스트로보스코피(Stroboscopy), 3) 성문파형검사(Glottography) 등이 사용되어 왔다. 1)은 고가의 장비이며 분석도 어려워서 아주 극소수의 연구기관에서만 부분적으로 사용되어 왔고, 2)와 3)은 임상에서 그리고 연구실에서 널리 사용되어 왔다. 스트로보스코피의 영상을 비디오로 녹화하는 장비는 이제는 이비인후과 영역에서 웬만한 종합병원급 의료기관 이라면 거의 필수적인 장비로 자리잡고 있다 그만큼 성대의 미세한 병변에 대한 진단적 가치가 높다고 할 수 있겠다. 스트로보스코피는 끊어져서 발생되는 제논 광선이 내시경을 통하여 성대에 전해지고, 성대의 실제의 진동 보다. 아주 느리게 움직이는 것 같은 일종의 허상이 화면에 나타나고 이를 비디오시스템으로 저장하여 관찰하는 것이다(Fig. 1, 2). (중략)

• Proceedings of the Korea Information Processing Society Conference
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• 2010.04a
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• pp.550-553
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• 2010

최근 영화, 광고 그리고 증강현실과 혼합현실 등 다양한 분야에서 실제 영상에 가상의 객체를 합성하는 기법이 자주 사용되고 있다. 보다 사실적인 합성 결과를 생성하기 위해서는 실제 배경영상의 광원정보를 그대로 적용해야 한다. 이러한 실 세계의 광원 정보를 이용하기 위해서는 HDR(High Dynamic Range) 영상을 생성해야 한다. 일반적으로 HDR 영상을 생성하기 위해서는 고가의 HDR 카메라를 사용하거나 LDR(Low Dynamic Range) 카메라를 사용하여 노출 시간을 달리한 일련의 LDR 영상을 촬영하여 이를 기반으로 HDR 영상을 생성해야 한다. 본 논문에서는 이러한 단점을 보완하기 위해 한 장의 LDR 환경 맵을 HDR 환경 맵으로 복원하는 방법에 대해 제안한다. 제안하는 방법을 통해 LDR 환경 맵을 HDR 환경 맵으로 복원할 수 있으며 결과에서 볼 수 있듯이 HDR 영상을 이용했을 때와 유사한 렌더링 결과를 생성할 수 있다.

• Proceedings of the Korean Society of Broadcast Engineers Conference
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• 2020.07a
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• pp.601-604
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• 2020

방송예술 및 콘텐츠 제작 역량을 교육시키는 방송예술특성화 대학으로서 C3(Creativity, Convergence, Contents) 방송예술 창의융합교육 모델인 융합수업을 개설하고 전체 학과에서 신청한 학생들을 대상으로 교육을 진행하였다. 융합수업은 전공이 다른 학생들이 희망하는 콘텐츠 제작과정을 수강하고, 방송사와 산업체에서 실무경험이 풍부한 교수와 전문가들이 직접 콘텐츠 제작을 지도함으로써 고품질의 수준 높은 콘텐츠 제작 교육을 경험할 수 있는 수업이다. 즉, 재학 중 학교수업을 통해 미리 현장 경험을 쌓음으로써 취업 즉시 콘텐츠 제작 역량을 발휘할 수 있는 자신감 함양과 제작현장에 기여할 수 있는 융합형 인재양성 교육프로그램인 것이다. 본 연구에서는 대학이 보유하고 있는 방송용 버츄얼 스튜디오를 활용한 가상 세트 영상 제작 교육 『영화담』을 제작하는 융합수업과 드론 항공촬영을 활용한 제작교육 『드론 탐사대』 융합수업을 실시하여 첨단 기술을 활용한 콘텐츠 협업 제작의 효과와 학생들의 만족도를 분석하였다.

• Journal of Korea Entertainment Industry Association
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• v.15 no.4
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• pp.73-87
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• 2021

Special theaters were created to provide a sense of immersion and spectacles due to differentiated screens, sound, seating facilities, and advanced services, and also expanded screens. The purpose of this study is to perform comparative analysis of the technical characteristics formats shown in special theaters(3D film, 4DX, IMAX, ScreenX, and VR) in order to identify and find ways to overcome the technological limitations in production. The various formats show differences in field of view depending on the exhibition technology and these differences affect the mise-en-scene, narrative, and editing of the film and consequently result in changes in the production environment and process. Therefore, directors and creators must understand the technological features and limitations of the new formats before making their approach. However, a new format encounters limitations on production sets due to the decline of technical education and succession. In situations where shooting with a special camera is essential, the particular characteristics of each format should be carefully considered from the planning stage but financial problems arise due to increase in production period and cost. To overcome these various obstacles, it is essential to first identify problems and present alternatives through in-depth research on the production set of each format. Finally, this research aims to explore the prototype of each format and analyze the current state of production technology with formats that have not been adapted to the market trends by combining with the other formats and showing that they can survive in new ways.

• Journal of the Korea Society of Computer and Information
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• v.27 no.8
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• pp.103-110
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• 2022

This study is a paper on the recognition of college students about the long-take shot technique which is often used to give a sense of reality and realism to films. 13 surveys were conducted on 92 students, including their perception of long-take films, their feelings after watching the film, satisfaction, and future prospects. Participants in the surveys consisted of 23 students in the health field, 16 students in the natural field, 41 students in the arts and sports field, and 13 students in the engineering field. As a result of the surveys, 68.8% of students answered "I know" about long-take film, and the feeling after watching the long-take film was found in the order of reality (realism) 68.8%, tension 16.1%, and boredom 15.1%. After watching the long-take film, 16.1% of students chose "Very satisfied" and 31.2% chose "Satisfied". Future prospects for long-take film showed high with 17.2% for "It will be developed very much" and 48.4% for "It will be developed". Preference for long-take film and general film was 67.7% for "long-take film" and 32.3% for "general film", showing high preference for long-take film. As a further research project, more in-depth surveys will be conducted targeting broadcasting & media contents majors in their 20s, and the long-take films used according to the story development process in domestic films will be analyzed.

• Journal of Popular Narrative
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• v.25 no.1
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• pp.393-425
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• 2019

This paper focuses on Alain Resnais's representative works (1955), (1959), and (1963), and analyzes how he implements a representation of memory though cinematic apparatus. These three films deal with horrific memories that seem impossible to reproduce aesthetically such as the Holocaust, the Hiroshima Atomic Bomb, World War II, and the war in Algeria. The reappearance of events that stripped humans of even their minimum dignity can naturally be associated with ethical issues. These events can never be reproduced because they cannot be explained in the human language. It is also impossible to reproduce in a way that doesn't invade other peoples' sufferings, nor displays the pain of others as spectacles. Alain Resnais was a director who realized that if factual representation was not possible from the beginning, truthfulness would have to be approached through cinematic form. Therefore, he tries to overcome these problems through cinematic forms. First, he shifts to action films to avoid the obscenity of documentary. shows the records of camps captured by German forces in the past, while shows the pain of others in a fictional form of representation. Next, he describes how the trauma affects the identity of the main character through a flashback in , but also shows a main character who is experiencing trauma without a flashback in Flashbacks have the effect of showing the effects of trauma on the main character, but at the same time they involve the obscenity of enjoying the suffering of others. Nonetheless, the absence of flashbacks highlights the impossibility of representation. This is because it is not silent in the impossibility of representation but is constantly approaching. The attitude that repeatedly circles around impossibility is an ethical form that maximizes the impossibility of representation. In conclusion, this is the ethics of representation that Alain Resnais showed in his films.

• Journal of the Korean Academy of Child and Adolescent Psychiatry
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• v.24 no.2
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• pp.57-64
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• 2013

This study was conducted to evaluate the psychological changes and influences of child actors depending on their role. First, we met the film producer of Dogani and discussed about the filming condition. Second, we visited filming locations during the filming of Neighborhood, when shooting of parts involving the female child actor was taking place and evaluated the emotional states of the child actor before and after she played her role. Third, we interviewed various people of the movie industry, which included adult actors, directors, a professor of films and broadcasting who was a former child actor and a scriptwriter. In case of the film Dogani, the production crew provided enough care and protection and we concluded that child actors had no psychological sequelae. After interviewing the child actor and visiting filming locations, we confirmed that the child actor was not influenced by playing certain roles. In addition, after interviewing various people related to filming, we thought that child actors might not have psychological sequelae related to the character played. To the best of our knowledge, this is the first study about influences of the playing character for child actors. We concluded that playing certain roles would not have negative effects on child actors.