• Proceedings of the Korean Information Science Society Conference
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• 2003.04c
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• pp.214-216
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• 2003

이 논문은 그래픽스 API인 OpenGL에서 제공하는 기존의 빌보드 기법을 좀 더 사실적으로 표현하기 위한 방법에 대해서 고찰한다. 빌보드 기법은 다각형에 텍스처 이미지를 매핑하여 이 다각형이 항상 시점을 바라보도록 표시하여 어느 정도의 사실성을 유지하는 3차원 영상을 빠르게 생성한다. 그러나, 기존의 빌보드 기법은 물체의 위치에 관계없이 항상 동일한 이미지를 사용하여 사실성이 떨어지는 단점이 있다. 이 논문에서는 기존의 빌보드 기법과 관측 방향에 따라 다른 이미지를 생성하는 뷰 모핑 기법을 조합하여 관측 방향에 따라 물체가 변화하여 보다 사실적인 3차원 영상을 생성하는 빌보드 기법을 제안한다.

• The Journal of the Korea Contents Association
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• v.10 no.2
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• pp.146-154
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• 2010

Argument on the postmodernism of philosophy and history, epic and effect, and culture and art is becoming more ambiguous in scope due to digital technology development. Digital technology makes to change of aesthetic approach over the length and breadth of art and culture including medium art. Analysis of Digital images is changed from presence of images to feature analysis of images which is made by digital technology, and raise the question of how to analyze the images of reproducing digital technology focused on realism. Digital image, focused on hyper reality, should be approached not by film aesthetic approach but by shot unit. Due to emphasizes image reality reproduction by frame unit and not the short unit of the narrative approach, the artistic approach should differ from previous realism practice. Particularly, when considering movies which is focused on illusion, the realistic approach should be realized not in the of realistic approach in narrative aspect but in the aspect of realistic approach in painting aspect.

• Korean journal of communication and information
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• v.48
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• pp.231-256
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• 2009

The purpose of this study is that we regard the notion of reality that television viewers feel as presence, point out problem of measurement tool that appropriate for TV, clarify the subordinate concept of presence, and develop measurement tool that have reliability and validity. To achieve this, we paid attention to reality of television as a determinant of presence and tried to elicit proper subcategories. That is, we progressed two steps research that distinguished external characteristic and content of the media into sensible reality and cognitive reality, and develop measure item and verified statistical validity. We analyzed the second research result about measurement category of presence selected by first research and then we did Exploratory factor analysis and Confirmatory factor analysis. As a result, the first characteristic that make people experience presence is sensible reality, that is, it is the factor of sensible faithfullness, image faithfullness, and image reality as the form factor of the media. The second characteristic is cognitive reality. That is the factor of social reality, relational reality, and practical reality as the factor of media content. Synthesizing these subordinate factor, we can conceptualize presence experience as a reality of media form and content in HDTV viewing environment.

• Science of Emotion and Sensibility
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• v.15 no.1
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• pp.47-56
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• 2012

The purpose of this study is to test the effect of pedagogical agent realism and expertise on persona effect. There were two perspectives of the pedagogical agents' social interaction. Self-identification hypothesis argues that complexity of agent image is better to increase social interaction. Subjective identification insists that simplified image is more helpful to facilitate social interaction. However, from the cognitive load theory perspective, learners' expertise can be a major factor to determine persona effect. Sixty-eight college students (male=19 and female=49) participated. The independent variables were the degree of realism of pedagogical agent (detailed vs. simplified image) and the expertise (high prior knowledge group vs. low prior knowledge group). The dependant variables were comprehension test and the agent persona instrument (API). There was no significant difference in comprehension test score; however, there were significant interaction effect on the most constructs of API: 1) facilitating of learning, 2) credible, and 3) human-like. The follow-up analysis of simple main effect revealed that high expertise group showed significantly higher perception of the three construct with high realism of pedagogical agent. The results of study show that learners' expertise plays a key role of perception of persona effect.

• The Journal of the Korea Contents Association
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• v.12 no.6
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• pp.142-150
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• 2012

The development of technology in traditional media is affecting a variety of ways. In particular, the influence of digital images, the animation turned to a realistic 3D animation. With the release of realistic 3D animation , Robert Zemeckis received much attention but the audience did not like the animation of this style gradually. Robert Zemeckis gave up 3D animation after that drew attention for having a huge production budget while failing at a record-setting proportion in the American box-office. A digital actor in realistic 3D animation looks like real but the audience know that it is not real and they know that realistic 3D animations and live-action movies are different. So the audience will experience an emotional conflict like confusion, hesitation. The visual completion in realistic 3D animation is due to the development of technology and technology must develop to connect the audience acceptance and movie.

• The Journal of Korean Association of Computer Education
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• v.15 no.1
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• pp.55-64
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• 2012

The purpose of this study is to identify how realism of pedagogical agent can have impacts on persona effect and cognitive load factors. Eighty-two college students participated, and the independent variables of this study were the degree of image details and presence of gesture. The degree of image details were picture, illustration, and line-drawing. The $3{\times}2$ factorial design was applied. There was a significant interaction effect on the engaging of agent persona instrument. When the learners were under the condition of line-drawing agent without gesture, they showed the highest score on engaging of the agent persona instrument. Regarding the cognitive load factors, when learners under the condition of line-drawing showed the highest score of self-evaluation.

• Journal of Digital Convergence
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• v.14 no.12
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• pp.495-501
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• 2016

The film has always reflected the culture of the era based on reality and imagination. The visual effect in the film has mainly played a role of expressing the reality more realistically or recognizing the virtual as reality. This study examines the meaning and the effect of fantasy realism through Oasis of Lee Chang-dong. Fantastic realism has separated the reality from the imaginary space by using a dual meaning tool that affects the time and space in the film and reflects the human desire and desire to see. It was also reproduced in the real world through the medium of pigeons. In addition, it separates visualized space from non-visualized space in film narrative structure, separation of real and unreal space, segregation of consciousness and unconscious space, and separation of reality and reality space into power structure. With the development of technology, the image of the yellow image comes closer to us like reality, which will express the space of unconsciousness that we could not think of.

• Journal of the Korean Academy of Esthetic Dentistry
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• v.13 no.2
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• pp.29-35
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• 2004

최근 심미적인 보철 치료에 대한 사람들의 관심이 높아짐에 따라 자연치와 더욱 조화롭게 보철 치료를 하는 것이 요구되고 있다. 이는 구조적인 심미성과 함께 자연스러운 색조 재현을 통하여 이루어지는데, 자연치의 색조는 매우 다양하고 부위별로 달라질 수 있기 때문에 단순히 shade guide상의 비교만으로는 정확한 색조를 얻기가 어렵다. 이러한 색조 선택의 부정확성 때문에 객관적으로 색조를 분석하는 많은 기계적 장치들이 고안되었고, 최근에 ShadeScan system(CYNOVAD, Canada), Vita Easyshade system(Vident, Canada) 등 디지털로 색조를 평가하는 시스템이 각광을 받고 있다. ShadeScan system은 한 번의 클릭으로 치아 이미지를 채득할 수 있고, 바로 컴퓨터를 통해서 이를 분석하여 원하는 shade map, translucency map 등을 얻을 수 있다. 또한 세 방향에서 조사되는 빛은 자체 calibration을 거쳤기 때문에 주변 광원이나 환경의 영향 없이 객관적으로 치아의 이미지를 채득할 수 있다고 한다. 사실 그 동안 이미지 채득이 객관적이라고 주장하는 많은 system이 있었지만 임상의들은 그 신뢰성에대해 의구심을 보였던 것이 사실이다. 이에 본고에서는 ShadeScan system이 반복 촬영 시 같은 색조재현을 할 수 있는지 실험하여 그 객관성에 대해 살펴보았다.

• Cartoon and Animation Studies
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• s.42
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• pp.25-52
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• 2016

Animation documentary is a hybrid genre that is newly highlighted with opposite properties. The actual world is reproduced with an unrealistic method in documentary aspect, but the objectivity of documentaries cannot be guaranteed as the boundary of actual pictures and digital images has become ambiguous. As the animation documentary by Ari Folman succeeded in 2008, the focus of this study is on 'how can fictional animations prove the authenticity of documentaries?' in which the study is mainly conducted in documentary aspect. For this, the researcher considers visual style research has important role in understanding and developing a new video genre, and asserts the necessity of research on reproduction image that is produced by the characteristics of animation which is produced in frame units. This paper has contents on the visual style of animation documentaries with pictorial reproduction methods in which animation images were classified into 3 styles based on previous research on animation documentary style. Visual styles are classified into actual image that is based on similarity with reality to deliver objective facts, image that is transformed through emphasis and omission which are factors of animations, and surrealistic image that reproduces non-visual regions such as illusions and the inner side of characters. Through this study that analyzes visual style types and characteristics, animation documentaries are expected to position as a hybrid genre that illustrates reality with a new method instead of being included in the existing reproduction method of documentaries.

• Journal of the Korea Convergence Society
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• v.9 no.7
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• pp.185-191
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• 2018

The digital technologies brought a structural transformation to cinema, have lead a change in the way of existence of an assembly of images called cinema, and have shared expression methods with new-media. To look into how in terms of cinema style of the film era and the digital era are different, this article will focus on the matter of 'indexicality.' From the point of view of perceptive realism the discourses on digital image deconstruct the dichotomy between illusionism and classical realism. Therefore the actuality of an image does not depend on only indexicality but has much to do with how the viewers fundamentally perceive the image. In this age of digital cinema it does not matter to distinct a composite-image from a reality-image. This article inquires the relation of indexicality, the world and digital images in digital cinema on the level of reception, and reconsider in terms of image production.