• Proceedings of the KSME Conference
• /
• 2008.11b
• /
• pp.2676-2681
• /
• 2008

In previous studies, Convex cyclone are proposed to reduce pressure loss which are design cyclone wall with a single continuous curve. Studies about a prediction model for pressure loss and cut-size has focused on conventional cylinder-on-con cyclone. Therefore, the models do not perform well for uncommon design. In this study, a predict model for pressure loss and cut-size depend on cyclone wall curvature are developed. The tangential velocity below vortex-finder is obtained with consideration about friction area and momentum loss on the cyclone wall, and with this the variation of vortex-core and core velocity is obtained. Pressure loss is predicted using a Rankine vortex hypothesis. The prediction results are well agreed with experiments and CFD results.

• Cartoon and Animation Studies
• /
• s.5
• /
• pp.535-539
• /
• 2001

이 글은 제 1 회 부천국제판타스틱영화제(1997년 8월 29일부터 9월 5일까지 경기도 부천시에서 개최)조직위원회로부터 1997년 6월경에 의뢰를 받아 35mm 필름으로 작업한 20초 분량의 영화제 공식 리더필름에 대한 작업 결과를 요약한 것이다. 작업 내용에 있어서는 3D 컴퓨터그래픽의 무리한 적용보다는 최소한의 절제하고 주로 드로잉 냄새가 강한 2D 캐릭터를 부각시켜, 국내 최초로 도입되는 ‘판타스틱’ 장르 영화제의 취지를 반영해보고자 고심했다. 배경은 3D로 처리하고 캐릭터는 직접 페이퍼에 그려 스캐닝 한 후 2D 공정을 거쳐 이 둘을 합성하였다. 이 작업방식은 당시의 컴퓨터 환경에서는 꽤 거친 공정을 필요로 하였다. 역사적인 조르주 멜리에스의 <달세계 여행> 스틸 컷을 활용한 도입부와 돌비스테레오 녹음방식을 채택한 이 작품의 개요를 정리하면 다음과 같다. ${\circ}$화면형식 : 35mm 스텐다드 사이즈 필름(상영용은 Beta버전) ${\circ}$작품길이 : 20초 ${\circ}$음향 : 돌비스테레오 방식(Only music) ${\circ}$제작기간 : 1997년 6월 - 8월 ${\circ}$사용S/W : 포토샵, 툰즈, 소프트이미지

• Journal of the Korean Institute of Illuminating and Electrical Installation Engineers
• /
• v.20 no.3
• /
• pp.6-11
• /
• 2006

This paper describes the novel control techniques design of VSC(Voltage Sag Corrector) for the purpose of power line quality enhancement. A fast detecting technique of voltage sag is implemented through the detection of instantaneous value on synchronous rotating dq-reference frame. The first order digital filter is added in the detection algorithm to protect the insensitive characteristics against the noise. The relationship between the total detection time and cut-off frequency of the filter is described. The size of the capacitor bank used as the energy storage element is designed from the point of view of input/output energy with circuit analysis. Finally, the validity of the proposed scheme is proven through the simulated results.

• Trans-
• /
• v.7
• /
• pp.81-101
• /
• 2019

Interviews are so important and meaningful that it is the heart of the documentary. In narrative film, it is focused as the story discourse, whereas documentary is strong in disclosure, which consists of narration and interview. In a TV documentary, interviews use conventional shots repeatedly, whereas in a documentary film that targets a relatively large screen, the interviewer's Mise-en-scene should consider the aesthetic depth. , which released in 2017 and used the audience for the third time in documentary film history, tries to make 40% of the volume of the main volume equal to the same angle. In a TV documentary, it is not uncommon for an interview cut to exceed 30 seconds, and if it exceeds 1 minute, immersion is significantly lowered, so the a mount and compression of the interview disclosure is important for both the director and the audience. In the case of the interview sequence of , it was the key to communicate the sub-plot with a relatively focused with long discourse, which is at least 8 minutes and 30 seconds to a maximum of 11 minutes, in a way that allows the audience to communicate. Furthermore, it was produced after the death of the protagonist Roh Moo Hyun, with the limitation that the voice of the protagonist was excluded, and the voice of Roh Moo Hyun was indirectly reproduced through the surrounding characters. In this study, it covers the meaning and scope of interviews in the production of documentary, and the aesthetic applications of the Mise-en-scene.