• 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.

• 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.

• 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.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.

• 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.

• 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.

• The Journal of the Korea Contents Association
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• v.10 no.8
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• pp.159-167
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• 2010

Since success of in the box office, there are not only highly interested in 3D Stereoscopic in Media market but also has been briskly supporting for 3D Stereoscopic producing in variety platforms including film, broadcasting, mobile They expect 3D Stereoscopic will be a new standard format for media of domestic market as well as overseas. However there are required professional production system and grant capital for 3D Stereoscopic production. In case of domestic industry, there are not forged through specialized production system and lack of 3D Stereoscopic producing. They are needed not only Pipeline for 3D Stereoscopic production but also strategic supporting like specialized education and test-bed for 3D Stereoscopic production. It is able to established efficient and specialized system for 3D Stereoscopic production given the pipeline proposal.

• The Journal of the Korea Contents Association
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• v.14 no.3
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• pp.94-102
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• 2014

In the 21th century, audiences were fascinated with stereoscopic 3d in the theaters again. Since 2009, interest in stereoscopic 3D had been increased explosively, but shortfall in stereoscopic 3D contents is yet to be solved. However, despite shaky conditions in broadcasting businesses, stereoscopic 3D movies are released steadily in Hollywood. And the movies with strong storytelling are performing in the film market, so common point among them is that stereoscopic 3d techniques are used for subserving narrative immersion effectively. Therefore, stereoscopic 3D techniques will be helpful for enhancing narrative immersion. So I researched relations between immersion and stereoscopic 3D, and proposed space planning process for enhancing narrative immersion in stereoscopic 3D.

• Journal of Broadcast Engineering
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• v.19 no.5
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• pp.569-577
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• 2014

From the year 2009, 3D Stereoscopic movies and TV have been spotlighted after the huge success of a movie called "AVATAR". Moreover, most of 3D movies & contents are created by mixing real-life shots & virtual animated pictures, such as "Robocop 3", "Transformer 4" as shown in 2014. However, the stereoscopic 3D video film shooting with a traditional stereoscopic rig camera system, takes much more time to set the rig system and adjust the system setting for proper film making which necessarily resulting in bigger cost. In fact, these problems have depreciated the success of Avatar as decreasing demand for 3D stereoscopic video shooting. In this paper, inherent problems of traditional stereoscopic rig camera system are analyzed, and as a solution for the problems, a novel implementations of single-lens optical stereoscopic 3D camera system is suggested. The new system can be implemented to a technology for separating two lights when even those lights passing through in the same optical axis. The system has advantages of adjusting the setting and taking video compared with traditional stereoscopic 3D rig systems. Furthermore, this system can acquire comfortable 3D stereoscopic video because of the good characteristics of geometrical errors. This paper will be discussed the single-lens stereoscopic 3D camera system using rolling shutters, it will be tested geometrical errors of this system. Lastly, other types of single lens stereoscopic 3D camera system are discussed to develop the promising future of this system.