• Proceedings of the Korea Multimedia Society Conference
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• 2012.05a
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• pp.108-111
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• 2012

중국은 2008년 9월 개봉한 '잃어버린 세계를 찾아서'을 통하여 디지털 입체영화의 시대가 열렸다. 이후 2010년 1월 제임스 카메론 감독의 <아바타>를 통해 중국입체영화산업은 세계적인 입체영상산업에 발맞추어 놀라운 속도로 발전 하였다. 중국의 디지털 시네마 디스플레이 시스템의 발전과 입체영화를 통한 극장 흥행수입 등의 데이터를 바탕으로 중국시장의 발전가능성을 발견할 수 있다. 하지만 현재까지 중국 입체영화 시장의 주요 콘텐츠는 해외에서 수입된 콘텐츠가 주를 이루고 있다. 중국 입체영화 시장의 발전에 비하여 제작분야는 아직은 발전초기단계이다. 본 연구는 중국3D입체영화의 부실이 스토리와 입체효과기술에 있다고 판단하여 콘텐츠 선진국의 3D입체영상 역사와 현황을 파악하고 중국의 3D입체영화의 현황 비교분석하여 그 해결방안을 제시하는데 목적을 두고 있다.

• The Journal of the Korea Contents Association
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• v.11 no.3
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• pp.167-178
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• 2011

This study is an empirical study approach to investigating impact of 3D stereoscopic film's customer satisfaction. Using conventional methods, there were identified 3D stereo films's factors that character, story, dialogue, music, and 3D technical factors. And There were trying to analyze the impactive gaps of 3D stereoscopic film's customer satisfaction between high participation and low participation of customers about 3D film's. The results of this study can be summarized broadly as follows. First, the story and 3D technical factors was high-impact of customer's satisfaction at watching the 3D films. Second, 3D technical factors were highly correlated with customer satisfaction at the low participation group. And 3D technical factors and story were highly correlated with customer satisfaction at the high participation group. The conclusion is expected to provide useful suggestions about the selection of variables at the future 3D film study.

• The Journal of the Korea Contents Association
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• v.11 no.2
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• pp.229-237
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• 2011

All over the world, the interest in technology and industrial value has been increasing rapidly due to the continuing commercial successes of three dimensional films. However, after the commercial success of , without exception, lots of three dimensional films had been produced thoughtlessly. Hereby, these films incurred a censure owing to bad degree of completion related to insufficient storytelling and directing. For three dimensional films, characteristic of producing should be considered perfectly in the planning stage unlike previous films. This study concentrates upon proper directing for three dimensional films, and analyzes the method of it, roughly divided into three parts ; the lapse of time, directing the screen which can highlight space sense, and the point of sight. Henceforth, The demand of three dimensional contents will increase all around the world, at such time, we also should take note of the change, and then produce excellent contents which can lead to have a chance to gain the supper hand in the market of three dimensional contents.

• Journal of Korea Multimedia Society
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• v.16 no.8
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• pp.994-1004
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• 2013

3D stereoscopic cinema emerged as a new dominant media format. In principle, the stereoscopic cinema imitate the vision of the human being has two eyes. The stereoscopic cinema is filmed with 2 connected cameras at the same time and projected these 2 different images. With the stereoscopic glasses, the human being can see the overlapped images as a single 3D stereoscopic image. To make 3D stereoscopic cinema, it is very important to systemize the process of the 3D stereoscopic cinema production and to use the principle of the 3D stereoscopic cinema. This paper investigates the possibilities of the using the 3D stereoscopic principles such as the I.O.D, convergence point, parallax and the 3D comfort zone. Using the principle of the 3D stereoscopic cinema can be the technique of directing the film. Using the example of 3D stereoscopic short film My Birthday, I investigate the main technique of the 3D stereoscopic cinema.

• Electronics and Telecommunications Trends
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• v.27 no.3
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• pp.22-31
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• 2012

영화 '아바타'를 계기로 다양한 입체영화의 등장과 3D TV의 대중화로 인해 입체영화를 비롯한 입체 콘텐츠에 대한 관심이 증가되고 있다. 또한 MS사의 '키넥트'가 인기를 끌면서 사용자와 영상 콘텐츠 간의 상호작용 기술이 게임을 중심으로 다양한 분야에 적용되고 있다. 본고에서는 입체영상을 제작하는데 있어서 필요한 촬영 기술 및 관련 장비의 현황 및 스테레오 입체영상의 색감일치 기술의 현황을 소개하고자 한다. 아울러 영상 콘텐츠와 사용자 간의 상호작용을 위한 비전 기반의 상호작용 기술 및 장비의 현황에 대해서도 살펴본다.

• The Journal of the Korea Contents Association
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• v.11 no.9
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• pp.106-117
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• 2011

The purpose of this study is to examine factors that affect 3D stereoscopic movie audiences' satisfaction in Korea, and to provide strategic solutions to improve audiences' satisfaction. According to study about movie audiences' satisfaction, factors that affect movie audiences' satisfaction are separated to movie internal factors, movie environmental factors and movie audience factors. And leverage of movie internal factors is bigger than either. But 3D stereoscopic movie is different from ordinary movie in shooting, screening, seeing and recognizing method. So it is expected that movie environmental factors and audience factors' influence is bigger than internal factors. So this study carried out a survey targeting 3D stereoscopic audiences. Main result of this study are shown as follows. First, the method to reduce visual fatigue is necessary for satisfaction. Second, it is required that improvement method of seat arrangement to provide high quality 3D stereoscopic contents. Third, level of 3D stereoscopic movies' price need to adjust to valid level.

• Electronics and Telecommunications Trends
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• v.26 no.1
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• pp.13-24
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• 2011

영화 "아바타"가 개봉되면서 입체 콘텐츠 특히 입체 영화에 대해 많은 사람들이 관심을 갖게 되었다. 초기 국내에서, 스테레오 영상 제작 시도는 많았지만, 입체 영상을 단순히 한 쌍의 영상을 보여주는 것으로 생각하여 잘못 제작되는 경우가 많았다. 입체영상 제작 기술은 한 쌍의 영상을 인간의 양안에 각각의 영상을 보여주면 3차원으로 인식한다는 데 기술적 근간을 두고 있으나, 초기엔 실세계에서 인간이 인식하는 것과 유사하게 처리되지 않아 시각피로를 유발하는 경우가 많았다. 그래서, 본 원고에서는 "아바타" 영화와 같은 입체영상을 제작하기 위해 어떠한 기술과 고려되어야 할 사항들이 있는지 살펴본다. 현재 입체 영상 획득 방식인 두 대의 카메라를 이용하여 실사로 촬영하는 데 필요한 기술과, 그 결과 영상을 후반작업에서 보정하고 합성하여 시각피로를 최소화하는 방법 및 기술들을 중심으로 살펴본다.

• Review of Korea Contents Association
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• v.8 no.1
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• pp.31-37
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• 2010

• The Journal of the Korea Contents Association
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• v.12 no.3
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• pp.17-24
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• 2012

Andre Bazin called the movie frame as "the window open to the world." This expression is close to realization through 3D films. The 'Avatar' released in 2009 was a new turning point for 3D films. Nowadays the theory and information about 3D films is overflowed. It is necessary to find practices and to accumulate data useful in production of 3D films. There are several ways of working to achieve high quality 3D films. In any way that's chosen, there are priorities to be considered to create well-balanced 3D films. The aim of this article is to review primary considerations in film-making and share the technical issues experienced during the production of "Let's go to the amusement park again, Mom." Because the current practical knowledge in making 3D film is shallow, this article will offer a possible reference for further research.

• The Journal of the Korea Contents Association
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• v.11 no.7
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• pp.121-130
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• 2011

If you ask many Stereographers how to make a good S3D and you will get all different answers. There are several 3D knowledges and opinions that were not always in agreement. we have to choose which advice to follow and find our own way. But there will be no durable screening of S3D films without a minimal viewing comfort of all the audience whatever the differences of their vision. First of all, We always consider several factors to get an appropriate S3D shot before moving on to production. This is intended to provide a practical example on S3D film production. I hope that this article will encourage further research on this topic.