• Archives of design research
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• v.18 no.3 s.61
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• pp.209-218
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• 2005

Consciously or not, producers have to make many aesthetic choices in creative process of video production. If there are general acceptable aesthetic principles to make right choice it would be guideline of aesthetic decision to somewhat reduce mistakes and errors in the process. This paper proposes a theoretical approach on establishing the media aesthetic principle of 3D animation camera working, which is the most suitable for animation production context. We describe the Herbert Zettl's applied media aesthetics related directly to the camera, which is about the two-Dimensional field focusing on aspect radio and forces within the screen, three-dimensional field focusing on depth, volume, and four-dimensional field focusing on time and motion. In order to have theoretical approach we made an analysis on comparing a camera working of movie with 3D computer animation's one, and reconstructed these basic principles to be suited for the 3D animation production. When applied media aesthetics of the traditional camera working are applied to the 3D animation production, it could be an efficient guideline for it. Futhermore, if we develop the research for the relationship with various visual languages with the basis of these principles, the theory of creative picture composition method for the 3D animation production will be logically and systematically established.

• Journal of Korea Game Society
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• v.9 no.2
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• pp.3-12
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• 2009

In this study, by both qualitative and quantitative measurement on the purpose of deriving the sensitive amusement factor. I consider the fear of horror games as "the amused fear" and analyze it, which is based on the play theory by Roger Caillois. On the basis of this, I classified the amusement fear in horror games into the 4 factors. I conducted some positive tests through the player's response in order to verify them. The test is conducted measuring the heart rate of each experimenter by cardiometer while they are playing horror games. By analyzing the video data, I gave a name to the point that the amusement fear factors are expected to influence psychologically and physiologically as the fear point. At this point, I examined if the measured heart rate makes the outstanding difference or not, when compared average heart rate with experimenter's heart rate. In addition, I also examined if there is a statistical correlation of heart rate by attaching player's subjective data through the questionnaire. Consequently, it was statistically turned out that the experimenter's heart rate which is measured rose dramatically than usual, and that there are close correlations among subjective data. I also found out that the amusement fear factor at the relevant point plays a major role in experimenter's psychological and physiological response. In this study, I could prove the horror factor as a meaning of amusement factor using both theoretical method and positive method establishing a standard set that is helpful for further production and planning of the game.

• Journal of the Korea Computer Graphics Society
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• v.13 no.4
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• pp.7-12
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• 2007

With the advent of digital cinema, more and more movies are digitally produced, distributed via digital medium such as hard drives and network, and finally projected using a digital projector. However, digital cameras capable of shotting at 2K or higher resolution for digital cinema are still very expensive and bulky, which impedes rapid transition to digital production. As a low-cost solution for acquiring high resolution digital videos, we propose a hybrid camera consisting of a low-resolution CCD for capturing videos and a high-resolution CCD for capturing still images at regular intervals. From the output of the hybrid camera, we can synthesize high-resolution videos by software as follows: for each frame, 1. find pixel correspondences from the current frame to the previous and subsequent keyframes associated with high resolution still images, 2. synthesize a high-resolution image for the current frame by copying the image blocks associated with the corresponding pixels from the high-resolution keyframe images, and 3. complete the synthesis by filling holes in the synthesized image. This framework can be extended to making NPR video effects and capturing HDR videos.

• Trans-
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• v.13
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• pp.59-90
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• 2022

Short-form content, which means "short video content within 10 minutes," is rapidly emerging as a recent trend among MZ generations based on the fact that it can be viewed whenever there is a short running time, and they are physically short, colorful, and deliver a lot of information in a compressed time, showing differences in both long-form content and format. In addition, entertainment videos such as information delivery videos, eating shows, web entertainment, and dance challenges are mainly produced and distributed, so there is no need to take expertise as a creative work of video experts, and consumers often become producers by directly participating in production using low-end equipment such as smartphones. For these reasons, shortform content creates new image styles rather than general existing image forms such as long-form contents, and this study focuses on changes in editing styles. This study summarized the following five characteristic changes by analyzing the editing style of short form content that has changed compared to long form content according to the 'visual' aspect. The use of frames, memes, screen division, blue screen, and subtitles are included, and by organizing each characteristic, we identified the editing style of shortform content that has emerged as a recent trend and learned about the changes.

• Journal of Science of Art and Design
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• v.7
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• pp.64-104
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• 2005

Visual media transmits image and information reproduced in large quantities, such as a photography, film, television, video, advertisement, or computer image. Correspondence to the students' reception and recognition of culture in the future. arrangements for the field of studies of visual culture. 'Visual Culture' implies cultural phenomena of visual images via visual media, which includes not only the categories of traditional arts like a painting, sculpture, print, or design, but the performance arts including a fashion show or parade of carnival, and the mass and electronic media like a photography, film, television, video, advertisement, cartoon, animation, or computer image. In the world of visual media, Image' functions as an essential medium of communication. Therefore, people call the culture of today fra of Image Culture', which has been converted from an alphabet convergence era to an image convergence one. Image, via visual media, has become a dominant means for communication in large part of human life, so we can designate an Image' as a typical aspect of visual culture today. Image, as an essential medium of communication, plays an important role in contemporary society. The one way is the conversion of analogue image like an actual picture, photograph, or film into digital one through the digitalization of digital camera or scanner as 'an analogue/digital commutator'. The other is a way of process with a computer drawing, or modeling of objects. It is appropriate to the production of pictorial and surreal images. Digital images, produced by the other, can be divided into the form of Pixel' and form of Vector'. Vector is a line linking the point of departure to the point of end, which organizes informations. Computer stores each line's standard location and correlative locations to one another Digital image shows for more 'Perfectness' than any other visual media. Digital image has been evolving in the diverse aspects, such as a production of geometrical or organic image compositing, interactive art, multimedia art, or web art, which has been applied a computer as an extended trot of painting. Someone often interprets digitalized copy with endless reproduction of original even as an extension of a print. Visual af is no longer a simple activity of representation by a painter or sculptor, but now is intimately associated with a matter of application of media. There is some problem in images via visual media. First, the image via media doesn't reflect a reality as it is, but reflects an artificial manipulated world, that is, a virtual reality. Second, the introduction of digital effect and the development of image processing technology have enhanced a spectacle of destructive and violent scenes. Third, a child intends to recognize the interactive images of computer game and virtual reality as a reality, or truth. Education needs not only to point out an ill effect of mass media and prevent the younger generation from being damaged by it, but also to offer a knowledge and know-how to cope actively with social, cultural circumstances. Visual media education is one of these essential methods for the contemporary and future human being in the overflowing of image informations. The fosterage of 'Visual Literacy' can be considered as a very purpose of visual media education. This is a way to lead an individual to the discerning, active consumer and producer of visual media in life as far as possible. The elements of 'Visual Literacy' can be divided into a faculty of recognition related to the visual media, a faculty of critical reception, a faculty of appropriate application, a faculty of active work and a faculty of creative modeling, which are promoted at the same time by the education of 'visual literacy'. In conclusion, the education of 'Visual Literacy' guides students to comprehend and discriminate the visual image media carefully, or receive them critically, apply them properly, or produce them creatively and voluntarily. Moreover, it leads to an artistic activity by means of new media. This education can be approached and enhanced by the connection and integration with real life. Visual arts and education of them play an important role in the digital era depended on visual communications via image information. Visual me야a of day functions as an essential element both in daily life and in arts. Students can soundly understand visual phenomena of today by means of visual media, and apply it as an expression tool of life culture as well. A new recognition and valuation visual image and media education is required to cultivate the capability of active, upright dealing with the changes of history of civilization. 1) Visual media education helps to cultivate a sensibility for images, which reacts to and deals with the circumstances. 2) It helps students to comprehend the contemporary arts and culture via new media. 3) It supplies a chance of students' experiencing a visual modeling by means of new media. 4) There are educational opportunities of images with temporality and spaciality, and therefore a discerning person becomes to increase. 5) The modeling activity via new media leads students to be continuously interested in the school and production of plastic arts. 6) It raises the ability of visual communications dealing with image information society. 7) An education of digital image is significant in respect of cultivation of man of talent for the future society of image information as well. To correspond to the changing and developing social, cultural circumstances, and the form and recognition of students' reception of them, visual arts education must arrange the field of studying on a new visual culture. Besides, a program needs to be developed, which is in more systematic and active level in relation to visual media education. Educational contents should be extended to the media for visual images, that is, photography, film, television, video, computer graphic, animation, music video, computer game and multimedia. Every media must be separately approached, because they maintain the modes and peculiarities of their own according to the conveyance form of message. The concrete and systematic method of teaching and the quality of education must be researched and developed, centering around the development of a course of study. Teacher's foundational capability of teaching should be cultivated for the visual media education. In this case, it must be paid attention to the fact that a technological level of media is considered as a secondary. Because school education doesn't intend to train expert and skillful producers, but intends to lay stress on the essential aesthetic one with visual media under the social and cultural context, in respect of a consumer including a man of culture.

• Cartoon and Animation Studies
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• s.43
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• pp.47-75
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• 2016

This study has analyzed the history of the subcontract animation in Korea that began with Golden Bat of TBC Animation Division in 1966 to 1980s and shed the light on the history of subcontract animation that has been processed over 30 years in Korean animation. For this purpose, through the outlined status of subcontract animation, such as, production company, production status, scale of industry and so forth, the status of the OEM industry then has been checked and it links the solidified background of animation into subcontract production industry with the situation in time for analysis. In addition, on the basis of the foregoing, it is intended to broaden the horizon of the history of animation through the analysis on new search for facilitating the creative animation by overcoming the issues and limits generated by the subcontract animation industry. 1970s was the time that the national objective is to advance heavy-chemical industry and export-led economic growth. From the late 1970s, the animation has been spot lighted as the main-stream export industry through the overseas subcontract orders for animation. Expansion of the subcontract animation production has been influenced from the national policies on public culture, dispersion of color TV, facilitation of video production market and other media changes of the time that led the decline of animation audiences in theaters, and another cause would be in lack of platform of broadcasting companies that avoided the independent animation production for its economic theory. The subcontract animation industry may have the positive evaluation in the aspect of expanding the animation environment, such as, structuring of animation infra, development of new human resources and etc. However, the technology-incentive 'production'-oriented advancement has created distorted structure in advancing the professional human resources due to the absence of 'pre-production' of planning and others as well as the insufficient perception on 'post production (post work)', and it was unable to formulate domestic market by re-investing the capital accumulated for OEM industry into the production of creative animation and it has been assessed as negative aspect. Animation is a cultural and spiritual product of a country. Therefore, the systematic support policy for the facilitation of the creative animation, such as, development of professional human resources, creation of outstanding work, formation of market to make the pre-circulation structure and so forth has to be sought. However, animation is an industry, but there is no perception that it is a cultural industry based on the creativeness, not hardware-oriented manufacturing business. Such a lack of recognition, there was no policies to make the market and facilitate the creative animation by the animation of Korea for this period through the long-term plan and investment for independent work production. Such an attempt is newly begun through diverse searches for protection and advancement of creative animation in Korea after 1990s.

• Journal of Digital Contents Society
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• v.15 no.2
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• pp.237-250
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• 2014

In this paper, the research problem (1) 2D to 3D stereoscopic images to create the work, the stereoscopic 3D production work in accordance with the method works independently of the 2D image derivatives can be recognized as whether the rights were discussed. (2) In addition, 3D imaging work has to be recognized as a derivatives, the copyright belongs create derivatives and about the rights of attribution investigated.

• Asian-Australasian Journal of Animal Sciences
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• v.27 no.8
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• pp.1204-1210
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• 2014

The objective of the study was to investigate the effect of feeding fibrous diets on growth performance and occurrence of aggressive behaviours in growing pigs. Sixty healthy castrated pigs (initial body weight: $46.7{\pm}4.35$ kg) were used. A basal diet was diluted with maize cobs to two levels (0 and 160 g/kg dry matter). Behavioural activities were observed using video cameras for three weeks, 8 h/d starting at 0800 h. Pigs subjected to control diet gained more weight compared to pigs receiving fibrous diet in week 1 (0.47 vs 0.15 kg, respectively) and 2 (1.37 vs 1.04, respectively) (p<0.05). Average daily gain was not affected by treatment diet in the third week. Pigs on high fibrous spent more time eating, lying down, standing, walking and fighting (p<0.05) compared to pigs on control diet. Time spent eating increased as the weeks progressed whilst time spent lying down decreased. Time of day had an effect on time spent on different behavioural activities exhibited by all pigs on different treatment diet (p<0.05). Inactivity was greatest in 5th (1200 to 1300 h) hour of the day for all the pigs on different dietary treatments. Skin lesions appeared the most on neck and shoulder region followed by chest, stomach and hind leg region, and finally head region (p<0.05). Pigs on high fibre diet had more skin lesions in all body regions compared to pigs on control diet (p<0.05). It can be concluded that the high fibrous diet with maize cobs did not affect growth performance and also did not reduce aggressive behaviours. Aggressive behaviours emanated out of frustration when queuing on the feeder. The findings of this study suggest that maize cobs can be included at a level of 160 g/kg in diets of pigs. However, to reduce the level of aggression more feeding space should be provided.

• Journal of Information Technology Applications and Management
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• v.27 no.1
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• pp.187-198
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• 2020

With the development of technology and the creation of an entertainment environment for leisure, various marketing strategies are being used in the film industry. Among them, the use of the credit cookie of ending credits was very effective in producing the series. The ending credit is the time it takes to show the names of the people who made the movie, which is meaningless to the audience. There is a cost to produce a ending credit but It wasn't made because no revenue was generated. The credit cookie was inserted into this ending credit area, which brought new pleasure to the audience. Most of them were epilogue images showing the story behind the movie, NG images showing the NG situation during film production, and In videos mentioned in the movie but not shown in the movie itself. As various ideas about credit cookie were connected with marketing, a series movie and a spin-off foretelling the derivative works after the screening work were produced and have a new meaning. As a result, the time of ending credits, which had no commercial value, became the methodology of the most powerful promotional strategy. Looking at the difference between live-action film and animation in producing such credit cookie, unlike live-action films that edit the remaining parts after shooting, the NG video of the animation has a lot of time and money to produce. So, it hasn't try very well, and it seems to have been actively produced when moving from 2D animation to 3D animation. This is because 3D animation, which has already been modeled, can create new NG scenes by simply adding animating based on the layout of the created scene. Since it is possible to produce an episode movie at a low cost and time, and to use the scenes of the movie after the production, it will be necessary to strategically produce credit cookie for promotion in animation.

• Research in Community and Public Health Nursing
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• v.10 no.2
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• pp.508-524
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• 1999

We would like to identify the current status and the problem of the material for sexual education in Korea by analyzing the contents and the subjects of the materials. The 274 materials were collected from 80 institutes from March 1999 to June 1999. The collected ones were analyzed according to title. year of production. producer. subjects of materials and contents. Also, the materials in the internet was searched. Result were summarized by the descriptive statistics with SPSS/PC as followings: Type of materials were video tape (155), books (70), projection slides (43) and CD-ROM (6); Number of production from each institute were 54 from Planned Parenthood Federation of Korea, 39 from Korea Broadcasting System. 23 from Seoul School Health Center. 22 from Seoul Education and Science Research Institute, 16 from Korea Sexual Violence Relief Center, 13 from Republic of Korean National Redcross. and 10 from Korea Educational Development Institute; Subjects of the materials were middle and high school children (55), teachers (35), primary schoolchildren (17) and adult (14), preschool children (5). One hundred forty eight materials did not indicate the specific subjects; Thirty institutes had been providing the information for sexual education and the counseling. According to the above results. we suggest the followings: The systematic development of materials for sexual education appropriate to the specific subjects should be done: Materials in the CD-ROM and internet homepage should be developed more and more; The evaluation tool should be developed and adapted to the materials for the recommendation of the good materials; Database of the sexual materials should be provided for further development, evaluation and utilization.