• 비교문화연구
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• 제19권
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• pp.39-77
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• 2010

The cinema of Peter Greenaway has consistently engaged questions of the relationship between the arts and particularly the relations of image and writing to cinema. When different types of images are correlated and merged with each other on the borders of painting, photography, film, video and computer animation, the interrelationships of the distinct elements cause a shift in the notion of the whole image. This analysis proposes to articulate the complex relationship between the 'interartial' dimension and the 'intermedial' dimension in Peter Greenaway's film, (1991). If the interartiality is interested in the interaction between various arts, including the transition from one to another, the intermediality articulates the same type of relationship between two or more media. The interactional relationship is the same on both sides; on the contrary, the relationship between art and media does not show the same symmetry. All art is based on one or more media - the media is a condition existence of art - but no art can't be reduced to the status of media. This suggests that if the interartiality always involves the intermediality, this proposal may not be reversed. First, we analyse a self-conscious investigation into digital art and technology. Prosospero's Books can be read as a daring visual essay that self-consciously investigates the technical and philosophical functions of letters, books, images, animated paintings, digital arts, and the other magical illusions, which have been modern or will be post-modern media to represent the world. Greenaway uses both conventional film techniques and the resources of high-definition television to layer image upon image, superimposing a second or third frame within his frame. Greenaway uses the frame-within-frame as the cinematic equivalent of Shakespeare's paly-within-play : it offer him the possibility to analyse the work of art/artist/spectator relationship. Secondly, we analyse the relationship between the written word, oral word and the books. Like the written word, the oral word changes into a visual image: The linguistic richness and nuances of Shakeaspeare's characters turn into the powerful and authoritative, but monotone, voices of Gielgud-Prospero, who speaks the Shakespearean lines aloud, shaping the characters so powerfully through his worlds that they are conjured before us. Specially each book is placed over the frame of the play's action, only partially covering the image, so that it gives virtually every frame at least two space-time orientations. Thirdly, we try to show how Peter Greenaway uses pictorial references in order to illustrate the context of the Renaissance as well as pictorial techniques and language in order to question the nature of artistic representation. For exemple, The storm is visualised through reference to Botticelli's : the storm of papers swirling around the library is constructed to look like a facsimili copy of Michelangelo's Laurentiana Library in Florence. Greenaway's modern mannerism consists in imposing his own aesthetic vision and his questioning of art beyond the play's meta-theatricality: in other words, Shakespeare''s text has been adapted without being betrayed.

• 한국정보통신학회논문지
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• 제17권3호
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• pp.603-611
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• 2013

본 논문에서는 이산 웨이블릿 패킷 변환을 이용하여 디지털 시네마와 같은 영상의 중요 성분을 추적하고 암호화하는 새로운 방법을 제안한다. 공간과 주파수 영역에서 영상의 특성을 분석하여 영상을 다루는데 필요한 정보를 얻는다. 얻어진 정보들을 종합하여 웨이블릿 변환과 부대역의 패킷화를 이용한 암호화 방법을 제안한다. 웨이블릿 변환의 레벨과 에너지 값을 선택함으로써 다양한 강도로 암호화가 가능하다. 암호화 효과를 수치 및 시각적으로 분석하여 최적의 파라미터를 제시한다. 따라서 별도의 분석과정 없이 본 논문에서 제시된 파라미터를 이용하여 효율적으로 암호화를 수행할 수 있다. 실험결과를 살펴보면 전체 데이터 중에서 단지 0.18%의 데이터만을 암호화하더라도 객체를 분간할 수 없다. 부대역의 패킷화 정보와 암호화 시 이용한 키를 전체 암호키로 이용할 수 있다.

• 디지털융복합연구
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• 제15권12호
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• pp.531-541
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• 2017

다면영상을 이용한 실감영상은 스크린이나 다면으로 구성된 디스플레이에서 펼쳐지는 내용이 사실적으로 보여지게 제작되어지고 있다. 이러한 다면영상은 전시를 위한 기획영상에서 주로 사용되었으나 Screen X와 같은 시스템을 통해 영화와 같은 스토리를 전달할 수 있는 포맷으로 재조명 되고 있다. 이번 연구는 3대의 줌렌즈가 장착된 HD급 방송용 디지털 비디오를 이용해 Screen X와 같은 방법으로 인물을 중심으로 한 전경 장면부터 클로즈업 장면까지 촬영한 후 다면 영상 정합보정을 통해 발생되는 문제점을 분석 파악하였다. 촬영 방법과 장비를 보완하면 다면영상이란 포맷이 스토리와 정보 전달이 가능한 매체임을 제시하였고 향후 방송용 줌렌즈를 이용한 촬영보다 표준렌즈 기반의 시네마급 카메라를 이용한 양질의 다면영상 콘텐츠를 제작할 수 있도록 기술적 연구와 보완이 필요하다.

• 한국의류학회지
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• 제42권5호
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• pp.809-822
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• 2018

Fashion brands communicate with consumers through the use of fashion films that are effective in the delivery of the image. This is because digital media (such as fashion films) are popular and accessible as well as effective in attracting people's attention. The reasons why fashion films have become a new fashion media among many others is becuase they are based on an existing platform. This study will examine offline platforms of fashion film: flagship store, fashion exhibition, and fashion show. The offline platform of a fashion film is a physical space where a fashion film can be exhibited and viewed as a medium that can effectively convey fashion film to consumers. As a research method, the concept of an offline platform of fashion film is established based on a literature review of fashion films and platform that is followed by an empirical case study. The study results show that the offline platform of a fashion film is in the progress of turning into an autotelic space where the consumption of such culture as cinema and theater has become possible.

• 한국정보통신학회논문지
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• 제13권8호
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• pp.1497-1504
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• 2009

본 논문에서는 JPEG2000의 연산 시간을 줄일 수 있는 방법을 제안한다. 제안한 방법은 웨이블릿 변환의 특성인 상관관계를 기반으로 상위 부대역에서 예측한 계수들의 정보를 이용하여 하위 부대역의 탐색 횟수를 줄인다. 이 방법은 컨텍스트 추출을 위한 연산량과 출력 데이터양이 줄어드나 화질의 열화가 심해지는 연산량과 화질 또는 데이터량간의 상보적 관계가 성립된다. 실험결과 제안한 알고리즘을 적용하였을 경우 표준에 비해 탐색 횟수가 35% 이상 감소함을 보여 수용할 만한 화질의 열화를 대가로 상당한 연산량 감소를 얻을 수 있을 것으로 판단된다.

• 한국방송∙미디어공학회:학술대회논문집
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• 한국방송공학회 2006년도 학술대회
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• pp.73-76
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• 2006

H.264는 MPEG-2, MPEG-4 Part 2, H.263 등 기존의 비디오 압축 표준들에 비해 우수한 화질과 부호화 효율을 제공하여 차세대 비디오 압축 표준으로서 널리 사용될 전망이다. 현재 H.264표준화 그룹인 JVT에서는 디지털 시네마 영상을 위한 Advanced 4:4:4 프로파일에 대한 표준화가 진행 중이다. 이 프로파일은 기존의 프로파일과 달리 화소당 8-12비트의 영상을 지원하며, YUV 영상대신 RGB 영상을 입력영상으로 사용한다. 디지털 시네마 영상은 보통 HD급 이상의 화면 크기를 가지며 초당 24Hz의 프레임율을 가진다. 이러한 영상에서는 화소간의 공간적 유사성이 매우 높아지는 경향이 있으며, 30Hz 영상에 비해 시간적 유사성이 감소하는 경향이 있다. 그 결과 H.264로 디지털 시네마 영상 압축 시, 공간 예측을 통한 Intra 매크로블록의 비율이 다른 테스트 영상들에 비해 월등히 높다는 것을 알 수 있다. 이는 디지털 시네마 영상 압축 시, 화면간 예측을 수행하는 ME/MC에 비해 공간 예측이 효율적이다는 것을 입증한다. 화면간 예측의 성능을 향상하기 위해 본 논문에서는 ME/MC 후 생성된 잔차 신호들을 간단히 변환하는 방법을 제안한다. 간단한 변환 기술이 추가되어 화면간 예측의 압축 성능이 향상됨은 물론, Inter 프레임에서 화면간 예측과 공간예측을 모두 사용하였을 때 전체적인 압축성능이 향상함을 실험을 통하여 확인 할 수 있었다.

• 한국컴퓨터정보학회논문지
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• 제20권10호
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• pp.39-44
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• 2015

In this paper, we analyze the immersion effects according to the level of map in adventure game. Computer games are actively enjoyed by many people around the world. Game players have frequently experienced the immersion which is an important aspect to be attained from games. However, it is not clear what immersion is and what kinds of factors influence to immersion. Nonetheless, in recent many researches, the elements of humanities and fun were found as factors of immersion in various digital contents such as game, virtual reality, cinema and etc. Therefore, today's games are developed on the basis of the humanities and fun theory that many researchers have been studied for a long time. In games, the balance of the level of map is related with immersion. Hence, it is important to know how the map patterns of game affect immersion of players. In this paper, we developed a 3D survival adventure game named by "1 Hour" using Unity3D in order to simulate how map patterns affect immersion of players. We also analyzed the relationship between the level of map and immersion using the game.

• International Journal of Computer Science & Network Security
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• 제21권12호
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• pp.189-192
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• 2021

The article theoretically substantiated, developed and practically implemented a structural and functional model of the formation of ICT competence, taking into account interdisciplinary integration, defines the pedagogical conditions that contribute to the formation of ICT competence: interdisciplinary integration as a basis for building an interdisciplinary course, the content of which is aimed at the formation of ICT competence; the use of IEE, including information, didactic, technological components as a basis for the formation of ICT competence; integration of formal, non-formal and informal education for the implementation the integrity of the acquired knowledge, skills, experience as the basis for the formation of the ICT competence of teachers; creation and use of a set of tasks (educational (UZ), educational and methodological (UMP), educational and professional (UPZ)) as special tools for the formation of ICT competence.

• Journal of Multimedia Information System
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• 제9권1호
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• pp.51-60
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• 2022

This paper raised the need to examine how the online education environment triggered by COVID-19 and the smart learning environment can be established in consideration of the improvement of education and learning through learning analysis. Many studies are being conducted in Korea, and the Ministry of Education is continuously striving to build a smart school by promoting strategies for promoting smart education on the way to a talent powerhouse. Nevertheless, there is no unified definition of smart learning, and it can be seen as customized (individualized) learning using smart devices. However, most of the discussions on the construction of smart schools so far have limitations in that they are limited to physical spaces. Accordingly, the opinions of teachers and learners were not sufficiently reflected in the establishment of the facility. This study intends to study smart learning in various departments. In addition, the subjects students in charge of the co-researcher of this study were analyzed. The total number of subjects was 951, and 434 responded to this study survey. In addition, students were well accepting the online environment, and in the future, regardless of COVID-19, research will be presented to improve mutual communication between professors and students in smart learning.

• 한국재료학회지
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• 제33권12호
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• pp.511-516
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• 2023

Amorphous In-Ga-Zn-O (a-IGZO) thin film transistors (TFTs) with a coplanar structure were fabricated to investigate the feasibility of their potential application in large size organic light emitting diodes (OLEDs). Drain currents, used as functions of the gate voltages for the TFTs, showed the output currents had slight differences in the saturation region, just as the output currents of the etch stopper TFTs did. The maximum difference in the threshold voltages of the In-Ga-Zn-O (a-IGZO) TFTs was as small as approximately 0.57 V. After the application of a positive bias voltage stress for 50,000 s, the values of the threshold voltage of the coplanar structure TFTs were only slightly shifted, by 0.18 V, indicative of their stability. The coplanar structure TFTs were embedded in OLEDs and exhibited a maximum luminance as large as 500 nits, and their color gamut satisfied 99 % of the digital cinema initiatives, confirming their suitability for large size and high resolution OLEDs. Further, the image density of large-size OLEDs embedded with the coplanar structure TFTs was significantly enhanced compared with OLEDs embedded with conventional TFTs.