• The Journal of the Korea Contents Association
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• v.10 no.4
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• pp.123-132
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• 2010

Beginning in 1990's, 3D filmmaking reappeared. As almost every job in filmmaking is digitalized, 3D takes advantage of its new software and hardware, and digital friendly customers as well. One reason why Korean cinema should take 3D seriously is that it can resolve the old and tough problem of unemployed human resources in film production. Another reason is the cooperation programs in which universities and 3D companies can join. 3D cinema can create new cinema goers who don't belong the regular viewer. The totally new experience of 3D can bring people to the movie theaters, and this will add up the total movie customers that expand the whole film industry. The newly designed 3D also could take care of piracy of movie file uploading and downloading through internet. 3D cinema would be precious alternative for film industries of Korea.

• Journal of Korea Multimedia Society
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• v.15 no.6
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• pp.731-736
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• 2012

Latest digital cinema is getting more interest on recent days. The combination of visually immersive 3D movie with chair movements and other physical effects has added more enjoyment. The movement of the chair is controlled manually in these digital cinemas. By the analysis of the digital cinema's video sequences, movement of the chair can be controlled automatically. In the proposed method first of all the motion of focused object and the background is identified and then the motion vector information is extracted by using the 9-search range. The motion vector is determined only for the movement of background while the object is stationary. The extracted Motion information from the digital cinemas is used for the movement control of the chair. The experimental results show that the proposed method outperforms the existing methods in terms of accuracy.

• Journal of Broadcast Engineering
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• v.15 no.3
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• pp.391-406
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• 2010

Digital cinema based on digital master distribution increases with stereoscopic film as the center. DCI specification V1.0 announced at 2004, it considerates stereoscopic film screening. And now, the Society of Motion Picture and Television Engineers is establishing a task force to define the standards of a stereoscopic contents viewed in the home. Today, most Hollywood commercial stereoscopic film features animation using computer graphic. However, considering film making characteristic, stereoscopic digital cinema is required shooting in real world and editing, screening. This paper presents possibility of stereoscopic examination at NLE in the stereoscopic workflow. And we will propose new stereoscopic digital cinema workflow to apply the stereoscopic examination. Based on experimental results, the 3D ready television using 120Hz has some obstacles for contents editing, but most domestic stereoscopic monitor using circular polarization is possible for successful editing.

• Journal of the Korea Institute of Information and Communication Engineering
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• v.12 no.12
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• pp.2146-2152
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• 2008

In In this paper, we proposed a new JPEG2000 codec using multiresolution-based rendering (MRBR) technique for video compression of 3-dimensional digital cinema. We introduced discrete wavelet transform (DWT) for stereoscopic image and stereo matching technique in the wavelet domain. The disparity was extracted using stereo matching and transmitted with the reference (left) image. Since the generated right image was degraded by the occlusion lesion, the residual image which is generated from difference between the original right image and the generated one was transmitted at the same tine. The disparity data was extracted using the dynamic programming method in the disparity domain. There is high correlation between the higher and lower subbands. Therefore we decreased the calculation amount and enhanced accuracy by restricting the search window and applying the disparity information generated from higher subband.

• International Journal of Computer Science & Network Security
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• v.22 no.10
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• pp.25-30
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• 2022

The article is devoted to the actual problem of the use of digital technologies in modern cinema in developed countries. The purpose of the study is to identify the essence of the term "cyberdramaturgy" and the problems of its use in modern film production. The research methodology is based on a systematic approach and includes the methods of the general scientific group (analysis, synthesis, deduction, induction), as well as a number of special methods: the method of content analysis of scientific literature on the research topic; sociological survey method; as well as the method of statistical analysis. The results of the survey were analyzed using the Neural Designer program (a tool for advanced statistical analytics) and translated into a graphical diagram format for clarity of perception. Answers in 75 questionnaires were evaluated by the average score for six analysis criteria, which made it possible to bring all the calculations to a 10-point scale. As a result of the study, the author of the article concluded the following: directors believe that the use of cyber analogues of actors and backgrounds leads to the blurring of genres, the hybridization of cinema and animation; directors are also concerned about the problem of replacing the director himself with a special program. The writers are completely concerned with the problem of machine scripting with almost infinite variability beyond the human imagination. Directors-producers believe that the cyberdramaturgy development will lead to completely new standards of cinematic quality, sharply different from the traditional assessment of acting and scene setting, to the appreciation of 3D animation as the highest category in the art. Such innovations actually devalue all international cinematography awards, as cyberdrama reduces the value of cyberactors to zero. It is impossible to bail out an "Oscar" or a "Golden Globe" award for a digital double or a separate cyber model that is used in the film instead of the actors.

• Proceedings of the Korean Society of Broadcast Engineers Conference
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• 2009.01a
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• pp.290-293
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• 2009

In this paper, we propose a method to estimate pointing region in real-world from images of cameras. In general, arm-pointing gesture encodes a direction which extends from user's fingertip to target point. In the proposed work, we assume that the pointing ray can be approximated to a straight line which passes through user's face and fingertip. Therefore, the proposed method extracts two end points for the estimation of pointing direction; one from the user's face and another from the user's fingertip region. Then, the pointing direction and its target region are estimated based on the 2D-3D projective mapping between camera images and real-world scene. In order to demonstrate an application of the proposed method, we constructed an ICGS (interactive cinema guiding system) which employs two CCD cameras and a monitor. The accuracy and robustness of the proposed method are also verified on the experimental results of several real video sequences.

• Journal of Fashion Business
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• v.17 no.1
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• pp.145-156
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• 2013

The purpose of this study is to demonstrate the stage costumes realized by digital clothing ; how realistic and accurate representation of empirical testing and in the consultation process for the production stage costumes, determine whether digital clothing has value that can be substituted for the stage costume. This study researched the stage costume manufacture, Isabel's costume of the musical 'Christmas Carol', process by using the 3-D clothing simulation technology : DC Suite. The results of this study is as following. They share many similarities between the stage costumes and digital clothing. It is possible that digital clothing takes a role as a substitute for stage costumes in the production process of the clothing samples. The clothing production system, including stage costumes, by digital clothing costs and lead time can be saved by innovative. Also the result can be saved without restriction, and this system can exert its effect in a very efficient way to incorporation of foreign producers and production system.

• International Journal of Advanced Culture Technology
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• v.11 no.4
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• pp.352-357
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• 2023

This study focuses on the art style research of the 3D Animation <Spider-Man: Across the Spider-Verse>, exploring the film's innovation in art design. The article first analyzes how the movie skillfully blends American comics, watercolor painting style, Pollock drip painting, and ink painting, among other artistic techniques, to present a unique visual experience for the audience. By specifically dissecting the character design and scene composition in the movie, it explores the specific application of these art styles and their methods in digital image production. Ultimately, the paper emphasizes the contribution of <Spider-Man: Across the Spider-Verse> to 3D Animated cinema, particularly its innovation in the field of art design, as well as its inspiration and possibilities for the diversity of art styles in animated films. Overall, this study aims to provide in-depth academic insight into the field of animated film art design and to promote its development and innovation.

• Journal of the Korea Institute of Information and Communication Engineering
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• v.21 no.5
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• pp.991-1002
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• 2017

Most animation films running on cinema or TV are based on 3D images. Domestically, a lot of 3D animations are produced, and the number of 3D animation films are on the annual rise. Many human resources relating to animation participate in a variety of domestic and foreign animation projects of domestic producers. In the animation participate in a variety resources are of more importance. As a result, many university make the effort to raise human resources for 3D animation. In this paper, we will look into the curriculum of 3D animation. In particular, based on the questionnaire survey in which domestic 3D animation producers participated, this study analyzed the survey results and tried to discuss how to rise human resources for creative 3D animation in university. It is aimed at suggesting the directions of raising human resources for 3D animation in proper 3D animation education and of their contributions to the development of the domestic 3D animation industry.

• Fashion & Textile Research Journal
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• v.23 no.4
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• pp.504-514
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• 2021

This study attempted to extract and structure the job skills required for 3D designers, which have been recently introduced to the fashion industry. The study aimed to materialize and objectify the 3D designer's job, using a focus group interview for the survey. The 3D designer has the TD task of making 3D virtual samples using the pattern files developed in Pattern CAD. Graphic design and fabric digitization are also major tasks for the 3D designer. CLO is mainly used for 3D virtual sample production, and PixPlant, Substance, Photoshop, Cinema 4D, Daz studio, and 3ds MAX are used for image and avatar editing. As per the job skills required for 3D design work, basic knowledge about patterns and sewing, skill in 3D virtual clothing technology, ability to use various software, and English skills were considered important, in that order. In particular, the need for knowledge about patterns and sewing became more important than the skill in 3D virtual clothing technology itself. To train 3D designers, it was found that not only 3D virtual clothing software, but also education on patterns and clothing construction, CAD developer's curriculum certification system, and 3D designer qualification management were required. In addition, 3D designers are recognized as an essential job in fashion vendors, and the demand for domestic brands is increasing. The biggest limitation of the 3D virtual clothing system is the perfection of the digital fabric. Also, technical improvement is needed.