• 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.

• 한국정보디스플레이학회:학술대회논문집
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• 2009.10a
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• pp.1345-1349
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• 2009

We developed a glasses-free 3D stereoscopic display using an LCD display panel, a view control film and a grating film for stereoscopic viewing. The observer can watch overlapped stereoscopic images for left and right eyes without special glasses such as polarized glasses.

• 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.

• 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 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 Academia-Industrial cooperation Society
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• v.11 no.6
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• pp.1969-1977
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• 2010

James Cameron's "Avatar" has broken the national record of movie ticket sales, and it caused the boom of 3D and 3D related fields. This research is focused on the appropriate ways to embrace the stereoscopic 3D cinema and the assumable result in Korea. The new stereoscopic 3D is different from the old fashioned analogue 3D, and it has many possibilities that may influence Korean film industry. Since 1990s, the number of Korean film school has increased drastically, and many of those who graduated from the schools would experience fierce job market. 3D converting projects that require a lot of film majored personnels would solve the overly supplied film majored professionals. Through Korea's hundreds of film schools, when they include 3D filmmaking in their curriculum, they can train and educate 3D related staff such as stereographer, convergence puller, and depth continuity artists, and Korea can be an important 3D staff train center in the world. Educating 3D filmmaking can produce a noticeable result in terms of accepting 3D cinema. Stereoscopic 3D cinema has many possibilities in many fields not only in cinema but also almost every fields that related to the imagery. With government's supports, the investments from the 3D related corporations, and 3D education in colleges would be fast and efficient way to embrace and accept stereoscopic 3D cinema in Korea in terms of the size and the profit.

• 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 the Korea Institute of Information and Communication Engineering
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• v.20 no.11
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• pp.2045-2053
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• 2016

Many research institutes have studied 3D stereoscopic images since the release of 3D stereoscopic film 'Avatar' in 2009. Universities have conducted research on and studied 3D stereoscopic image in various ways, and even university curriculums have adopted 3D stereoscopic image production courses. However, universities face many difficulties in purchasing expensive equipment including cameras and rigs for 3D stereoscopic image contents production training. This paper addresses the 3D stereoscopic image content production curriculum using software in university. A practical training course was carried out based on the theoretical contents and theories that must be dealt with in 3D stereoscopic image contents production curriculum. As a result, students could understand the principles of 3D stereoscopic image production and produce various 3D stereoscopic images using various software applications. In this parer, proper instructional methods for 3D stereoscopic image contents production in university are discussed through this production course.

• Cartoon and Animation Studies
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• s.34
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• pp.105-128
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• 2014

This study was aimed to analyze the disparities of 3D stereoscopic images in four well-known American animation movies. After Avatar (2009), lots of stereoscopic movies were developed in Korean 3D production. Almost all 3D productions in Korea, however, focus on the display images or TV series animation yet. In order to make many well-made Korean stereoscopic 3D animations in future, analyzing and comparing the disparities of 3D stereoscopic images is necessary and even mandated. First, I chose 40 cuts from each four American stereoscopic 3D feature films, including Despicable me 2, Epic, Monster University, and Turbo. According to the classifications of shot angles by Vineyard (2008), secondly I analyze the 23 different angular disparities of 3D stereoscopic images and displayed in tables. Demonstrated shot angle disparities in each scene would provide numerical information to animators how to design and make the 3D stereoscopic images. Making successful stereoscopic 3D feature film will be a huge turning point in the Korean animation field in future. This study would be a first trial to seek a new method to set ahead an outlook of numerical values of 3D stereoscopic images for better visual effects.

• The Journal of the Korea Contents Association
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• v.11 no.11
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• pp.120-129
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• 2011

This research aims to investigate the representative affective words and the structure among them to scrutinize user's affect revealed in the ride film based on three dimension stereoscopic image. Previous studies related to the affect were reviewed and the affect words well-suited for three dimension stereoscopic image were collected. Suitability test for two hundred six basic affect words gathered as the result was done from sixty two typical users and four experts. Seventy seven candidate affect words have been selected and by the exclusion of similarity among them, finally twenty six words were extracted from the reduction process. Consequently fifteen representative words and the structure as the network between each word were revealed by using free association test based on twenty six affect words. We propose the affect research including sensors, emotions, and affects related to moving image rather than still mage during doing research affects in most of the previous studies. The future work includes the affect space and the affect effect for ride film based on three dimension stereoscopic image. This study can be adopted practically in the production of ride films and provided with a basic design guideline.