• Title, Summary, Keyword: 포스트프로덕션

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Digital Video Post-production Process with Synchronous FX System on Audio and Video (영상/음향 동시 FX 시스템을 이용한 포스트프로덕션 과정에서의 디지털 영상표현)

  • Jeong Min-Chan
    • Proceedings of the Korea Contents Association Conference
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    • pp.453-455
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    • 2005
  • This paper suggests a technically advanced way of associating video with audio artistically, the synchronous FX system using its digital data information. And usages of this system are described with introducing processes to extract useful informations from digital audio/video data and methods for sharing these informations with other media.

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Collaborative Dispositions of Participatory Arts in Contemporary Practices -Based on Nicolas Bourriaud's Notion of Postproduction- (동시대 예술 형식의 상호성과 공유 가능성 -니콜라 부리오의 포스트프로덕션 개념을 중심으로-)

  • Baik, Youngju
    • The Journal of the Korea Contents Association
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    • v.18 no.6
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    • pp.88-101
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    • 2018
  • The collective narratives on global crisis such as the displaced, uneven distribution of resources, invasion of human rights is more than a recurring theme or polemics in the fields of contemporary arts. In the latest projects from Olafur Eliasson, Rirkrit Tiravanija and Ai WeiWei, art works are presented as performative 'platforms' for tackling these undiscriminating reality of human conditions. Here, 'the users' as driving forces of possible change, are postulated as prospective actors/players who lead and collaborate to defy the status-quo. Crossing over the on/off lines, the everyday-activities of exchanging, sharing and networking are strategically deployed and its meaning reconfigured within the context of post/production discourse. This historical, yet unsettling juncture between art and life, dystopian reality and utopian idealism has its formal-conceptual links to Russian Constructivism, Brechtian Learning-Play and Joseph Beuys' Social Sculpture. Based on Nicolas Bourriaud's notion of Postproduction, this paper aims to provide a diachronic analysis on collaborative dispositions of participatory arts practices.

Variation of the Cinema and Techniques of the Expression in the Digital Technology (디지털 테크놀로지와 영화 표현기법의 변화)

  • Jeon, Pyoung-Kuk;Kim, Hyeung-Doo
    • The Journal of the Korea Contents Association
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    • v.9 no.1
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    • pp.205-214
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    • 2009
  • There has been a change in the production of the movie and techniques of the expression in the digital technology which has been used universally since 2000. As the focus of the production system of the movie has moved from the production procedure centering around filming to the procedure centering around editing used by the digital tools. The flows and boundaries of the production system which is consist of pre-production, production and post-production are getting indistinct. In the point of view of aesthetics and technology, this kind of change expands the creativity and originality for the screenwriters and provides the reality and vitality which haven't been found in previous films for the audience. It also elevates the quality of the movie. However, this ‘illusionary spectacle' has a vulnerable point that shows the aura and details of the movie soundly for the audience.

A Study on Postproduction Image Synthesis based on Resource Types (리소스 형식 기반의 포스트프로덕션 영상합성에 관한 연구)

  • Jung Eun-Ju;Kim Jae-Joon
    • Journal of Internet Computing and Services
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    • v.7 no.2
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    • pp.1-8
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    • 2006
  • Study of effective synthesis has been amplified in working-level image process corresponding to one of postproduction synthesis ares. However, it is very role to recognize the overall procedure of image composition and unprepared state on a research on variety and complexity for the specific composition method, it is necessary to materialize the overall pattern that can understand stream of image and standardization. In order to embody, it may be desirable that improve working efficiency of database by form called resources. In this paper, by providing the several values such as matte, key, motion, scale, position, or opacity characteristics, we directed th solving problems through the detailed examples while the user has the difficulty on image synthesis.

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Post-Medium and Postproduction: Contemporaneity of Contemporary Art (포스트-미디엄과 포스트프로덕션 : 포스트모더니즘 이후 현대미술의 '동시대성(contemporaneity)')

  • Chung, Yeon Shim
    • The Journal of Art Theory & Practice
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    • no.14
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    • pp.187-215
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    • 2012
  • In recent studies of art historical methodology, such as Critical Terms for Art History and The Art of Art History, subjectivity, identity, abjection, and other terms have been placed safely in the genealogy of contemporary art history. This paper questions the contemporaneity in the story of contemporary art in our time in relation to two other critical terms that have been regularly cited by contemporary critics, not only in Euro-American fields but also in Korea. The terms are postmedium and postproduction, respectively, as used by Rosalind Krauss and Nicolas Bourriaud. This paper stems from the critical condition in which art criticism and theory have their power in the rise of neo-liberalism. But this paper does not deal with the contemporary as a chronological term for art history but rather examines the three critical terms-contemporaneity, post-medium, and postproduction-that have garnered scholarly attention. I would like to put aside postmodernism for the moment; I don't disregard the postmodern condition although the death of postmodern critical terms has resulted in the loss of its polemical power in art worlds such as in exhibitions, etc. To look at "the postproduction in the age of post-medium age after postmodernism," I first explore Krauss's notion of post-medium because, unlike media artists like Lev Manovich and Peter Weibel, Krauss's post-medium condition is different and insists on medium specificity. In this sense, Krauss has turned out to be another Greenberg in disguise. For her, photography and video are expanded mediums after Greenberg, because Krauss has spent her life explicating those mediums. Under the Cup, her recent publication, came out in 2011, and discusses her desire to defend medium-specificity against the intermedia of installation art found ubiquitously in international exhibitions and biennales. Her usage of post-medium has been taken up by Weibel as postmedia in a broader sense. But whether the post-medium condition or the postmedia age, we nonetheless enter the new age of the contemporary. Consequently, this paper questions what constitutes contemporaneity in our times. It is said that there is nothing new on earth, yet I find original artistic strategies among the younger generation in the postmedia age. The contemporary justifies its place in art fields and criticism by keeping its distance from postmodernism although we still find the remnants of postmodern artistic practices and theoretical foundations. By looking at materials written by Terry Smith, I would like to examine contemporaneity as a rhetoric where artists, critics, and curators endeavor to set up a new spirit of criticism, distant from the past of modernism and postmodernism. In discussions, modernism and postmodernism act as catalysts interacting with each other while justifying their own place. In conclusion, my paper reaches to delineate where the contemporary finds its place among artists' responses and working methods. It explores the postproduction of the Internet and the World Wide Web generations, where images become data rather than representation (of modernism) and appropriation (of postmodernism). This paper analyzes Bourriaud's text, as well as relevant artists like Pierre Huyghe, Liam Gillick, and others. By examining the aforementioned critical terms, I would like to reconsider our own contemporary art in Korea, especially among young artists influenced by digital media and the World Wide Web in the 1990s.

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A Plan to Maximizing the Visual Immersion of 3D Media Art (3D 미디어아트의 시각적 몰입감 극대화 방안)

  • Kim, Ki-Bum;Kim, Kyoung-Soo
    • Journal of Digital Contents Society
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    • v.16 no.4
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    • pp.659-669
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    • 2015
  • Recently, media art is transforming from analogue to 'digital', and from 2D to '3D'. In particular, the range of utilizing 3D Media Art is getting wider through merging with other genres of contents in the digital environments, such as Media façade, Hologram, Virtual reality, App application, and etc. Therefore, by referring to the 3D award-winning works of Pirx Ars Electronica, which are regarded as the most outstanding works of media art of today, factors that affect sensation of visual immersion have been analyzed, through which strategies for maximizing viewers' interests in media arts and heightening their emotions while viewing have been determined. Based on the findings of the study, it has been shown that such works of media arts that involve development of concepts with 'creativity' and 'variability' from the perspective of visual concept, such as 3D modeling and mapping, with 'consistency' through out all concepts, as well as the works with stronger 'restriction' of concept within its animation and postproduction, attracted more interests from the viewer. From the point of view with visual four steps in composition, positioning the change in quality of 3D 'shape' and 'material' following the four-step rule, and gradual increase of change in quantity within the 'number' and 'size', in addition to increased degree of systematization within the change in editing, such as the 'scene change', resulted in more heightened emotions from the viewer. Thus, in order to maximize sensation of visual immersion, strategies for 'developing 3D visual concepts' while 'synchronizing' them, as well as 'strengthening the four steps within 3D visual composition' while 'systematizing' them should be emphasized.

스마트 3D 방송

  • Lee, Bong-Ho;Yun, Guk-Jin;Heo, Nam-Ho;Lee, Su-In
    • The Proceeding of the Korean Institute of Electromagnetic Engineering and Science
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    • v.21 no.6
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    • pp.10-19
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    • 2010
  • 아바타 영화 이후 영화 시장뿐만 아니라 방송 시장에서도 3D로의 전환이 급속하게 이루어지고 있다. 전 세계적으로 3D 관련 표준화 작업이 활발하게 이루어 있고, 관련 장비 및 솔루션 또한 3D 디스플레이를 선두로 카메라 및 3D 포스트 프로덕션 장비를 포함하여 다양한 장비들이 실제 상용 서비스가 가능한 수준으로 개발이 되고 있다. 시청자 관점에서 보면 셔터링 방식이 주를 이루고 있지만 머지않아 무안경 방식의 3D 솔루션이 선보일 것으로 예상된다. 이러한 움직임에 이어 또 한편으로는 기존 수동형 방송이 아닌 사용자가 직접 참여하고 네트워크 및 소셜 서비스가 가능한 형태의 스마프 TV가 관심을 불러 일으키고 있다. 본 논문에서는 향후 3D가 지향해야 할 하나의 방향이라고 볼 수 있는 스마트 3D에 대해서 개념을 정의하고, 3D가 스마트해지기 위해 필요한 환경 및 요소 기술에 대해서 기술하고자 한다.

Separating Render System for Composition of Digital Post-Production (Digital Post-Production에 있어 합성을 위한 Render 시스템)

  • 엄영식;김치용
    • Proceedings of the Korea Multimedia Society Conference
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    • pp.175-178
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    • 2004
  • 본 연구는 디지털 합성(Composition)에 있어 포스트 프로덕션에서 해야될 작업 중 분리 렌더 시스템(Separating System)을 이용한 효과적인 합성 연구에 관한 것이다. 분리 렌더는 결과적으로 제작상의 시간과 경비를 절감시켜 줄 뿐만 아니라, 제작의 퀄리티(Quality)에 직접적으로 영향을 주기 때문에 이팩츠 합성(Effects Composition)이나 특수영상 제작에 있어 없어서는 안될 중요한 부분이다. 이 분리 렌더 시스템을 이용해서 현재 진행되는 작업상의 문제를 최소화 시킬 수 있다. 또한 영상효과 제작이나 특수영상 제작중에 발생 되어지는 여러 가지 복잡한 문제점(합성)들을 이를 통해 줄여줄 뿐만 아니라, 영상합성 단계에 있어 효과적인 디지털 영상과 렌더 테이터 관리를 동시에 만들어 주기 때문이다. 이러한 방법적 연구와 결과치의 자료들을 데이터화 한다면 디지털영상 산업계에 많은 이점을 줄 것으로 기대한다.

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A Study on Pipeline for Effective Production of VR Animation (VR 애니메이션의 효율적인 제작을 위한 파이프라인 연구)

  • Kang, Jiyoung;Choi, Sang-Il
    • Journal of Digital Contents Society
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    • v.19 no.5
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    • pp.971-979
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    • 2018
  • Currently, Virtual Reality video content is rapidly increasing in number of users due to the rapid growth of related hardware and software. Accordingly, Virtual Reality animation is also being produced in a new form by rapidly integrating with Virtual Reality technology among video contents. Currently, research on Virtual Reality animation has focused on how films are produced and how they are directed, and no research has been done to organize the pipeline for efficient VR animation production. Therefore, this study drew the characteristics of the pre-render VR animation pipeline by comparing it with the production pipeline of the existing 3D animation to produce the VR animation efficiently. Through this, we presented organic integration of production and post production processes suitable for the production of VR animations and reduced rendering time using Render Pass for efficient production.