• Journal of Broadcast Engineering
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• v.15 no.6
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• pp.723-730
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• 2010

Recently, diverse 3D image processing technologies have been applied in industries. Among them, stereoscopic conversion is a technology to generate a stereoscopic image from a conventional 2D image. The technology can be applied to movie and broadcasting contents and the viewer can watch 3D stereoscopic contents. Further the stereoscopic conversion is required to be applied to other fields. Following such trend, the aim of this paper is to apply the stereoscopic conversion to medical fields. The medical images can deliver more detailed 3D information with a stereoscopic image compared with a 2D plane image. This paper presents a novel methodology for converting a 2D medical image into a 3D stereoscopic image. For this, mean shift segmentation, edge detection, intensity analysis, etc are utilized to generate a final depth map. From an image and the depth map, left and right images are constructed. In the experiment, the proposed method is performed on a medical image such as CT (Computed Tomograpy). The stereoscopic image displayed on a 3D monitor shows a satisfactory performance.

• Journal of Broadcast Engineering
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• v.19 no.4
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• pp.453-467
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• 2014

A typical histogram equalization contrast enhancement effect for improving the image quality is excellent. However, because it appears that excessive changes of the brightness values, The average brightness of the image is changing in units of frames of applications such as a TV video is unsuitable. In order to solve these drawbacks, a modified method of histogram equalization on various studies have been made. But the result images of existing methods sometimes shown visual degradations such as over-enhancement and false contouring. In this paper, we propose improved contrast enhancement method through bi-histogram equalization using target mean brightness based on differential compression method. The proposed method is based on the average brightness value by dividing the histogram, the histogram for each zone, according to the frequency differential of compression. And equalize the modified histogram based on target mean brightness. This allows to suppress deterioration of picture quality, and changes in the average brightness of each frame of video, while maintaining and improving the contrast. Experimental results show that the proposed method compared to the conventional method, the average brightness of each frame from a movie well maintained, and no degradation of the image quality showed a good effect to improve the contrast.

• Cartoon and Animation Studies
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• s.23
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• pp.1-17
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• 2011

The paper analyzed the metaphoric expressions appeared in whose cinematic quality has been subjectively recognized on the global stage by winning the Oscar for Best Animated Short Film. Many contents and visual effects of the film were expressed with metaphor. Story and sequence were analyzed through the language system-based 'Conceptual Metaphor Analysis Framework'. In addition, characters have been analyzed through the 'Visual Metaphor Analysis Framework'. The framework is to analyze visual dimensions which are derived when concepts are structuredin animation. This paper has attempted to investigate and reveal patterns how animation self-organizes or how animation self-realizes through linguistic objectives. That is, it is to reveal how animation communicates with the audience from the metaphoric perspective among many conventional ones. In an animated film, metaphor is a fundamental means to connect fragmented images, produce a holistic view and therefore induce creative communication with the audience. The essential motive of metaphor which is expressed in various styles in is modern people's feeling of loss and sense of missing something. Train, bottle top, food, lost-and-found center, in-between space and lost items have significance across the movie. According to an analysis, metaphor offers simplicity and freshness as an aesthetic function. In addition, the metaphor expresses lengthy contents and various meanings implicitly, delivering an economic function. With a creative function, metaphor is a tool to generate new meanings. In other words, an animated film is a medium to inspire and move the general public as a means of communication and thinking, not just an entertainment for young generations. After all, metaphoric expressions have been used to deliver diverse and deep meanings in animated films.

• Cartoon and Animation Studies
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• s.30
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• pp.245-262
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• 2013

This paper analyzes three feature films that are based on Brothers Grimm's "Snow White": Disney's Snow White and the Seven Dwarfs (1937), Tarsem Singh's Mirror Mirror (2012), and Rupert Sanders' Snow White and the Huntsman (2012). Disney's animation, not the original literature, is the archetype of the later films. Grimm's fairy tail does not include the kiss of Prince Charming that saved Snow White which is, in fact, borrowed from "Sleeping Beauty", nor Snow White's rapport with animals. In Snow White and the Huntsman 's case, the costume of protagonist is similar with Disney's film and some shots are almost identical with Disney's version in terms of composition and angles. Nevertheless, these films show their originality with markedly different visual styles. Mirror Mirror and Snow White and the Huntsman have achieved reasonable success at the box office despite of relatively simple and predictable narratives due to the power of spectacle. While Disney's Snow White displays the model of witch that later becomes prototype of many movies, Mirror Mirror represents the unique magical world, a trompe-l'oell that can only done by director Tarsem, and Snow White and the Huntsman successfully visualizes Freudian concept of 'the uncanny' itself.

• Cartoon and Animation Studies
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• s.42
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• pp.1-24
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• 2016

The 'fear' in animation has a couple of problems to apply the criteria for identical genre as in movie or literature. First, the mutilation and destruction of one's body and the appearance of monsters and ghosts are not a normal way of expression and could not apply to one genre. Second, the cause of fear comes from the subject of fear which is a reality that is something 'unrealistic' and 'special' and is approachable. This is all possible in a three dimensional world, but animation is not founded on realism. According to this logic, the horror genre in animation or the esthetic experience of animation is not possible. However, many of the powerful images you can see from the horror genre are all created from animation. Therefore, many writers are drawn to the horror in animation and tried to express in many different ways. This study will include the general idea of fear which drives the audience to the felling of fear and terror but we will mainly focus on the three types of fear - ghost story, cannibalism, and madness - and discover the meaning of fear used in animation. Through this process, we anticipate that fear in animation is not just for pure amusement, but will be able to investigate the meaning of fear philosophically even if the hidden side of reality is terrifying.

• Cartoon and Animation Studies
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• s.50
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• pp.187-214
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• 2018

The problem-based storytelling of the three-act structure, which sees the plot of the story as a solution to the problem of the character, has been the guide of creation to the creator of popular stories since Aristotle. Also problem-based storytelling has served as a schema that provides dramatic catharsis to the audience of the story, and one of the dramatic catharsis It has been working as a schema. This problem - based storytelling has been used as a structure for story production programs that have been developed since the 1980s. However, this story authoring program is focused only on the external problem of the story, but it has the limitation of producing the story that can not solve the internal problem of the character and provide the catharsis. This paper analyze the plot structure of 'StoryHelper', which is a domestic story authoring program, and the ending of 900 films, both domestic and foreign, which are database in 'StoryHelper'. 'StoryHelper' presents a problem-based plot structure that can consider not only external problems but also internal problems by applying causality and mythical episodes. The structure of these plots is based on the parameters of external problem solving, unresolved internal problem solving, and unresolved variables maturity plot(542films), disillusion plot(111films), education plot(132films), tragedy plot(205films). The results of this analysis are expected to provide a meaningful structure for plot-based creative and creative program development.

• Trans-
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• v.6
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• pp.97-127
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• 2019

This study investigated the specific effects of dance themed movies on dance students in their passion for dance and affect. The related data is generated by choosing a method of Convenience Sampling and used a sample of 112 dance students in high school of arts which located in Seongnam-si, South Korea. The dance students divided into 3 group of school year and also 2 group of gender. The dance themed movies which are used in this research are First Position, Billy Elliot and Mao's Last Dancer. Also, the dance students were asked to answer the survey which are based on the Self-administration. In order to obtain several findings below, Frequency analysis, Exploratory factor analysis, Reliability analysis, t-test, ANOVA, Correlation analysis and Linear structural relation model were applied to the gathered data using statistics utility SAS 9.4. First, there was a significant difference between the school years in the passion for dance and affect of students after watching movies. Second, there was a significant difference in students' affect depended on their majors (dance major is divided into three specialized major which are ballet, korean dance and modern dance). Third, there was a significant difference in the passion for dance and students' affect which is irreverent to their dance career (such as years they have learned dance). Forth, there was a significant difference in the passion for dance and negative affect of 'dance' students after watching movies. To summarize, the findings demonstrate that there is a partial difference, specially significant effects on their negative affect in the dance passion and affect of dance students depended on their characteristics after watching dance themed movies.

• 한국정보디스플레이학회:학술대회논문집
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• 2008.10a
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• pp.4-4
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• 2008

The progress in flat panel displays over the last two decades has been astonishing. In just 20 years, the LCD-TV grew up from a 2-inch curiosity, to an industry that will sell about 120 million flat panel TV's this year, with viewing area up to 4000 times larger. That success is based on continuous innovation, especially in manufacturing processes. For the next decade to bring another doubling of the business, progress will need to continue in four major areas: Human factors, ecological impact, visual quality, and of course continued drive towards affordability. This talk will detail the technology advances that can allow this industry to meet those challenges. Human factors. Today, we adapt our lifestyle to our technology. People organize their offices, and their homes, around displays. We pass around mobile phones to share images, rather than experiencing them as a group. Billions of newspapers continue to be sold daily. Advances in flexible displays can lead to large portable displays. "New era projection" includes the handheld Pico Projectors that are already on the market, and will ultimately appear integrated in mobile phones the same way cameras do today. "Eco" impact. Today TV's are one of the top energy consumers in a U.S. home, and the fastest growing. Watching a large flat panel TV can cost twice as much as running a large refrigerator. With today's concern about energy consumption, regulations are starting to emerge worldwide to limit TV electrical use. Fortunately, good solutions exist in using light management films to eliminate bulbs, saving power without increasing cost. Going forward, LED backlights will drive another step downward. OLED displays might be the ultimate solution. Visual quality. The color of an LCD-TV is still often considered inferior to a far less expensive CRT. And almost all displays suffer from representing a three-dimensional world on a two dimensional surface. The technology to improve color is available today, and will likely move from premium sets into the mainstream as costs come down. 3D is now arriving in movie theaters worldwide, and that will drive up the demand for similar realistic images in home theaters. And the technology is emerging today for 3D representation to move beyond specialized applications into everyday use, on screens large and small. Affordability. The world takes cost-down miracles for granted in consumer electronics. Each of these other advances will be balanced with a drive for affordability, especially as the market grows in emerging countries. The other three challenges must be met without increasing cost. Putting this all together, the next few years will emphasize "eco friendly" designs, and enhanced images such as 3D. By 2013 we will start to see serious penetration by emissive technologies (OLED, high efficiency plasma, or other), with the "ultimate display" likely not in the market for a decade. Lots of opportunities for innovation remain ahead of us.

• Journal of Broadcast Engineering
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• v.12 no.5
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• pp.391-400
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• 2007

The ways of expression are infinite to make animated film. When we compare to live action film, that fact is the actual power that animation only has and is one of the big weapons to appeal to the audience. Nonetheless, techniques to be chosen are monolithic like drawing, 3D computer, and clay when animation maker makes feature animation to screen in movie theatre. It's probably because feature animation must have popularity of visual style and they need to standardize technique about side of making. But popularity in expression does not mean monolithic visual style and making technique. It should be understood about side of artistic value to fascinate public audience. Audience is always eager for new subject, new directing style and new visual style. Monotonous and boring animation cannot but turn away from the audience. So if production does not have artistic value, we cannot expect commercial value and success also even it plans and makes for the feature animation. To create new visual style fnr animation is not only limited to artwork itself but also creation, which is included story and tone of the film and acting style about character. Also making process must be calculated and experimented to actualize that visual style about side of making.

• Journal of Gifted/Talented Education
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• v.23 no.5
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• pp.715-729
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• 2013

The purpose of this study is to analyze the perception on science and scientists of the teachers who are engaged in the special education for the scientifically gifted, science-gifted students and their parents. For this study, 34 teachers, 222 students and 107 parents answered the questionnaire of the perception on science and Draw-A-Science-Test (DAST). The result showed that the three groups generally had a sound recognition but the score of recognition about a 'nature of science' was lower than other domains. The science-gifted students had less cognition about 'science and society' than their teachers and parents, but they had more positive perception about 'science learning' than their parents significantly. All of the three groups had the stereotyped image of scientist. About the internal images of scientists, three groups had a similar perception, and they showed higher scores in the cognitive aspect than emotional or ethical aspects. And the science-gifted students showed the significantly higher scores than their teachers and parents in diligence, imaginative power, concern about other people, respect for other's opinion, humor, artistic sense, respect for human, desire for peace. Three groups turned out to be influenced by movie, science journal, and biography as a source of scientist's image, but their contribution was different among groups.