• Proceedings of the Korean Institute of Interior Design Conference
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• 2004.05a
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• pp.60-65
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• 2004

This dissertation is focalized on examining research on the actual condition and problem in the exit-space-form of Multiplex Cinema and mutual relation of user and finding more efficient and reasonable project method through valuation of design elements which the user can feel. In result, 4 place which is newly opened after 1990's is analyzed in Seoul. It is researched that Many user feel inconvenience and discomfort when they recognize exit-space. In order to improve itthey want to feel at ease naturally with light-embeded sign and landscape space. The exit-space should be recognized that it is a part of cinema which have to be developed and planed for the inner part of cinema and security of user. Not death-space.

• The Bulletin of The Korean Astronomical Society
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• v.37 no.2
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• pp.230.2-230.2
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• 2012

경희대학교에서 제작중인 초소형 위성 TRIO-CINEMA (TRiplet Ionosphere Observatory-Cubesat for Ion, Neutral, Electron and MAgnetic fields)에 탑재될 입자검출기 STEIN (SupraThermal Electron, Ion, Neutral)은 정전 편향기를 이용하여 4~300keV의 대전입자 혹은 중성입자들을 분리하여 검출하도록 이루어져있다. CINEMA 운용 궤도에서는 STEIN 정전 편향기를 통하지 않고 검출기 내부로 들어오는 입자들로부터 생기는 배경계수가 포함되어 검출될 것으로 예상되므로 STEIN 검출기의 결과값의 신뢰성을 높이기 위해 배경계수값을 예측할 필요성이 있다. 본 연구에서는 SPENVIS (The Space Environment Information System)를 통해 CINEMA 운용 궤도에 존재하는 입자들의 유량을 계산하였고 GEANT4 (GEometry ANd Tracking)를 통해 CINEMA 운용 궤도상의 STEIN의 외부 환경을 모사하여 배경계수값을 예측하였다. 향후 STEIN의 측정값에 배경계수값을 차감한다면 측정값의 신뢰성이 높아질 것으로 기대된다.

• Lingua Humanitatis
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• v.7
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• pp.247-269
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• 2005

The decade of the 1960s in Korea is normally regarded as a transitional period, but this transition has been consistently viewed in either economic or political terms. In this paper I examine the 1960s and the 1970s as a period of cultural transition―from a neo-Confucian emphasis on "high" art to a broader, more inclusive acceptance of "popular" forms of cultural expression. Although these two realms of cultural production are often viewed as fundamentally antithetical, I argue that there is actually significant continuity in terms of both artistic expression and cultural engagement. In particular, I look at the trajectories of Korean national literature and cinema and their areas of confluence. I examine the career of Kim $S{\breve{u}ng-ok$, who in the 1960s was the preeminent literary voice of a new generation and who in the 1970s was the screenwriter for some of the most popular films of that era, and I show how Kim's career changes track parallel changes in both literature and cinema. Artistically, Kim continued his literary expressions of a new sensibility in his screenplays, bringing to cinema a new infusion of seriousness and respectability. Culturally, Kim continued his explorations of the ways in which rapid changes in Korean politics and the booming economy led to miscommunication and chaos in society. By consistently exploring processes of national identity formation and re-formation, Kim's 1960s literature can be seen as crucial instances of Korean national literature (minjok munhak). In the same manner, Kim's 1970s screenplays can be seen as foundational moments in a Korean national cinema.

• Journal of Broadcast Engineering
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• v.9 no.2
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• pp.119-130
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• 2004

We have developed a prototype super-high-definition (SHD) digital cinema distribution system that can store, transmit, and display eight-million-pixel motion pictures that have the image quality of a 35-mm film movie. The system contains a movie server, a real-time decoder, and an SHB projector. Using a Gigabit Ethernet link and TCP/IP, the server transmits JPEG2000 compressed motion picture data streams to the decoder at transmission speeds as high as 300 Mbps. The received data streams are decompressed by the decoder, and then projected onto a screen via the projector. By using an enlarged TCP window, multiple TCP streams, and a shaping function to control the data transmission quantity, we achieved real-time streaming of SHD movie data at about 300 Mbps between Chicago and Los Angeles, a distance of more than 3000 km. We also improved the decoder performance to show movies with Image qualities of 450 Mbps or higher. Since UDP is more suitable than TCP for fast long-distance streaming, we have developed an SHD digital cinema UDP relay system, in which UDP is used for transmission over a fast long-distance network. By using four pairs of server-side-proxy and decoder-side-proxy, 450-Mbps movie data streams could be transmitted.

• Journal of Broadcast Engineering
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• v.13 no.1
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• pp.99-108
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• 2008

This raper analyzes the effect of visually lossless image compression for efficient distribution of digital cinema. Currently, distribution of digital cinema is carried out based on JPEG 2000 standard that has been selected by DCI. We first summarize characteristics of JPEG 2000, and then define the concept of visually lossless coding that plays an important role in digital cinema distribution. We provide a test for JPEG 2000 compression performance according to DCI specification for visually lossless. Based on the experiment, the result satisfies high quality for cinema distribution.

• Cartoon and Animation Studies
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• s.11
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• pp.41-53
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• 2007

Due to the development of digital cinema, Animations are no longer a peripheral part of movies and become major role in making films, including live action movies. This kind of change makes the distinctive line between animations and live action movies vague. In order to prevent such side-effect, this study is aimed at building solid territory again between the two by reviewing the difference and, based on it, looking for effective cinematic techniques to produce synthesized and digitalized images. First of all, consideration on mise-en-scene is crucially required to tell this line. The mise-en-scene is a director's own unique style in making films. In other words, it is a symbol expressed by him/her. With the mise-en-scene, competitive directors explore huge possibility of image expression and know how to use it audiences can understand. Therefore, I look into a set of studies on the mise-en-scene and methodological problems because it is thought that the mise-en-scene is an important element to distinguish way of expression in animations, live action movies and digital cinema. In addition, owing to these fundamental differences, both movies have their own limitation on representation even though they imitate it each other. Synthesized images produced by both representation may not overcome that limitation and even worse bring up the lack of expression and the increase on unfamiliarity, which reduce audiences' interest. But ironically speaking, digital cinema accept each representation. And it serves as hindrance to narrative's delivery not to balance each of it. Therefore, digital cinema that integrate animations and live action movies should keep an eye on the overuse of images and pursue balanced mise-en-scene.

• Journal of Broadcast Engineering
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• v.14 no.1
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• pp.93-98
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• 2009

While the Motion JPEG2000 has been considered as a unique encoder for digital cinema due to its high quality coding and large screen format, the realization of a digital cinema system and its service cost enormous fund and time. In this paper a digital cinema transmission system with PC and RTP protocol over the Internet is proposed, and showed how tiles of moving images are transmitted, decoded independently and combined to reconstruct and display at a large screen for digital cinema service. The simulation has been carried out for tiles of 128${\times}$128, 256${\times}$256, 512${\times}$512, and 1024${\times}$1024 pixels. In the experiment, two clients of PC’s received and decoded tiles of video and constructed whole size of moving images successfully. The PSNR’s of the video ranges 30dB to 40dB at compression rate of 160:1 and 30dB to 50dB at and below 16:1, respectively. The result showed a possibility for the reconstruction of video in multi-vision.

• Proceedings of the Korean Institute of Communication Sciences Conference
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• 2004.11a
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• pp.201-201
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• 2004

• Korean Institute of Interior Design Journal
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• v.21 no.4
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• pp.57-67
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• 2012

The goal of this research is to study the spatial and temporal disjunctive composition of the movie 'Kill Bill part 1/2' and to lay a foundation for the future exploration of the topological relationship between contemporary architecture and cinema based upon the spatial and temporal multiplicity. Since the birth of cinema in early 20 century, architecture and cinema have a dynamic interdisciplinary relationship as Soviet director and theorist Sergei Eisenstein has called the Acropolis of Athens as 'one of the most ancient films' based upon its cinematic spatial sequence, and contemporary architect and theorist Bernard Tschumi has adopted cinematic montage technique to create his own disjunctive event-structure. As french philosopher Gilles Deleuze has traced the cinematic version of his 'disjunctive synthesis' from Eisentein's 'dialectic montage', Deleuzian 'disjunctive synthesis' can be discovered not only from the work and theory of Bernard Tschumi and Rem Koolhaas, but also from the 'Kill Bill's disjunctive composition where the heterogeneous spatial images and temporal images are under continuous interaction to create rhizomatic relationship between the cinema and viewers.

• The Bulletin of The Korean Astronomical Society
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• v.37 no.2
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• pp.199.1-199.1
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• 2012

TRIO-CINEMA(TRiplet Ionospheric Observatory-Cubesat for Ion, Neutron, Electron & MAgnetic field)는 지구근접공간에서의 미세 자기장 변화 및 중성입자의 검출을 목적으로 경희대학교와 UC Berkeley가 공동 개발하는 초소형위성이다. 초소형위성은 내부 공간이 협소하여 효율적인 공간배치 및 위성체발사 시 진동에도 견딜 수 있도록 harness가 제작되어야 한다. CINEMA는 OBC, EPS, 배터리, 수신기, IIB(Instrument Interface Board), MAGIC(MAGnetometer Imperial College) board, HVPS(High Voltage Power Supply)로 구성된 avionics bus와 MAGIC, STEIN(Supra Thermal Electron, Ion, Neutral)의 payload, Solar panel, UHF와 S-band 안테나로 구성되어 있다. Solar panel에서 생산된 전력은 EPS를 통해 배터리에 저장되고 PC104를 통해 avionics stack의 각 board로 전력이 분배된다. IIB는 탑재체 파트와 연결되어 이를 제어하고 HVPS에서 STEIN에 공급되는 고전압은 특수 와이어를 통해 연결되며 UHF 안테나와 S-band 안테나는 RF 케이블로 수신기와 송신기가 연결되어 있다. 각각의 harness는 케이블타이와 lacing tape로 위성체와 고정되며 커넥터는 고정 지지대를 제작하여 나사로 체결하였다. CINEMA에 적용된 harness는 진동시험과 열진공시험을 통해 harness와 시스템의 안정성이 검증 되었다.