• Korean Institute of Interior Design Journal
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• no.29
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• pp.265-272
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• 2001

The perceptual presentation of interior design is to represent an interior space planned by a designer as if people see it in reality. The perceptual presentation methods that have developed are perspectives, full-scathe models, small-scale models, photography of models, video taping of models, computer images, computer animation, and virtual reality. The purpose of this study is to investigate limits of those perceptual presentation methods according to their characteristics. The methods have characteristics that are either static or dynamic and either monoscopic or stereoscopic. In terms of representing interior spaces and perceiving interior spaces, the dynamic characteristic is more helpful than the static characteristic because the dynamic characteristic provides consecutively changing views of interior spaces when people walk around within the spaces. The stereoscopic characteristic is more helpful than the monoscopic characteristic because the stereoscopic characteristic provides the binocular depth perception. Full-scale models, small-scale models, virtual reality that have dynamic and stereoscopic characteristics, are most effective. The next effective methods are video taping of models and computer animation that have dynamic and monoscopic characteristics. The last effective methods are perspectives and photography each of models that haute static and monoscopic characteristics. But the most effective methods can nut be said that those are perfect because each of them still has limits. Designers have to consider the limits of each perceptual presentation method to find a way that shows their designs most effectively. To develop the perceptual presentation methods of interior design, researchers should focus on the helpful characteristics that are dynamic and stereoscopic.

• Cartoon and Animation Studies
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• s.42
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• pp.25-52
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• 2016

Animation documentary is a hybrid genre that is newly highlighted with opposite properties. The actual world is reproduced with an unrealistic method in documentary aspect, but the objectivity of documentaries cannot be guaranteed as the boundary of actual pictures and digital images has become ambiguous. As the animation documentary by Ari Folman succeeded in 2008, the focus of this study is on 'how can fictional animations prove the authenticity of documentaries?' in which the study is mainly conducted in documentary aspect. For this, the researcher considers visual style research has important role in understanding and developing a new video genre, and asserts the necessity of research on reproduction image that is produced by the characteristics of animation which is produced in frame units. This paper has contents on the visual style of animation documentaries with pictorial reproduction methods in which animation images were classified into 3 styles based on previous research on animation documentary style. Visual styles are classified into actual image that is based on similarity with reality to deliver objective facts, image that is transformed through emphasis and omission which are factors of animations, and surrealistic image that reproduces non-visual regions such as illusions and the inner side of characters. Through this study that analyzes visual style types and characteristics, animation documentaries are expected to position as a hybrid genre that illustrates reality with a new method instead of being included in the existing reproduction method of documentaries.

• Cartoon and Animation Studies
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• s.17
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• pp.147-161
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• 2009

Colors in design elements are visual non-verbal symbols both sensual and emotional. It is the first priority in the selection of products for the consumers, and also represents differentiated strategies and coherent integration symbols for the brand. Colors in advertising is an important tool to represent the long-term image management for the brand as well as the product image and concept of the advertise. The theme of this paper is to develop creative advertisement analyzing colors from automobile video ads. Analysis results showed that video ads with small cars under 2000cc preferred pastel colors with high saturation and brightness to emphasize on individuality rather than authority. On the other hand video ads with big and luxury cars upper 2000cc preferred dark colors with lower saturation and brightness. Small car video ads focused on product appearance showing the practical value of the car, big luxury car video ads focused on the symbolic image feeling the difference between the representation of the ads. Colors used in advertisement represents the sensitivity of the consumers. In video ads the concept of the color should be set by identifying on who the globule targets are and on what item you show by identifying the corresponding colors sensitivity to suit your advertising strategy will increase the value of the brand and products.

• Journal of the Korean Society of Clothing and Textiles
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• v.45 no.1
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• pp.200-216
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• 2021

This article considers short-form fashion videos as distinguished from fashion films, defines the concept, details the expressive characteristics of short-form fashion video, and reveals the method of producing it. For the methodology, a literature review was conducted to derive the concept and expression techniques. A case study was also performed to define the expressive characteristics. Five short-form fashion videos were also produced based on the results. The final results are as follows. First, short-form fashion video was defined as a fashion medium on the purpose of fashion communication within 60 seconds and classified by three digital image formats. Second, the result of analyzing the expression of the short-form fashion video shows the simplicity and reconstitution, characterization and remediation, borderless and expansion, and synesthesia trigger of the fashion image. Third, five short-form fashion videos were produced based on the theme of the digital garden. It shows that the short-form fashion video intensively expresses the content as a medium whose sensational expression is more prominent than the composition of the story by the short running time that reflects the taste of digital mainstream.

• Journal of Internet of Things and Convergence
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• v.9 no.3
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• pp.13-19
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• 2023

In this paper, we investigated the implementation of a hairstyle recommendation system based on big data and deepfake technology. The proposed hairstyle recommendation system recognizes the facial shapes based on the user's photo (image). Facial shapes are classified into oval, round, and square shapes, and hairstyles that suit each facial shape are synthesized using deepfake technology and provided as videos. Hairstyles are recommended based on big data by applying the latest trends and styles that suit the facial shape. With the image segmentation map and the Motion Supervised Co-Part Segmentation algorithm, it is possible to synthesize elements between images belonging to the same category (such as hair, face, etc.). Next, the synthesized image with the hairstyle and a pre-defined video are applied to the Motion Representations for Articulated Animation algorithm to generate a video animation. The proposed system is expected to be used in various aspects of the beauty industry, including virtual fitting and other related areas. In future research, we plan to study the development of a smart mirror that recommends hairstyles and incorporates features such as Internet of Things (IoT) functionality.

• Cartoon and Animation Studies
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• s.16
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• pp.125-140
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• 2009

In the1970's, Korean movie industry was down because of widely supplied Television. During the time, directed by Kim Cheong-ki was Big hit at the box-office that is bring Korean feature animation industry back to life. In 80's, when new military regime started, SF animation was prohibited to be on air by government because that assumed have bad influences on children, and korean animation industry was faced with recession, such as various imported foreign animations which were on color TV and wildly provided video recorders. At that time, director KIM Cheong-ki try to overcome the recession of animation industry by producing, < David and Goliath>, which was based on the Bible. The Bible, was based on the historical facts and had written by the time flow, that made few changes while it was transformed to a feature animation. Animation does not only reproduce the reality as it is, but also analyzing the story to create a new reliable world, by changing characters, creating new supporting characters, and expanding and reducing of narrative. Despite of such an effort, didn't achieve it's goal at the box office and not satisfied audience either because it was excessive reproduction of the Bible, not standing on the basis of those days social and cultural environment and popularity. This study is aimed at confirming changed narrative shown Kim Cheong-Ki's, and compare it with two other animated, directed by others, so that suggest the new direction of the religious feature animation production.

• The Transactions of The Korean Institute of Electrical Engineers
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• v.57 no.10
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• pp.1883-1887
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• 2008

Most of digital media contents are composed with video and audio, picture and animation informations. Sometime, there is some deviation of information recognition quality for the video and audio information according to information receiver's characteristics or the understanding. But visual information using the text provide most clear and accurate ways for information recognition to human being. In this paper, we propose a new broadcasting system(BSDMC) to transmit clear and accurate meaning of the digital media contents. We implement general-purpose components to display the video, picture, text and symbol simultaneously. Only plug-in and call these components with proper parameters on the application developing tool, we can easily develop the multimedia contents broadcasting system. These components are implemented based on the object-oriented framework and modular structure so that increase the reusability and can be develop other applications quick and reliable.

• Journal of Information Technology Applications and Management
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• v.28 no.6
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• pp.133-143
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• 2021

Unity's Cinemachine, one of the game production technologies, can produce 3D images. However, since Cinemachine is a game production tool, video creators may find it difficult because the work process of Cinemachine is unfamiliar and complicated. However, it is necessary to learn new technologies for the future of video contents that will be advanced in the future. In order to understand Chinemachine as a video producer, I would like to embody the scene of the movie. We are going to produce a storyboard scene for storytelling in Cinemachine. We defined the workflow of Unity Cinemachine while directing the scene by creating a story, and also checked the advantages and cautions. I hope it will be an opportunity to enjoy using Unity Cinemachine, which is constantly evolving.

• Journal of Multimedia Information System
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• v.4 no.4
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• pp.301-306
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• 2017

This study is intended to analyze colors felt in TV commercials among video contents, to provide basic resources of color plan that can be applied to production of contents and to help acceptors to change their mood and to lower depression levels. Many studies have revealed the obvious correlation between depression and suicide, so the World Health Organization(WHO) recommends the importance of media by recognizing public that depression is a serious risk factor that leads to suicides and by asserting the necessity of establishing social environment for active treatment. Contents production companies have social and cultural responsibility to convey correct information and to make acceptors have positive emotions. If the result of colors that emotionally healthy people feel through this study is used for production of video contents, it will be helpful to lower the depression scale and to prevent and treat depression by providing visual comfort. In addition, it is expected to be used as an important basic resource for not only production of video contents but also color plan of industrial fields.

• Journal of the Korea Computer Graphics Society
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• v.13 no.3
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• pp.1-6
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• 2007

Anticipation effect has been used as a traditional skill to enhance the dynamic motion of the traditional 2D animation. Basically, anticipation means the action of opposite direction which performs before the real action step. In this paper, we propose the perception-based video anticipation method to guide a user's visual attention to the important region. Using the image based attention map, we calculate the visual attention region and then combine this map with temporal saliency of video. We apply the anticipation effect in these saliency regions using the blur kernel. Using our method, we can generate the dynamic video motion which has attentive guidance.