• Bulletin of the Korean Chemical Society
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• v.28 no.5
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• pp.783-790
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• 2007

The immobilization of proteins and their molecular interactions on various polymer-modified glass substrates [i.e. 3-aminopropyltriethoxysilane (APTS), 3-glycidoxypropyltrimethoxysilane (GPTS), poly (ethylene glycol) diacrylate (PEG-DA), chitosan (CHI), glutaraldehyde (GA), 3-(trichlorosilyl)propyl methacrylate (TPM), 3'-mercaptopropyltrimethoxysilane (MPTMS), glycidyl methacrylate (GMA) and poly-l-lysine (PL).] for potential applications in a nanoarray protein chip at the single-molecule level was evaluated using prismtype dual-color total internal reflection fluorescence microscopy (dual-color TIRFM). A dual-color TIRF microscope, which contained two individual laser beams and a single high-sensitivity camera, was used for the rapid and simultaneous dual-color detection of the interactions and colocalization of different proteins labeled with different fluorescent dyes such as Alexa Fluor® 488, Qdot® 525 and Alexa Fluor® 633. Most of the polymer-modified glass substrates showed good stability and a relative high signal-to-noise (S/N) ratio over a 40-day period after making the substrates. The GPTS/CHI/GA-modified glass substrate showed a 13.5-56.3% higher relative S/N ratio than the other substrates. 1% Top-Block in 10 mM phosphate buffered saline (pH 7.4) showed a 99.2% increase in the blocking effect of non-specific adsorption. These results show that dual-color TIRFM is a powerful methodology for detecting proteins at the single-molecule level with potential applications in nanoarray chips or nano-biosensors.

• 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.