• 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.

• The Journal of the Korea Contents Association
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• v.11 no.8
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• pp.77-87
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• 2011

The advent of new platforms each year along with the advancement of technology provides a new opportunity for digital media designers to develop creative and innovative contents. This phenomenon affect the same way the students that major in the digital media, and the use of the platforms that is based on the new technology in the development of contents gives a newer and useful opportunity for learning to the students who recently study the digital media area. As the main technology of the recent digital media that attract many students' attention, we are presenting virtual reality display, movement cognition, physical engine and the gesture interface, and developed the consolidated platform based on these four technologies, and designed them in a way that can be more easily implemented in a simpler way. In order to study the efficiency of the platform with the objective of the development of digital media contents, we have developed four different prototype contents, and have measured based on the user's preference, efficiency and satisfaction. In the results of usability evaluation, functionality, effectiveness, efficiency, satisfaction were rated as 'high'. This results shows that the suggested 3D platform environment provides students to develop a rapid prototype fast and easy, and this may have a positive influence on students major in the digital media to conduct creative development research.

• Cartoon and Animation Studies
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• s.49
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• pp.677-696
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• 2017

Cartoons and consequently animation are an effective way of visualizing futuristic scenarios. Here we look at how animation is becoming ubiquitous and an integral part of this future today: the cybernetic and mediated society that we are being transformed into. Animation therefore becomes a form of speech between humans and this networked reality, either as an interface or as representation that gives temporal form to objects. Animation or specifically animated films usually are associated with character based short and feature films, fiction or nonfiction. However animation is not constricted to traditional cinematic formats and language, the same way that design and communication have become treated as separate fields, however according to $Vil{\acute{e}}m$ Flusser they aren't. The same premise can be applied to animation in a networked culture: Animation has become an intrinsic to design processes and products - as in motion graphics, interface design and three-dimensional visualization. Video-games, virtual reality, map based apps and social networks constitute layers of an expanded universe that embodies our network based culture. They are products of design and media disciplines that are increasingly relying on animation as a universal language suited to multi-cultural interactions carried in digital ambients. In this sense animation becomes a discourse, the same way as Roland Barthes describes myth as a type of speech. With the objective of exploring the role of animation as a design tool, the proposed research intends to develop transmedia creative visual strategies using animation both as narrative and as an user interface.

• Science of Emotion and Sensibility
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• v.8 no.4
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• pp.423-433
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• 2005

The computer hardware development has provided many chances of emergence between art and technology. In many cases today's interactive artworks cannot be completed without audience's participation. The interactive production process with technical supplementation can be celled feedback. Mr. Nam Jun Paik showed 'Participant TV' that interacts with audience's response in real time. It means artwork changes with the constantly changing value from the data set from human visual perception. Dan Graham showed another feedback related work, which delays 5second playback in mirror that implies consequence of time. Today's media art has to sublimate coincidence, time ant audience into philosophical artwork through consonance that comes with video and sound as we can see from Bill Viola. Stelarc produced artworks. That use input data that is weak signals from brain, muscles. Through a terminal display with player, body expanded meaning of media. Jeffrey Shaw's 'Legible City' provided a fabrication of the reality with the interaction of bicycle's pedal speed and steering direction that is controlled by 4river. RE:MARK used microphone as input device as Edmond Couchot's 'Je same a la vent' and Nam Jun Paik's 'Participant TV' did. There is no communication without feedback between human being. The reality makes audience involved into artworks. That is the reason why feedback has to be natural. Through the feedback process, the originality of the idea is altered by audience. The feedback is not just part of flesh of artwork rather skeleton of it. Technological showoff cannot be art itself The perfection of technological application plan helps feedback that interacts with audience naturally in order that audience hoes not feel the feedback as artificial plan. Interactive media art has to be evolved into new media form with new integration feedback technology.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.20 no.3
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• pp.400-406
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• 2019

This study will explore the reenactment of visual special effects used in TV dramas. The subjects of the study are images that are reproduced in visual special effects through and . Accordingly, we looked at the changes in the way TV dramas were produced according to the times, and looked at the changes in the market. Also, we looked at cases of visual special effects of Korean dramas, and looked at expressions according to the degree of completion of visual special effects. For the purpose of the analysis of the research targets, the images of reproducibility and the flow through reality were analyzed. In the case of , the period setting is realistic, but visual special effects were used to maximize the actor's safety and expression, and in the case of , the visual effects were used to maximize the aesthetic of the period background. In addition, it can be seen that the visual special effects were used for the effect of PPL on the export of images. This shows that the emphasis of reality and image montage techniques are being used to pursue hyperrealism. It is now possible to actively express and use the beauty of TV dramas rather than technical limitations. In addition, the pursuit of realism can actively express the changing times of digital age. This is an active representation of the camera's angle, lighting, and perspective that coincides with the background. The environment of video production is crucial for realistic expressions. The study examined various visual directions and applications. In TV images, we looked at reproduction, which can make a natural period of time by combining. As a follow-up study, we are going to study the changes in the new quadratic image based on the present image representation.

• Journal of the Korea Convergence Society
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• v.12 no.5
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• pp.139-145
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• 2021

Through this study, we intend to study user satisfaction in order to verify whether there is a need for full-scale research, development and commercialization of document viewers in a VR environment. VR content consists of realistic 3D graphics and 360-degree video, and provides a synesthesia experience and immersion. We developed and tested a VR document viewer prototype that can utilize this concept as a document viewing system. It can act as a viewer that provides an interactive viewing environment according to the user's body interaction and the direction of the field of view, and it can be said that the feature of VR document viewer is that it can draw the user's high level of immersion and concentration when using the viewer. The developed prototype was tested in a test group consisting of 100 VR experiences and device owners for about 1 hour and 3 days a day, and then a questionnaire survey in the form of a fixed selection question was conducted. This study is a prototype study of a document viewer suitable for a virtual reality environment, and can lead to a sense of immersion when reading a document, and suggest a new document viewer direction that is effective for visual fatigue and visual perception of the document.

• International Journal of Computer Science & Network Security
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• v.22 no.11
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• pp.248-254
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• 2022

Educational innovations are first created, improved or applied educational, didactic, educative, and managerial systems and their components that significantly improve the results of educational activities. The development of pedagogical technology in the global educational space is conventionally divided into three stages. The role of innovative technologies in Higher School practice is substantiated. Factors of effectiveness of the educational process are highlighted. Technology is defined as a phenomenon and its importance is emphasized, it is indicated that it is a component of human history, a form of expression of intelligence focused on solving important problems of being, a synthesis of the mind and human abilities. The most frequently used technologies in practice are classified. Among the priority educational innovations in higher education institutions, the following are highlighted. Introduction of modular training and a rating system for knowledge control (credit-modular system) into the educational process; distance learning system; computerization of libraries using electronic catalog programs and the creation of a fund of electronic educational and methodological materials; electronic system for managing the activities of an educational institution and the educational process. In the educational process, various innovative pedagogical methods are successfully used, the basis of which is interactivity and maximum proximity to the real professional activity of the future specialist. There are simulation technologies (game and discussion forms of organization); technology "case method" (maximum proximity to reality); video training methodology (maximum proximity to reality); computer modeling; interactive technologies; technologies of collective and group training; situational modeling technologies; technologies for working out discussion issues; project technology; Information Technologies; technologies of differentiated training; text-centric training technology and others.

• Journal of The Korean Association For Science Education
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• v.43 no.2
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• pp.181-190
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• 2023

In this study, we compared discourse by environments for using tools in terms of participation types, discourse types, and knowledge building processes. 24 first-year high school students were divided into six groups. They were assigned to the sharing tools environment, which used one marker and one smart device, or the individual tools environment, which used markers and smart devices individually. Students participated in small group learning using AR application based on the concept of chemical bonding. All classes were video- and audio-taped. Semi-structured interviews were conducted with six students who voluntarily agreed. The results of the study revealed that the sharing tools environment had a high proportion of one-student dominating type, while the individual tools environment had a high proportion of partly participating type and most students participating type. In the individual tools environment, the ratio of knowledge sharing and knowledge construction discourse was similar compared to the tool sharing environment, and the sub-discourse types were also diverse. In the sharing tools environment, only some students had a meaningful knowledge building process. On the other hand, in the individual tools environment, most of the group members constructed knowledge about the target concept, and had a meaningful knowledge building process. In addition, the misconceptions that appeared to some group members were corrected through small group discussions.

• Asia-pacific Journal of Multimedia Services Convergent with Art, Humanities, and Sociology
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• v.7 no.6
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• pp.897-906
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• 2017

Projection Mapping, also known as Spatial Augmented Reality(SAR) has attracted much attention recently and used for many division, which can augment physical objects with projected various virtual replications. However, conventional approaches towards projection mapping have faced some limitations. Target objects' geometric transformation property does not considered, and movements of flexible objects-like paper are hard to handle, such as folding and bending as natural interaction. Also, precise registration and tracking has been a cumbersome process in the past. While there have been many researches on Projection Mapping on static objects, dynamic projection mapping that can keep tracking of a moving flexible target and aligning the projection at interactive level is still a challenge. Therefore, this paper propose a new method using Unity3D and ARToolkit for high-speed robust tracking and dynamic projection mapping onto non-rigid deforming objects rapidly and interactively. The method consists of four stages, forming cubic bezier surface, process of rendering transformation values, multiple marker recognition and tracking, and webcam real time-lapse imaging. Users can fold, curve, bend and twist to make interaction. This method can achieve three high-quality results. First, the system can detect the strong deformation of objects. Second, it reduces the occlusion error which reduces the misalignment between the target object and the projected video. Lastly, the accuracy and the robustness of this method can make result values to be projected exactly onto the target object in real-time with high-speed and precise transformation tracking.

• Science of Emotion and Sensibility
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• v.21 no.2
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• pp.3-14
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• 2018

For satisfying consumer needs, commercial facilities require a variety of sale-related space expressions and eye-catching product arrangements; space composition can also be a direct marketing strategy. The human eye is the sensory organ that acquires the largest amount of information, and an analysis of visual information helps in understanding visual relations between . However, the existing studies are mostly focused on analysis of still frames in experimental images, and there is a lack of studies analyzing gaze information based on mobile images of commercial spaces. Therefore, this study analyzed emotional responses through gaze information of space users in reality using a video of a movement route through a commercial facility. The analysis targeted straight sections of the moving route; based on the data acquired, sectional characteristics of five gaze intensity ranges were examined. As a result, section A, the starting point of the route, had a low gaze intensity, while section B had the highest gaze intensity. This indicates that, starting in section B, the subjects explored the space in a stable way and needed time to adapt to the experimental video. In relation to space characteristics of the gaze-concentrated area, display formats of the right stores in 4 of 6 sections received greater attention. The gaze of consumers was mostly focused on props, and big gaze information was revealed in showcase display formats of the stores. In conclusion, this analysis method can provide highly useful direct design data about merchandise display and merchandise component arrangement based on consumer visual preference.