• Journal of Korean Philosophical Society
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• v.137
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• pp.409-438
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• 2016

The movie, Battle of Wits which is based on the cartoon by Morihideki(森秀樹) is directed by Zhang Zhiliang(張之亮), a director from Hong Kong. Morihideki's cartoon is based on the novel by Sakemikenichi(酒見賢一). The movie represents a successful one-source multi-use case. Battle of wits, which deals with the Mozi's propaganda against war, presents the thought of Mozi School(墨家) in spring, autumn, and warring states. The movie criticizes aggressive war by powerful nations. Aggressive war is an extreme form of brutality and worthless action without any benefit. Aggressive war represents 'never each love(buxiangai, 不相愛)' and 'never each benefit(buxiangli, 不相利)' as understood by Mozi. The main character of the movie endeavors and successfully defends the enemy's attack as Mozi did. It is due to the propaganda of Mozi School 'not to attack(feigong, 非攻)' that they can defend themselves from the attack from a powerful nation. It means that 'the universal love(jianai, 兼愛)', the ideology of Mozi, is concretely actualized. The philosophy of Mozi School in the Battle of Wits has its limits as follows: the thought of Mozi School is just suitable during times of war and unnecessary in times of peace, the contradiction between universal love and hatred for one person; the Mozi School's faith in the nature of human beings to confront betrayal. This limit was also proposed in the movie. However, the movie presented how the masculinity of Mozi School, supplemented by the feminity of Daojia(道家), can succeed in achieving genuine communication. When focusing on this point, the movie can be interpreted as biased towards the philosophy of Daojia.

• 한국HCI학회:학술대회논문집
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• 2008.02b
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• pp.417-423
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• 2008

It produced a movie to show spectators by interacting the existing famous drawings. It tried a new concept of binding a famous drawing with a person. It recognizes the color of a spectator and the drawings are changed. A spectator is reflected in the work of Marc Chagall. At the same time it is expressed with different BGM that meets the identity of a work. When a spectator moves, the motion is reflected on a work. But without a motion, a work is naturally shown. The four famous drawings are produced to response to Red, Green and Blue of a spectator according to color tracking.

• Journal of the Korea Computer Graphics Society
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• v.13 no.2
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• pp.17-22
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• 2007

In early stages of film or animation production, storyboard is used to visually describe the outline of a story. Drawings or photographs, as well as the texts, are employed for character / item placements and camera pose. However, commercially available storyboard tools are mainly drawing and editing tools, not providing functionality for item placement and camera control. In this paper, an Augmented Reality based storyboard tool is presented, which provides an intuitive and easy-to-use interface for storyboard development. Using the presented tool, non-expert users may compose 30 scenes in his or her real environments through tangible building blocks which are used to fetch corresponding 3D models and their pose.

• Annual Conference of KIPS
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• 2005.11a
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• pp.209-212
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• 2005

현대 시각예술의 총아로 불리는 3D 캐릭터 애니메이션 제작기술은 영화, TV, 광고, 인터넷, 게임 등에서 많이 활용되고 있고, 제작기술 또한 나날이 발전하고 있다. 하지만 하나의 완성된 캐릭터 애니메이션이 제작되기까지 수없이 많은 비용과 시간을 필요로 한다. 본 시스템은 Humanoid 기반으로 3D 아바타를 생성하고, 캐릭터 애니메이션의 모델링에 있어서 자연스러운 애니메이션을 좀더 쉽고 유용하게 표현하기 위한 방법을 구현한다. 또한 캐릭터 데이터와 애니메이션 데이터를 어느 정도 분리하여 한번 생성된 애니메이션을 다른 캐릭터에 그대로 적용시켜 재사용할 수 있도록 하였다.

• Proceedings of the KIEE Conference
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• 2003.07c
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• pp.1917-1919
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• 2003

본 연구에서는 바이오 및 환경 분야에 적용 가능한 미세 유체소자 제작에 있어서 4" 유리 / 유리 웨이퍼접합을 시도하였으며, 접합결과 90%이상의 접합면적을 보였다. 접합된 샘플을 산 및 알카리 조건에 따른 인장시험결과 모든 조건에서 약 $2kgf/mm^2$ 이상의 접합강도를 보였으며 파괴는 접합면이 아닌 모재에서 발생되었다. 또한 미세유체소자 제작에 있어서 초음파를 이용하여 유리를 가공하였으며, 폭 $300{\mu}m$, 깊이 $200{\mu}m$의 미세채널을 제작하였다.

• Annual Conference of KIPS
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• 2015.10a
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• pp.1553-1554
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• 2015

웹 상에 축척된 방대한 콘텐츠를 활용하기 위해 사용자가 입력한 스토리에 맞는 콘텐츠를 검색하고 제공하여 사용자가 자유로이 콘텐츠를 제작할 수 있는 서비스를 제공하고자 하는 경우, 컴퓨터가 이해 가능한 구조로 스토리를 입력할 수 있어야 한다. 본 논문에서는 영화, 드라마와 같은 영상물을 제작하기 위한 기초가 되는 시나리오(Scenario)를 분석하여 스토리 표현 구조를 제안한다.

• Annual Conference of KIPS
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• 2004.05a
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• pp.1615-1618
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• 2004

영화, 애니메이션, 게임 등 디지털 문화 컨텐츠에서 의상을 입은 캐릭터들의 사실성이 강조되는데, 디지털 의상 제작에 있어서 기존의 패션 CAD나 의상 애니메이션 소프트웨어들은 여러 단계의 작업을 거쳐야 하고 의상 디자인의 전문성을 요구한다. 특히, 최근 우리 문화 원형의 디지털 컨텐츠화로 디지털 한복의 수요가 증가하고 있으며, 한복은 재단이나 착용방식 등에서 양복과는 구성학적 차이점을 지님에도 불구하고 디지털 한복 제작을 위한 전문 시뮬레이션 도구는 전무하다. 따라서, 본 연구에서는 전통적인 한복의 제작에서 사용하는 신체 치수와 체형특징에 따른 옷본의 크기 조정 방법을 지식베이스로 구축하고, 이를 사용하여 한복에 대한 사전 지식이 없는 사용자들도 가상 캐릭터에 쉽게 한복을 착용시킬 수 있는 지식 기반 한복 드레이핑 시뮬레이션을 제안한다.

• Journal of the Korea Computer Graphics Society
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• v.14 no.3
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• pp.19-30
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• 2008

Fluid simulation for computer graphics is a field of generating the realistic movements of water, smoke, fire, explosion, sand and related phenomena to be used in motion pictures and video games. In this paper we review the fluid simulation technologies and present a trend analysis for the simulation methods used in the recent movies. First of all, for this purpose, the two methods that are most widely used for fluid simulation are explained as well as their technical issues. These two methods are classified into Eulerian grid-based and Lagrangian particle-based approaches. Next, focusing on the achievements of the scientists and engineers that the 2008 Sci-Tech Oscar Awards are given to, the features of their fluid simulation technologies are analyzed. Finally, we anticipate that there are and will be the needs for visualizing fluid interaction with rigid and soft bodies and topological change among solid, fluid and gas, creating digital creatures based on fluid simulation and presenting interaction between creature and fluid.

• Journal of Digital Convergence
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• v.16 no.9
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• pp.405-412
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• 2018

When a film company decides whether to invest or not in a scenario is the appropriate time to predict box office success. In response to market demands, AI based scenario analysis service has been launched, yet the algorithm is by no means perfect. The purpose of this study is to present a prediction model of movie scenario's box office hit based on human brain processing mechanism. In order to derive patterns of visual, auditory, and cognitive stimuli on the time spectrum of box office animation hit, this study applied Weber's law and brain mechanism. The results are as follow. First, the frequency of brain stimulation in the biggest box office movies was 1.79 times greater than that in the failure movies. Second, in the box office success, the cognitive stimuli codes are spread evenly, whereas in the failure, concentrated among few intervals. Third, in the box office success movie, cognitive stimuli which have big cognition load appeared alone, whereas visual and auditory stimuli which have little cognitive load appeared simultaneously.

• Cartoon and Animation Studies
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• s.17
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• pp.117-132
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• 2009

The purpose of this study is to analyze the way of representing women in and which producted and released in 1972, the year of Revitalizing Reform System starts. Each films intended to construct some conventional popular codes for persuading the public. Considering this contexts, it is true there was a little difference between these two films and the national cinema which undertaken on a full scale after Revitalizing Reform System started. But we can also find that each films revealed the intention of ruling ideology suturing the opposite values resulted by the specificities of Modernizing project during the Park Chung-Hee reign using a strategy which represents women officially. These women who were wholly integrated with the official discourses would proposed a ideal stereotype which supports the Developmental mobilization regime and through this strategy the Park Chung-Hee reign wanted to construct a new group identity of women as the very proper elements of Nation.