• Applied Biological Chemistry
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• v.13 no.3
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• pp.207-218
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• 1970

Studies were carried out to develope the most economical and practical methods of packaging and preservation of kimchi, so commercialization of kimchi manufacture could proceed rapidly. The results obtained may be summarized as following. (1) It is generally established that the acceptable range of lactic acid content of kimchi is between 0.4% and 0.75%. Based on sensory evaluation, kimchi having lactic acid content below 0.4% and above 0.75% was not edible, and the time of optimum taste corresponded to the vicinity of 0.5% of lactic acid content. For the refrigeration storage with or without preservatives, the packaging kimchi in plastic film must be done at the lactic acid content of 0.45%, for lactic acid fermentation will continue slowly after the packaging. However, for the heat sterilized kimchi the packaging should be done at the 0.5% of lactic acid content for the best because lactic acid fermentation is completely stopped after the packaging. (2) Polyethylene, polypropylene, and polycello were chosen as suitable packaging materials. Polyethylene is cheapest among them but kimchi packaged in this film was damaged frequently in handling process and gave off kimchi flavor. On the other hand polypropylene also gave off kimchi flavor, but its higher mechanical strength gave better protection to kimchi and it had superior display effect due to the transparancy. Therefore polypropylene made much better packaging material. Polycello proved to be the best packaging material from the standpoint of physical characteristics but its price is higher than that of other plastic films. To be effective, the thickness of plastic films for packaging kimchi must exceed 0.08mm. (3) Keeping property of kimchi appeared to be excellent by means of freezing. However, by the time the frozen kimchi was thawed out at room temperature, moisture loss due to drip was extensive, rendering the kimchi too stringy. (4) Preservation of kimchi at refrigerated temperatures proved to be the best method and under the refrigerated condition the kimchi remained fresh as long as 3 months. The best results were obtained when kimchi was held at $0^{\circ}C$. (5) In general, preservatives alone were not too elective in preserving kimchi. Among them potassium sorbate appeared to be most effective with the four fold extension of self-life at $20^{\circ}C$ and two fold extension at $30^{\circ}C$. (6) In heat sterilization the thickness of packaged kimchi product had a geat effect upon the rate of heat penetration. When the thickness ranged from 1.5 to 1.8cm, the kimchi in such package could be sterilized at $65^{\circ}C$ for 20 minutes. Kimchi so heat treated could be kept at room temperature as long as one month without apparent changes in quality. (7) Among combination methods, preservation at refrigerated and heat sterilization could be favorably combined. When kimchi was stored at $4^{\circ}C$ after being sterilized at $65^{\circ}C$ for 20 minutes, it was possible to preserve the kimchi for more than 4 months.

• Cartoon and Animation Studies
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• s.35
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• pp.209-226
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• 2014

Chinese cartoon industry lately was able to see a rapid development which changed cartoon creative personnel associated with increased production technology development, new technologies, government support policy and a variety of environments. It was likely to have high expectations for changes in the policy environment of the country supported the comic creators and authors to develop its own comic industry. The State Administration of Press, Publication, Radio, Film and Television of China promoted the production for the development of Chinese animation with "domestic little video about the development of the animation industry's opinion", and "documents Documents". Animation industrial base and animation education was established in institutions such as the organization one after another. In the meantime, the spread of Japanese comics picture on the creative activation admitted but their comic creation and activation was slump. It would produce that the creation of its traditional culture based activation strategy to built comics. Since 2004, It was well represented for the creators of the cartoon creation of the tradition and uniqueness of Chinese history. In the prior to 2004, comics and strategies was to be differentiated. Today, China is an important source of comic marked the fact that the tradition was recognized and it was further developed with combining creativity of the past and the present production system. Comic creators comic story of traditional culture were excavated in order to have a sense of awareness and modern. The difference between China Cartoon and comics in other Asian countries is true that cartoon story came out naturally in a traditional culture. In this study, It would lead in the future to allow directional presented for the digital cartoon making development policy awareness through the comic creation and production of new media content industry enabled to China. Now, in the new media industry for the development of China's neighboring countries coped with climate change for the active exchange of information. It poured out ceaseless technical development and a range of policies to support business expansion. New China Cartoon was leaped to re-fit the industry.

• Cartoon and Animation Studies
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• s.37
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• pp.143-158
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• 2014

In the modeling processes of 3D computer animation, methods to build optimal work conditions to realize real forms for more efficient works have been advanced. Digital sculpting software, published in 1999, ZBrush has been positioned as an essential factor in character model work requiring of realistic descriptions through different manufacturing methods from previous modeling work processes and easy shape realization. Their functional areas are expanding. So, in this production case paper, as a method to product more optimized animation character models, the efficiency of production method linking digital sculpting software (Z-Brush) and animation production software (Maya) was deliberated and its consequences and implications are suggested. To this end, first the technical features of polygon modeling and Retopology were reviewed. Second, based on it, the efficiency of animation character modeling work processes through step linking ZBrush and Maya suggested in this paper was analyzed. Third, based on the features drawn before, in order to prove the hypothesis on modeling optimization method suggested in this paper, the production process of character Dumvee from a short animation film, 'Cula & Mina' was analyzed as an example. Through this study, it was found that technical approach easiness and high level of completion could be realized through two software linked work processes. This study is considered to be a reference for optimizing production process of related industries or modeling-related classes by deliberating different modeling process linked systems.

• Cartoon and Animation Studies
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• s.37
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• pp.221-245
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• 2014

With the success of the world's first 3D computer animated film, "Toy Story" in 1995, industrial development of 3D computer animation gained considerable momentum. Consequently, various 3D animations for TV were produced; in addition, high quality 3D computer animation games became common. To save a large amount of 3D animation production time and cost, technological development has been conducted actively, in accordance with the expansion of industrial demand in this field. Further, compared with the traditional approach of producing animations through hand-drawings, the efficiency of producing 3D computer animations is infinitely greater. In this study, an experiment and a comparative analysis of markerless motion capture systems for facial expression animation has been conducted that aims to improve the efficiency of 3D computer animation production. Faceware system, which is a product of Image Metrics, provides sophisticated production tools despite the complexity of motion capture recognition and application process. Faceshift system, which is a product of same-named Faceshift, though relatively less sophisticated, provides applications for rapid real-time motion recognition. It is hoped that the results of the comparative analysis presented in this paper become baseline data for selecting the appropriate motion capture and key frame animation method for the most efficient production of facial expression animation in accordance with production time and cost, and the degree of sophistication and media in use, when creating animation.

• Archives of design research
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• v.19 no.1 s.63
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• pp.119-128
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• 2006

'Play' itself is enough of a motivation for anyone to do it. Still, it will be very difficult to continue to enjoy meaningless and aimless repetition of fights, mimicking, chases, discoveries or changing of sceneries by the mechanism alone. Of course, in rare occasions there are games like Tetris which can be enjoyed on its great gameplay alone for hours. But for most cases, players need goals, initiatives, and dynamism through storytelling for their experiences to be a rich one. Validity and feasibility of storytelling in games has always existed with plenty of skepticism. However, as games evolved from some small play mechanisms for spare times to a major entertainment with recognizable volume and content, a need to keep players interested and participating has made storytelling an essential ingredient. Storytelling within games has to have different meanings and shapes to existing narratives. Hence, new definition and methodology must emerge and studies has been active. If a case can be made so that a tested and tried methodology that has been successful for other media can be substituted for games, then it can bring a new direction to the ongoing studies. This study will borrow some methodology from cinema which can sometimes be seen as opposite to games and sometimes as something games want to be alike.

• Korean journal of communication and information
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• v.53
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• pp.53-72
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• 2011

has become the representative program of EBS after first airing in 2004. After seeing as a media text, this study was fulfilled on the basis of Bill Nichols' "Rhetoric" discussion, in order to analyze the structural method and social meaning of the program. As a result of the study, we were first able to see that was taking form as a documentary to make a constructive statement on current affairs related to Korean society, by mobilizing 'knowledge' related to these issues. Second, the "rhetoric" plays an important role in the program's process to generate meaning, and despite the text being relatively short, the rhetorical process undergone for the generation of meaning has been fully reflected. Moreover, the program was successfully structuring a new method of generating meaning by enthusiastically raising questions and choosing a unique method of vision mix. Third, by looking at the study's results in-depth, we can see that was creating a ideological place for open discussion, which was providing viewers with the satisfaction of overcoming our society's dominating ideology and forming new ones. In that sense, the easily accessible 'knowledge'that surrounds us holds somewhat of a political meaning. On top of that, it can be seen that the program especially, is a media text that holds a cultural political meaning, which is an important factor to consider in the Korean broadcasting industry. In conclusion, we found out that this program uses 'knowledge' to see the possibility of 'knowledge'journalism by making constructive statements through a 'rhetorical' process.

• Cartoon and Animation Studies
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• s.29
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• pp.37-60
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• 2012

This essay is discusses the phase on expression as experimental animation for the tendency of the animation which appeared newly 1960s in Japan by "3 members in animation". In general, experimental animation is contrary to traditional animation. "3 members in animation" tried to present the concept of animation newly with the various trials which overthrow the form of the conventional animated cartoon. Those days, the feature animation of Toei was the mainstream of the cartoon film. When comparing with Yoji Kuri's works, the movement and theme on expression are different. It can be said that the difference is an alternative method to the mainstream. Other members Ryohei Yanagihara and Hiroshi Manabe connected design and illustration with animation. The independent creators participated in the animation festival which "3 members in animation" held. They tried to create animation interchanging with other genres. It can be said that the intermediality seen in their work is trial which sets variegated the object of animation and it expands the possibility of the new animation. Their approach overthrew the traditional tendency and was able to call it experimental animation. Japanese experimental animation in 1960s is the historical starting point of recent independent animation which searched for art in which an original expression has been formed in Japan.

• Cartoon and Animation Studies
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• s.13
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• pp.163-179
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• 2008

It is no longer an issue that there is a big audience for Korean movies. More than 120 Korean movies are made each year. Many win prizes at film festivals around the world. But the number of animation movies made in Korea is decreasing even though the government tried to revitalize the animation industry in the mid-1990s. The problem is that all Korean animation movies were box-office failures, even though "Mary's Story" and "Oseam" were awarded prizes in world-famous animation festivals. Korean animation movies also face hurdles because of different cultural tastes of Korean audiences and problems with distribution. But there is a tremendous amount of potential and possibilities for Korean animation movies to be box-office blockbusters and artistic successes. There are ways to develop and revitalize the Korean animation industry and make it of the most important businesses and cultural influences in Korean society.

• Cartoon and Animation Studies
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• s.12
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• pp.1-12
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• 2007

The long-term stagnation in the country involving missing it is starting from the late 1990s accumulated on the common vision. The government has, since 2002, cartoon comics industry nurture long-term industrial development of five-year plan, 346.7. During that period of unprecedented material support to the government's sweeping received. Upcoming in 2008 is the second long-term development plan will be effective. The temperature inside and outside the government, however, various tax and go to feel quite differently. The first plan is merely a period of enforced projects listed are only fit for Panathinaikos has endorsed this general trend, yirugo diagnosis. But fundamentally, the exact diagnosis is necessary for the long-term stagnation. Children's Learning Results cartoon wepmanhwawa not thrive households. Comics readers about the consumption pattern is changing. Therefore, long-term plan for the development of cartoon industry only a few government budget plan is not the government write 73 gala, companies and the private sector are coming together to plan and worry that the plan should be a comprehensive and bevels. In addition, through the selection and concentration to increase efficiency. You will probably need to strengthen the capabilities of our private organizations, it is a priority. Furthermore, the government's financial and policy support for the lobbying power also lead to an increase in betting. It features a think tank to study the policy framework for the establishment and promotion assume the ultimate proposal includes a cartoon film cozy confines of the legislation that parallels activities in the various proposals.

• Proceedings of the Korean Society of Grassland Science Conference
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• 2002.09b
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• pp.5-56
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• 2002

The problems in the current domestic forage production were evaluated, and the prospective improvement was suggested in this paper. Grassland development in forest, production of high quality forages in upland and paddy land, efficient utilization of rice straw, development of new varieties of forages suitable for our environmental conditions and imported forages were described Among them, preferential production and utilization of forages using paddy field after rice harvest . should be enlarged for domestic supply of forages in Korea. Several studies were carried out to select the promising forage crops and barley cultivars for whole crop silage production, to determine productivity, nutritive value and production cost of forages produced in paddy field, and feeding effect of forages with Hanuwoo and milking cow for whole crop silage with forages produced in paddy field, 1999 to 2001, and also discussed restraint factors and activation plans for enlargement of forage production in paddy land. The promising forage crops in paddy field were rye and barley for Middle region, and rye, barley, early maturing Italian ryegrass and wheat for Southern region. The promising barley cultivars for whole crop silage in paddy field were Albori in Suwon, Keunalbori, Milyang 92, Saessalbori, and Naehanssalbori in Iksan, and Keunalbori, Albori, Naehanssalbori, and Saegangbori in Milyang, respectively. Silage production, quality and animal palatability of silage by trench and round bale were also compared. The production yields of whole crop barley silage(WBS) were 17,135kg as a fresh matter, and 6,011kg as a dry matter per ha, and the quality of WBS was 2∼3 grade, while that of rice straw silage was 4 grade as a farm basis. The production cost of WBS per kg was 83won as a fresh matter, and 238won as a dry matter. Feeding of WBS as forages on Hanwoo was very desirable for the improvement of live-weight gain, beef quality and farm income, particularly in growing stage of Hanwoo. Milk production and income were also increased, and feed cost was decreased by feeding of WBS. The daily voluntary intake of WBS in milking cow was 26.3kg as a fresh matter(DM 7.7kg) per head. Milk production when WBS was fed, was very similar to that of imported hay feeding such as Kentucky bluegrass or domestic corn silage. The issues to be solved in near future f3r stable forage production and supply in paddy land are sustainable livestock-forages policy, development & seed production of new varieties of barley, rye, Italian ryegrass and other promising forages, efficient demand & supply system of forages, solidification for mass production and utilization of forages, efficient application management of animal slurry on paddy field considering environmental agriculture/livestock industry, and break k development of bottleneck technique in production field. Domestic production & supply of high cost agricultural machine (round baler, wrapper, handler and so on), plastic wrapping film, and silage additives are also important.