• Journal of Broadcast Engineering
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• v.7 no.1
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• pp.2-9
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• 2002

Recently. VR( Virtual Reality) applications such as virtual studio and virtual character are wifely used In TV programs. and AR( Augmented Reality) applications are also belong taken an interest increasingly. This paper introduces a virtual screen system. which Is a new AR application for broadcasting. The virtual screen system is a real-time video augmentation system by tracking a chroma-patterned moving panel. We haute recently developed a virtual screen system.'K-vision'. Our system enables the user to hold and morse a simple panel on which live video, pictures of 3D graphics images can appear. All the Images seen on the panel change In the correct perspective, according to movements of the camera and the user holding the panel, in real-time. For the purpose of tracking janet. we use some computer vision techniques such as blob analysis and feature tracking. K-vision can work well with any type of camera. requiring no special add-ons. And no need for sensor attachments to the panel. no calibration procedures required. We are using K-vision in some TV programs such as election. documentary and entertainment.

• Proceedings of the Korean Institute of Information and Commucation Sciences Conference
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• 2017.05a
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• pp.205-206
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• 2017

Casual games are often have simple rule and easy to play. Like Angry birds, players can sling a bird as a bomb to destroy target. But the film adaption encounters numerous questions. games in pursuit of strong sensed presence, pay attention to experience; film stress the integrity of the story, attaches great importance to plot. However, casual games don't have story and plot. This paper take angry birds as example, analyzes the difficulties and method of adaptation from leisure mobile games to films, summarizes the key successful elements of adaption, such as subdivided the target group, chose an appropriate genre, write a script follow the basic logic and frame of film, set contradiction, complicated the character and still contain key elements of the game, in order to provide new ideas in the future development of integration of game and movie industry.

• Journal of the Institute of Electronics Engineers of Korea SC
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• v.48 no.4
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• pp.54-62
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• 2011

Emotional reaction should be different from the purpose of the robot system. The method for emotional reaction is also different from the specification of the robot system. Therefore, emotional behavior decision model, which is applied to social robots regardless of specifications and purposes, is necessary. This paper introduces a universal emotional behavior decision model designed for applying to various social robots that have different specifications and purposes. Multiple emotions, a set of probability value of every emotion, are calculated independently and expressed according to the purpose of the robot system. Then, behavior, for emotional reaction according to the calculated multiple emotions, is decided regarding the specification of the robot system. The decided behavior is a combination of unit behaviors that indicates the smallest expressible behaviors in each expression parts. It is possible to express various undefined behaviors by generating unit behavior combinations according to multiple emotions. The universal emotional behavior decision model is applied to three kinds of social robot systems that have different specifications and purposes.

• Journal of the Korea Society of Computer and Information
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• v.29 no.6
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• pp.31-38
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• 2024

This study proposes a novel approach to enhancing the social inclusion and participation of individuals with developmental disabilities. Utilizing cutting-edge virtual reality (VR) technology, we designed and developed a metaverse simulator that enables individuals with developmental disabilities to safely and conveniently experience indoor handicapped handball sports. This simulator provides an environment where individuals with disabilities can experience and practice handball matches. For the modeling and animation of handball players, we employed advanced modeling and motion capture technologies to accurately replicate the movements required in handball matches. Additionally, we ported various training programs, including basic drills, penalty throws, and target games, onto XR (Extended Reality) devices. Through this research, we have explored the development of immersive assistive tools that enable individuals with developmental disabilities to more easily participate in activities that may be challenging in real-life scenarios. This is anticipated to broaden the scope of social participation for individuals with developmental disabilities and enhance their overall quality of life.

• Cartoon and Animation Studies
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• s.23
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• pp.1-17
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• 2011

The paper analyzed the metaphoric expressions appeared in whose cinematic quality has been subjectively recognized on the global stage by winning the Oscar for Best Animated Short Film. Many contents and visual effects of the film were expressed with metaphor. Story and sequence were analyzed through the language system-based 'Conceptual Metaphor Analysis Framework'. In addition, characters have been analyzed through the 'Visual Metaphor Analysis Framework'. The framework is to analyze visual dimensions which are derived when concepts are structuredin animation. This paper has attempted to investigate and reveal patterns how animation self-organizes or how animation self-realizes through linguistic objectives. That is, it is to reveal how animation communicates with the audience from the metaphoric perspective among many conventional ones. In an animated film, metaphor is a fundamental means to connect fragmented images, produce a holistic view and therefore induce creative communication with the audience. The essential motive of metaphor which is expressed in various styles in is modern people's feeling of loss and sense of missing something. Train, bottle top, food, lost-and-found center, in-between space and lost items have significance across the movie. According to an analysis, metaphor offers simplicity and freshness as an aesthetic function. In addition, the metaphor expresses lengthy contents and various meanings implicitly, delivering an economic function. With a creative function, metaphor is a tool to generate new meanings. In other words, an animated film is a medium to inspire and move the general public as a means of communication and thinking, not just an entertainment for young generations. After all, metaphoric expressions have been used to deliver diverse and deep meanings in animated films.

• Journal of Broadcast Engineering
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• v.12 no.5
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• pp.391-400
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• 2007

The ways of expression are infinite to make animated film. When we compare to live action film, that fact is the actual power that animation only has and is one of the big weapons to appeal to the audience. Nonetheless, techniques to be chosen are monolithic like drawing, 3D computer, and clay when animation maker makes feature animation to screen in movie theatre. It's probably because feature animation must have popularity of visual style and they need to standardize technique about side of making. But popularity in expression does not mean monolithic visual style and making technique. It should be understood about side of artistic value to fascinate public audience. Audience is always eager for new subject, new directing style and new visual style. Monotonous and boring animation cannot but turn away from the audience. So if production does not have artistic value, we cannot expect commercial value and success also even it plans and makes for the feature animation. To create new visual style fnr animation is not only limited to artwork itself but also creation, which is included story and tone of the film and acting style about character. Also making process must be calculated and experimented to actualize that visual style about side of making.

• Journal of Korea Entertainment Industry Association
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• v.15 no.8
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• pp.457-464
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• 2021

This study is a study on the development of board games using local cultural contents. As a prior study related to this study, basic research on board game development, research on cultural products based on cultural heritage, and storytelling development research using local cultural and tourism resources were considered. Among them, for the main purpose of board games and development process, discussions were conducted on the research methodology of Lee Dae-woong and Oh Seung-taek (2004). As a result, it was possible to successfully proceed with planning meetings, proposal preparation, board game design, board game 3D graphic production process, and prototype development. What is peculiar is that characters (dried persimmons, strawberries, jujube, and salted seafood) containing Nonsan's unique regional characteristics were searched and utilized. In addition, major cultural heritages such as Donamseowon Confucian Academy and Gwanchoksa Temple, designated as Nonsan-si cultural properties, were combined with important treasure hunt contents of board games to enhance interest and education at the same time. The theme of this paper, Nonsan, Finding Lost Treasure, is a new educational alternative that can solve the problems of computer games, and has the advantage of having the nature of community leisure play, not individual play. Based on this board game development research in the future, we intend to expect the results of game production using cultural elements from other regions.

• Archives of design research
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• v.20
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• pp.253-262
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• 1997

The era of film has begun as a few media critics had anticipated already. The interestings of visual designers has asked to being with images in the processing and changing of varied image culture are different from the era of print media. It is reason to being with images that are generalizing of video culture. Now the film of images that made from popular advertisings and goods influenced by films has come. At first to being with image to visual designers need to understand films and to join making films. In films, visual designers make strengthen in part of credit titles. Credit titles are elements in films with the form of text to help understanding in the beginning and closing part of films. Credit title design has begun first by American visual designer Saul Bass as p pioneer position and have made to be varied film credit technics of computer. The advanced of technics have to think aspects of meaning of titles in the film of '007' movie series through 60s &70s. In 80s more technics have developed to being varied credits to films. And after all, in 90s there are films with almost varied titles. In Korean films ars less varied than that of Amenrican's and of French, in this study I hope to develope more varied Korean credit titles in near future.

• Journal of Information Technology Applications and Management
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• v.28 no.6
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• pp.69-85
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• 2021

In the era of the 4th Industrial Revolution, not only artificial intelligence, big data, robots, and biotechnology, but also cultural industries that require human creativity will lead. Among the cultural industries, the animation industry has high industrial utilization value due to its high connection with other industries. Among them, animation characters play the most important role as the subject leading the story of animation. In particular, the villain character not only serves as a medium for the main character to lead the story, but also captivates the audience with a different presence from the main character, adding to the fun and completeness of the animation. These characters consist of visual elements such as form and color, of which color is a tool that effectively conveys the character's personality and role to the audience, and is the first visual element to be considered in delicately describing the character's emotions and the relationship between characters. Therefore, this study attempts to analyze the color of the villain character. To this end, we will select eight Disney animations to derive the characteristics of the villain character's color by analyzing the color, value, chroma, and color association of the colors used in the Disney villain character. As a result of the analysis, the colors mainly used by Disney to convey the villain's image were red (R) and Orange (YR), and there was no difference depending on the times or animation production methods. Second, the brightness of Disney villain characters appeared to be the same medium/famous regardless of the times and production methods, and the frequency of use of high brightness was very low. In terms of saturation, the frequency of use of high and low saturation was high. Third, blackish (Bk), Strong (S), dull (Dl), and deep (Dp) tones were mainly used for tones. In particular, in recent 3D animations than previously produced 2D animations, the use of low chroma and the high black mixing rate increased. Fourth, it can be seen that Disney uses color as a visual method to more clearly express the psychology of the villain character using color association. In conclusion, the color selection of animation characters should be carefully considered as a tool to convey the character's personality, role, and emotion beyond simply using color, and the color selection of characters using color associations and symbols strengthens the narrative structure. It is hoped that this study will help analyze and select the character color of animation.

• Cartoon and Animation Studies
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• s.40
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• pp.397-421
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• 2015

Aristotle's Poetics is the earliest work of dramaturgy. It explains some of the most important narrative notions, for example, Mimesis, Katharsis, Mythos(Plot), Ethos(Character), Anagnorisis and Peripeteia. etc. Aristotle considered the plot which is the arrangement of events, as the most important element of drama. This paper presents an example of a plot configuration as an alternative to the traditional narration used since Aristotle. Dead Island, developed by Techland and published by Deep Silver, is one of the most successful action role-playing survival zombie video games. Its trailer, the Winner of Gold Prize for Internet Film at Cannes Lions International Festival of Creativity in 2011. Since the purpose of the trailer is to attract the audiences/gamers to the film/game, it has generally a similer narrative method from its own works. But Dead Island trailer is different. We treat this trailer as an short animation. It could be a new example of the non-linear narrative by the control of the time for example, temporal arrangement, direction and speed. We analyse all shots of Dead Island's trailer with Poetics' rules and with $G{\acute{e}}rard$ Genette's some narrative notions for example temporal order and duration. Furthermore we look for how to maximize the audiences' curiosity by the adjustment of the time, combined with its shocking images.