• The Korean Publising Journal, Monthly
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• s.124
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• pp.16-16
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• 1993

• Science of Emotion and Sensibility
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• v.14 no.3
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• pp.347-360
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• 2011

To find out characteristics of TV home shopping's virtual space deepness styling, this study had analysis characteristics of space deepness which is showed on flat TV screen with actually aired 6 dinnerware sales case, at $C^*$ home shopping, March.2005~November.2010, and survey consumer's emotional verbal image according to space styling character to get space deepness, which were shown on flat TV screen with camera angle, and research mutual relation with consumer preference. Also consumer's typical emotional verbal images for each space styling images for brand dinner ware sales had been extracted with reliability analysis, factor analysis, and multi dimensional scaling MDS using SPSS. Styling characteristics of space deepness were contrast of size, layering, vertical arrangement, and perspective arrangement, and used camera angles were bird's eye view, hi angle, and eye level. Result from the research is, highly marked consumer preferred styling material had a deep corelation to material's main factor and perceived emotional verbal images. Therefore this research could bring forward to new consumer preferred styling characteristics according to camera angle. Furthermore, it will be possible to make a study of preferred styling material through evaluation of quantitative spectators of in this area.

• Journal of Digital Contents Society
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• v.19 no.2
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• pp.221-228
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• 2018

This study mainly focused on horror movies and horror games. Camera angles of horror movies and compositions of horror games are main factors that can cause fear in people's minds. Through analyzing four kinds of factors, including sensual, expectant, restrictive and executive fear elements, in horror games, and combining with the patterns of camera angles and film techniques that Alfred Hitchcock applied in his horror movies, this research investigated certain types of compositions and concluded ones that were more effective on growing fear in players' minds and enhancing their involvement. In conclusion, only the combination of factors in horror-game compositions, like diagonal composition, dual-diagonal composition and inverse triangle-line composition, with visual elements enables player's growing sense of fear and the increase in involvement. Therefore, future works should apply more of these fear-inducing compositions.

• Cartoon and Animation Studies
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• s.32
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• pp.263-288
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• 2013

This research is about effects which frontal-flat cameras have on narrative films. This kind of confined camera angles make the audience have a sense of tension which is barely defined logically. I think the tension comes from aleatorism. The paper is a research on how aleatorism is working on what kind of value, and what kind of effects it has on narrative films. Russian Formalism had argued they had to meet aesthetic values by totally excluding narratives. It can be said that this was a practice for Brecht's estrangement that a sensitive arousal prohibits the audience immersing into excessive empathy and then make them have a reflective thought. But occasionally, optical arousals in narrative films induce deeper immersion into contemplation rather than reflective thought. I intend to find cases regarding this textualising Front-flat camera angles in narrative films and analysing their contents. To do this, I suggest a more specified definition of 'aleatorism'. Because the concept of the aleatorism is different between an aspect of static image like paintings or photographs and narrative contents like cinema. It is divided into approach through form and approach through content. And I also suggest an operative definition about 'Frontal-flat camera angle' with a several confinements because its formal definition is very flexible depending on audience. The case analysis will be done with a form of discourse discerning two aspects of form and content. Conclusively, Frontal-flat camera angle in narrative film is basically have an effect of attention by optical stimuli. But it cannot be said that this always means deterioration of narrative value. Depending on causality of episodes in the whole story, aleatorism which Frontal-flat camera angle has can support immersed contemplation regarding following narrative rather than reflective thought regarding amusing aesthetics.

• The Journal of the Korea Contents Association
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• v.14 no.2
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• pp.39-47
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• 2014

Fast advancement and dynamic diffusion of Smart device make big change to personal user. They have been extended from consumer only watching video to prosumer recording and sharing User Created Video(UCV). With this reason, as a platform for various kind of content service. Especially, UCVs for the purpose of sharing experience are recorded from same event on limited time and space by some people. These are also produced by various cameras that has each angle similar like broadcasting videos. In this paper, we present multi-view characteristic of UCV and propose Multi-view UCV service that is watching UCVs from same event through adjusting camera angle. Through user satisfaction survey, we knew that adjusting camera angle is preferred for watching UCV including overlapping part more than linear watching.

• Proceedings of the Korea Information Processing Society Conference
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• 2016.04a
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• pp.770-772
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• 2016

방송 영상 제작을 위한 특수기번에는 여러 가지 장치가 존재한다. 특히 영상미를 높이기 위해 카메라 스태빌라이져에 대한 활용도가 증가하고 있다. 그러나 스태빌라이져의 경우 연속 촬영에서 앵글의 좌우와 업다운 변경 등에 대한 제약을 갖는 단점이 있다. 본 논문에서 제안하는 카메라 Roll 값 제어장치를 활용하여 이러한 단점을 극복하였다. 이를 통해 기존에 존재하지 않았던 다양한 특수 영상 제작이 가능해지고 이를 응용하여 다른 분야에 적용이 가능하다.

• The Journal of the Korea Contents Association
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• v.6 no.8
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• pp.184-191
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• 2006

The purpose of this case study is to understand the characteristics and implication of videojournalist's image expression techniques in the television news programs, comparing with television camera reporter's image expression techniques. Texts chosen in this thesis are 120 programs of KBS2TV 'News Time' which had been on air from July to December in 2005. Shot size, camerawork, shot duration and camera angle of the images were analysed, which had been extracted through the processes of thematic classification. The results of the analysis of thematic classification shows us that videojournalist covered mainly social, economic and cultural news items, almost completely alienated in the fields of hard news as political and health-scientific news items which were very sensitive and influential on the life of the entire people of the nation. The results of the analysis on the characteristics of image expression reveals that videojournalist used one-shot more often than the camera reporter, showing us videojournalist's preference of close news gathering, and videojournalist used following and zooming much more often than camera reporter, showing us videojoumalist's preference of mobile and dynamic cameraworks, and videojournalist used low angles more often than camera reporter, also showing us videojoumalist's preference of candid camera style news gathering.

• The Journal of the Korea Contents Association
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• v.13 no.7
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• pp.70-79
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• 2013

The film language is distinguished roughly according to shot angles and size and camera movement. The film language is what the performer should be well-acquainted with in camera acting. Since the most important characteristics of acting in front of the camera lies in being with the camera, the relationship between the camera and the performers is basically mutual communication and is the inseparable relationship in which they should be well acquainted with each other. Understanding of diverse film languages for acting in front of the camera enables the performer to adapt to the media quickly and to concentrate on acting. Performance changes according to the media or environment in which acting is performed. For a good performance, the performers should be able to appropriately express their own acting according to the characteristics of the space or the media in which they do performance. Acting in front of the camera is clearly distinguished from acting on the stage in the aspects of either media characteristics or acting. With the manifestation of extemporaneousness and the discovery of the performers' personality to the extent possible, performers themselves proceed with creative works in collaboration with the director in acting in front of the camera and can attain the development of acting in front of the camera.

• Proceedings of the Korean Institute of Information and Commucation Sciences Conference
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• 2011.05a
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• pp.646-649
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• 2011

This paper presents the prototype for parking assistant system of multi-camera viewing. Proposed system provides the driver with three direction of the scenes surrounding vehicle. Depending on the handle rotation, the proposed system displays views from multiple wide-angle CCD cameras on the laptop screen to reduce blind spots, support smooth parallel or garage parking, and support comfortable and safe driving. The performance of roposed system is validated by vehicle experiments.

• The Transactions of the Korea Information Processing Society
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• v.3 no.5
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• pp.1037-1045
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• 1996

In this paper, the parallel model for stereo camera is employed to find the heralding angle and the distance between a leading vehicle and the following vehicle, BART(Binocular Autonomous Research Team vehicle). Two TDNNs (Time Delay Neural Network) such as S-TDNN and A-TDNN are introduced to control BART. S-TDNN controls the speed of the following vehicle while A-TDNN controls the steering angle of BATR. A human drives BART to collect data which are used for training the said neural networks. The trained networks performed the vehicle tracking function satisfactorily under the same driving conditions performed by the human driver. The neural network approach has good portability which decreases costs and saves development time for the different types of vehicles.