• Proceedings of the Korea Information Processing Society Conference
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• 2012.11a
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• pp.629-632
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• 2012

클로즈 업 숏은 영화의 서사구조와 밀접한 관련이 있다. 등장인물의 얼굴을 확대하여 보여줌으로써 표정의 변화를 섬세하게 표현할 수 있다. 이를 통해 관객에게 등장인물의 감정이나 심리상태를 세밀하게 묘사해 줄 수 있다. 따라서 영화에서 클로즈 업 숏을 검출하고 분포도를 파악하는 것은 영화의 서사구조를 분석하는데 있어 중요한 데이터로 활용될 수 있다. 또한 영화의 정보 검색에 활용될 수도 있다. 본 논문에서는 얼굴 검출 기술을 활용하여 클로즈 업 숏을 자동으로 검출하여 영화의 클로즈 업숏 분포도를 계산하는 방법을 제안한다. 또한 제안한 방법을 시스템으로 개발하여 서사구조와 클로즈업 숏 간의 관계를 분석한다. 10개의 영화에 대한 실험을 통해 클로즈 업 숏이 영화의 전반부보다 후반부로 갈수록 많이 사용되는 것을 확인하였다.

• The Journal of the Korea Contents Association
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• v.16 no.11
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• pp.776-783
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• 2016

Discussion of facial image of the movie starts is recognized as an art movie that started from silent film period. Critical discussions on the facial image initiated with the emergence of 'close-up' are performed in the context to claim the superiority of close-up format. Therefore, the trend of critical discussion on the facial image differs from two perspectives to perceive close-up in this era. The first perspective is to privilege both face and close-up since close-up is recognized as the unique tool to realize the face considering close-up as the independent body to have new aesthetic feasibility of the movie. The second perspective is to consider close-up as one of the plots in the movie language to complete its narration. In this case, it is perceived as just a short, which has no differentiation from the others, as long as the facial image does not interfere the completeness of the narration, because the characteristics of close-up to highlight the subject more than the other short is not recognized as the unique form to complete the movie, and because it has the meaning only when the subject and the format aim to maintain the completeness of the narration.

• 건강소식
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• v.7 no.1 s.50
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• pp.33-35
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• 1983

• 건강소식
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• v.6 no.10 s.48
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• pp.34-36
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• 1982

• Journal of the Korea Society of Computer and Information
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• v.17 no.9
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• pp.49-56
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• 2012

In this paper, we propose the method that decides the shot types using face detection technique. The shot types, such as close-up shot, medium shot, and long shot, can be applied as useful information for understanding narrative structure of movies. The narrative structure of movie is builded by characters. Also their mental and emotional changes become inextricably bound up with them of narrative. The shot types are decided by distance between character and camera. If put together above them, shot types can be found by using detection technique of face size of characters and understand narrative of movie. To do this, we propose the methodology to detect shot type by face detecting and implement the system to do it. Additionally, we evaluate the performance of the system. The implementation system has been evaluated as 95% for close-up shot detection and 90% for medium shot detection, while 53.3% is just detected for long shots.

• 프린팅코리아
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• v.10 no.9
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• pp.76-77
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• 2011

내수시장의 한계로 인해 많은 인쇄사에서 인쇄물 수출의 필요성을 절감하고 있다. 그러나 막상 인쇄물 수출을 하고 싶지만 무엇을 어떻게 해야 할지 모르는 경우가 대부분이다. 특히 인쇄업체들의 경우 중소형 업체들이 많아 상대적으로 정보를 얻는 것도 쉽지가 않다. 이러한 어려움을 해소하기 위해 대한인쇄문화협회에서는 2011년 4월 인쇄수출지원센터를 개설했다. 인쇄수출지원센터의 의의와 기능에 대해 알아본다.

• Journal of Digital Contents Society
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• v.16 no.2
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• pp.227-234
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• 2015

Recently, there is more and more demand on broadcasting display environment that provides a sense of realism basically with high quality and high definition as in UHDTV, so various kinds of 4K cameras have been released. Super 35mm sensor 4K/UHD cameras being generally used can be usefully applied to the single camera-based system such as advertisements, dramas, nature documentaries, and culture programs. However, in the multicamera-based system such as entertaining programs, sports, and concerts, relay broadcasting may face limitations as there are restrictions of close-up or tight shots according to the distance. Besides, 4K lenses are not enough compared with the previous HD lenses' group, so there are limitations in camera photographing shots that have been realized in HD filming. Therefore, to complement this, the use of 2/3 inch sensor 4K/UHD cameras is being demanded, and it is also needed to use various lenses' groups to produce UHD image contents. Accordingly, this study used Grass Valley's LDX 4K/UHD camera to analyze its applicability based on the picture quality test at the use of HD lenses in 2/3 sensors and also the possibility of its efficient application.

• Cartoon and Animation Studies
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• s.36
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• pp.147-165
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• 2014

Around the turn of 21st century, there has been a major technological shift in the animation industry. With development of reality-based computer graphics, major American animation studios replaced hand-drawn method with the new 3D computer graphics. Traditional animation was known for its simplified shapes such as circles and triangle that makes characters' movements distinctive from non-animated feature films. Computer-generated animation has largely replaced it, but is under continuous criticism that automated movements and reality-like graphics devaluate the aesthetics of animation. Although hand-drawn animation is still produced, 3D computer graphics have taken commercial lead and there has been many changes to acting of animated characters, which calls for detailed investigation. Firstly, the changes in acting of 3D characters can be traced from looking at human-like rigging method that mimics humanistic moving mechanism. Also, if hair and clothing was part of hand-drawn characters' acting, it has now been hidden inside mathematical simulation of 3D graphics, leaving only the body to be used in acting. Secondly, looking at "Stretch and Squash" method, which represents the distinctive movements of animation, through the lens of media, a paradox arises. Hand-drawn animation are produced frame-by-frame, and a subtle change would make animated frames shiver. This slight shivering acts as an aesthetic distinction of animated feature films, but can also require exaggerated movements to hide the shivering. On the contrary, acting of 3D animation make use of calculated movements that may seem exaggerated compared to human acting, but seem much more moderate and static compared to hand-drawn acting. Moreover, 3D computer graphics add the third dimension that allows more intuitive movements - maybe animators no longer need fine drawing skills; what they now need is directing skills to animate characters in 3D space intuitively. On the assumption that technological advancement and change of artistic expressionism are inseparable, this paper compares acting of 3D animation studio Pixar and classical drawing studio Disney to investigate character acting style and movements.