• 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 Multimedia Information System
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• v.8 no.4
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• pp.277-284
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• 2021

Despite skepticism about commercial potential, the stereoscopic 3D cinema is still a form that any filmmaker can choose to employ for its aesthetics and its immersive potential. Based on a haptic illusion, the stereoscopic media content requires a new perspective different from the principle of 2D media content in terms of creation and acceptance. This paper examines the technical and aesthetic issues of stereoscopic 3D film production from the perspective of today's emerging realistic and immersive media through a case study. One of the key factors for successful content creation and research and development in stereoscopic 3D cinema is the combination of artistic principles together with technical mastering of the new image technology. The purpose of this paper is to outline the principal challenges and research topics in stereoscopic 3D cinema through a case study of stereoscopic 3D pilot film production for the 'User-Selective UHD Stereoscopic Media Service Platform' of the ETRI (Electronics and Telecommunications Research Institute). This paper intends to examine stereoscopic 3D filmmaking workflow and production methodologies, as well as technical elements and aesthetic issues.

• Journal of the Korean Society of Manufacturing Technology Engineers
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• v.18 no.4
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• pp.423-429
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• 2009

The motion base to a film used in 4D cinema theaters or theme parks is different depending on the operator's control or hardware system and this causes inefficiency in management of the theater. There are several different simulation software on the present market, but these are difficult for an animation producer to use them. This study introduces the idea in which a film producer simulates the movement of the motion base by using computer graphic animation tools mostly adopted by production for creating 3D animation and motion control data. Maya and 3D Cross were used to show the path of a motion camera visually. Attitude and axis control data were extracted from the movement of the virtual motion base and were used to control a prototype of the motion base. As a result, the motion control data from computer graphic animation tools can be created so that a film producer can create standard motion control data independently regardless of the hardware and operator's skill.

• The Transactions of The Korean Institute of Electrical Engineers
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• v.58 no.12
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• pp.2538-2541
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• 2009

H.264/AVC High 4:4:4 Intra/Predictive profiles supports RGB 4:4:4 sequences for high fidelity video. RGB color planes rather than YCbCr color planes are preferred by high-fidelity video applications such as digital cinema, medical imaging, and UHDTV. Several RGB coding tools have therefore been developed to improve the coding efficiency of RGB video. In this paper, we propose a new method to extract more accurate correlation parameters for inter-plane prediction. We use a searching method to determine the matched macroblock (MB) that has a similar inter-color relation to the current MB. Using this block, we can infer more accurate correlation parameters to predict chroma MB from luma MB. Our proposed inter-plane prediction mode shows an average bits saving of 15.6% and a PSNR increase of 0.99 dB compared with H.264 high4:4:4 intra-profile RGB coding. Furthermore, extensive performance evaluation revealed that our proposed algorithm has better coding efficiency than existing algorithms..

• 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.

• 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.

• 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.

• Cartoon and Animation Studies
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• s.28
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• pp.101-124
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• 2012

Success of brought a large revolution in the world of cinema and the media market. They have predicted new industrial possibility for 3D Stereoscopic image and trends started to support for producing in the field of various media platform. We can see our domestic technology creates higher added value in the sphere of hard-wear for the market of worldwide home TV electronics. But in reality we are short of effective and organized pipeline of producing and we should analyse cases more for Stereoscopic 3D animations. Therefore in this paper, we present case study on animation made into Stereoscopic 3D animation to build up suitable Stereoscopic 3D TV animations pipeline. We differentiate from any other Stereoscopic content by applying artistic elements and technological elements, especially human factor and 3D Sweetening to elevate the level of 3D Stereoscopic effect for main audience, children. We propose how to strengthen the competitiveness of Korean animation for world animation market.

• Cartoon and Animation Studies
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• s.16
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• pp.223-243
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• 2009

Computer graphic where the most useful and effective production methods are used for animation or films has expanded into actors' performance beyond object expression, background expression and special effect. Unlike 2D drawing software focusing on user's sense, 3D mainly depends on hardware performance and software functions. Therefore, for 3D users, learning 3D functions is directly related to new expression, and quick learning and effective representation are keys to productivity growth in animation industry. In line with industrial needs, basic 3D animation software training is provided in school. Unfortunately, however, many problems such as lack of professional instructors, time allocation and education environment prevent various 3D animation software from being taught. Moreover, functional use does not live up to industrial rapid trends. In order to improve effects of software functional education in restricted education fields, this research aims to find out what functions of 3D animation software are used in industries, what are those function used for, and how schools provide 3D animation software training.

• Journal of the Korean Society of Manufacturing Technology Engineers
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• v.26 no.1
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• pp.137-143
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• 2017

An axial fan has competitive advantages that can make air flow more straight and longer and produce larger air volume than the other kinds of fans. In those reasons, axial fans are widely used for ventilator, 4D cinema, duct, and so on. But, as it was designed and manufactured without any mathematical analysis or computer simulations, it is difficult to develop the performance of axial fans. Actually the axial fan is designed and manufactured in industry by imitation or traditional method. Flow velocity and volume of axial fan are changed by pitch angle, frame, the number of blade, camber angle, and chord length. In this paper, the performance of axial fan was analyzed and by computer program known as CFD. Finally, we have designed a new axial fan whose velocity and volume is improved. The performance of new axial fan is also compared with the of conventional fans experimentally.