• Journal of Digital Contents Society
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• v.18 no.5
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• pp.849-858
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• 2017

With the fast improvement of software and hardware technology of Virtual Reality, VR(Virtual Reality) film get attention for the new possibility of future film. Already, the production of virtual reality film festivals and Hollywood films is highly active, but it is still poorly related to virtual reality films in Korea. Due to this, this research analyze VR film with Realism films and Post-modernism films in four aspects that are film's frame(Mise-en-$Sc{\grave{e}}ne$), shot(montage), vew point and interactivity to deduct characteristics of VR film. Moreover, we also deduct an esthetical characteristic of VR films beyond the Realism films and Post-modern Films through analysing various VR films. This can be said as 'Digital Realism' that is come from the viewers' positive interaction and realization of Realism through Virtual Reality technology. There will be a successful development of VR film based on this research that analyse suitable directing method for Virtual Reality environment. At last, this research focused on characteristics of digital realism aspect for HMD based first person view VR animation .

• The Journal of the Korea Contents Association
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• v.13 no.5
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• pp.82-89
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• 2013

The phase in digital technology expedited low-budget digital film productions in the Korean film industry; hence the international film festivals circuit became the launching pad for Korean directors as they built their reputation and careers around the critical acclaim. Pieta (Kim Ki-Duk)'s Claim on Golden Lion prize at the Venice Film Festival in 2012 would be one of the splendid achievements - the festival is considered to be one of the top the international film festival. However, the increased volume of the low-budget digital film productions are not necessarily proportional to the growth in the quality of the productions. The drawbacks to the production system appeared to be the underlying cause. In attempt to approach the issue, this article explores the production system from 2000 until now. It is illustrated that the value chain model has been transformed from general ones into vertical & horizontal integrated ones. A notable example of successful indie bands-around Hongik university area-, as well the analysis on the low-budget hit productions, especially from the mid-2000's, are introduced as the case studies. The strategies that led the success, such as subsidies policy, the tax benefits on investment firms and production companies, and the aid in international film festival submissions on low-budget digital film productions, are thus examined with further suggestions.

• Proceedings of the Korea Contents Association Conference
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• 2019.05a
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• pp.241-242
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• 2019

발터 벤야민은 그의 저서인 '기계복제시대의 예술작품'에서 영화를 인쇄술, 사진술과 같은 기계복제의 예술품으로 묘사하였다. 분명 영화는 복제에 기반을 둔 예술이다. 나아가 21세기에는 컴퓨터 기술이 향상과 함께 컴퓨터그래픽에 대한 의존도는 더욱 높아졌다. 이러한 경향은 영화를 제7의 예술로 추동하는 '놀랄 만한' 효과와 그 영향을 약화시켰다. 바로 벤야민이 기계복제로 인해 우려했던 지점이기도 하다. 하지만 기술의 향성은 부정적 우려와 함께 영화제작의 효율성을 제고하고 있는 것도 사실이다. 이에 연구자는 기계복제에서 나아가 디지털까지 확장된 영화에 대해 연구하고자 한다.

• Proceedings of the Korea Contents Association Conference
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• 2018.05a
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• pp.37-38
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• 2018

최근 영화와 애니메이션에서 기포가 수중에서 발생하는 장면이 많아지고 있다. 컴퓨터 그래픽 시각 효과를 사용하여 제작된 수중 기포 효과의 사실적인 수중 장면은 전반적인 효과에 영향을 미치는 중요한 요소가 된다. 물속의 환경과 융합된 기포의 특성을 분석하고 Maya를 응용한 실험과정을 통해 실감나는 기포 효과를 구현하는 것을 목표로 한다. 기술 개발과 VFX 영화의 향상으로 인해 수중 장면과 같이 직접 촬영으로 얻을 수 없는 장면을 시각효과를 통해 사실적으로 제작할 수 있다. 디지털 시각효과를 이용한 VFX 영화의 리얼리티와 생동감과 박진감 넘치는 모습을 보여 준다. 수중 환경의 사실성을 재현하기 위해 기포 효과의 사실성에 대한 요구가 높다. 기포가 있는 수중 환경은 다양한 역학 조건의 영향을 받으므로 분석과 제작을 통해 접근하는 것이 효과적이다. 본 연구는 컴퓨터 소프트웨어를 통해 수중 기포의 사실성 증대에 대한 시뮬레이션 과정을 분석한다.

• The Journal of the Korea Contents Association
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• v.12 no.3
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• pp.17-24
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• 2012

Andre Bazin called the movie frame as "the window open to the world." This expression is close to realization through 3D films. The 'Avatar' released in 2009 was a new turning point for 3D films. Nowadays the theory and information about 3D films is overflowed. It is necessary to find practices and to accumulate data useful in production of 3D films. There are several ways of working to achieve high quality 3D films. In any way that's chosen, there are priorities to be considered to create well-balanced 3D films. The aim of this article is to review primary considerations in film-making and share the technical issues experienced during the production of "Let's go to the amusement park again, Mom." Because the current practical knowledge in making 3D film is shallow, this article will offer a possible reference for further research.

• The Journal of the Korea Contents Association
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• v.11 no.2
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• pp.229-237
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• 2011

All over the world, the interest in technology and industrial value has been increasing rapidly due to the continuing commercial successes of three dimensional films. However, after the commercial success of , without exception, lots of three dimensional films had been produced thoughtlessly. Hereby, these films incurred a censure owing to bad degree of completion related to insufficient storytelling and directing. For three dimensional films, characteristic of producing should be considered perfectly in the planning stage unlike previous films. This study concentrates upon proper directing for three dimensional films, and analyzes the method of it, roughly divided into three parts ; the lapse of time, directing the screen which can highlight space sense, and the point of sight. Henceforth, The demand of three dimensional contents will increase all around the world, at such time, we also should take note of the change, and then produce excellent contents which can lead to have a chance to gain the supper hand in the market of three dimensional contents.

• Proceedings of the KAIS Fall Conference
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• 2012.05a
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• pp.56-59
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• 2012

본 연구에서는 최근 활성화되고 있는 게임과 영화의 콜래버레이션 현상에 대해 논의하고 흥행에 관해 분석한다. 이 분석의 결과에 따르면 영화를 원작으로 만들어진 게임은 성공률이 높은 반면 게임을 원작으로 만들어진 영화는 기대만큼의 흥행을 거두기가 어렵다는 것을 알 수 있다. 이런 현상이 발생하는 이유로는 영화자체의 낮은 완성도를 들 수 있고, 이미 게임을 해본 사람들을 주 타킷으로 만들어 졌기 때문에 게임을 하지 않는 대다수의 관객에게 외면을 당했다. 또한 게임과 영화의 본질적인 차이를 고려하지 않고 단순히 게임의 명성에 힘입어 게임 흉내 내기에 그쳤던 것을 알 수 있다. 게임을 원작으로 영화를 제작하려면 먼저 제작자나 감독이 그 게임의 고수가 되어, 게임의 세계관을 이해하고 스토리를 충분히 보존하여 게임을 하는 생생한 느낌을 살리는 연출을 해야 할 것이다.

• Journal of Korea Entertainment Industry Association
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• v.15 no.4
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• pp.73-87
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• 2021

Special theaters were created to provide a sense of immersion and spectacles due to differentiated screens, sound, seating facilities, and advanced services, and also expanded screens. The purpose of this study is to perform comparative analysis of the technical characteristics formats shown in special theaters(3D film, 4DX, IMAX, ScreenX, and VR) in order to identify and find ways to overcome the technological limitations in production. The various formats show differences in field of view depending on the exhibition technology and these differences affect the mise-en-scene, narrative, and editing of the film and consequently result in changes in the production environment and process. Therefore, directors and creators must understand the technological features and limitations of the new formats before making their approach. However, a new format encounters limitations on production sets due to the decline of technical education and succession. In situations where shooting with a special camera is essential, the particular characteristics of each format should be carefully considered from the planning stage but financial problems arise due to increase in production period and cost. To overcome these various obstacles, it is essential to first identify problems and present alternatives through in-depth research on the production set of each format. Finally, this research aims to explore the prototype of each format and analyze the current state of production technology with formats that have not been adapted to the market trends by combining with the other formats and showing that they can survive in new ways.

• Archives of design research
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• v.11 no.2
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• pp.5-14
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• 1998

The hopes for making vivid images of mankind made 'film' that reflects easy communications. Film have made satisfactions to imagination of man by varied experimental expressions from the beginning. Many of directors and producers were eager to make film to be with relevant views. At last film has making to do with the digital tool, so called 'Computer Graphics' . Making images through computers have changed more better with the developing skills of softwares. NASA has developed Aero-Simulations first, it have called computer graphics for the first time in history. The computer graphics can make images with very varieties that had not exprerienced before and we won't expect the upcomming skills of it. Special Effects(SFX) through the films began the genre of Science Fiction in the era of ideology and space competetions and producer George Lucas made the firm named ILMOndustrial Light & Magic) to making picture of SFX. At last 'Abyss', 'Terminator II', 'Toy Story' and 'Forrest Gump' have made to us with many splendid arangements by the computers. Especially, we can concluded that the relevant expressions as in 'Forrest Gump' is the unexpected charming and human images with wonder. In Korean films are less varied, relevant and reasonable than that of American films, in this study I hope to develope more natural Korean computer graphic in near future.

• Journal of Information Management
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• v.39 no.1
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• pp.151-176
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• 2008

The purpose of this research is to contribute to improvement strategy by defining public image for librarians in motion pictures. Therefore, this research analyzed image of librarians in the motion pictures which librarian appeared as a character and produced in Korea and America from the year 1992 to 2006 through quantitative content analysis method.