• Journal of Korea Entertainment Industry Association
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• v.13 no.8
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• pp.313-323
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• 2019

For the actors on video, facial expression acting can easily become 'forced facial expression' or 'over-acting'. Also, if self-restraint is emphasized too much, then it becomes 'flat acting' with insufficient emotions. By bringing forth questions in regard to such facial expression acting methods, this study analyzed the facial expression acting of the actors in genre dramas with strong commercial aspects. In conclusion, the facial expression acting methods of the actors in genre dramas were being conducted in a typical way. This means that in visual conventions of video acting, the aesthetic standard has become the important standard in the facial expression acting of the actors. In genre dramas, the emotions of the characters are often revealed in close-up shots. Within the close-up shot, the most important expressive medium in a 'zoomed-in face' is the 'pupil of the eye', and emotions are mostly expressed through the movements of the eye and muscles around it. The second most important expressive medium is the 'mouth'. The differences in the degree of opening and closing the mouth convey diverse emotions along with the expression of the 'eye'. In addition, tensions in the facial muscles greatly hinder the expression of emotions, and the movement of facial muscles must be minimized to prevent excessive wrinkles from forming on the surface of the face. Facial expressions are not completed just with the movement of the muscles. Ultimately, the movement of the muscle is the result of emotions. Facial expression acting takes place after having emotional feelings. For this, the actor needs to go through the process of 'personalization' of a character, such as 'emotional memory', 'concentration' and 'relaxation' which are psychological acting techniques of Stanislavsky. Also, the characteristics of close-up shots that visually reveal the 'inner world' should be recognized. In addition, it was discovered that the facial expression acting is the reaction acting that provides the important point in the unfolding of narratives, and that the method of facial expression and the size of the shots required for the actors are different depending on the roles of main and supporting characters.

• The Journal of the Convergence on Culture Technology
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• v.10 no.6
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• pp.411-419
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• 2024

The final purpose of this study is to find a method of projecting the characteristics and attractiveness of actual actor's facial expressions onto avatars based on facial capture technology to improve facial expressions of digital actors. Metaverse performances can create various situations without time and space constraints, providing new cultural experiences to the audience watching them. However, it is also true that in current metaverse performances, digital actors' facial expressions are partially vulnerable to conveying emotions. It also acts as one of the factors that interfere with the audience's immersion. One of the problems is that not all avatars have unique characteristics outwardly, so the lack of differentiation is also one of the problems. To overcome these limitations, we propose a method of modeling the actual actor's facial expressions with 3D scans to create a morph target and applying it to avatars using facial capture technology.

• Proceedings of the Korean Society for Emotion and Sensibility Conference
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• 1997.11a
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• pp.215-219
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• 1997

내적 감성상태와 표정을 연결하는 상관모형을 개발하기 위\ulcorner 기초자료로서 광범위한 얼굴표정자료를 수집하였다. 다양한 얼굴유형의 표정자료를 DB화하기 위해서는 궁극적으로 50명 이상의 인물표정 자료수집이 필요하다고 보고, 우선 영화배우 10면분의 표정자료를 수집하였다. 이를 위해 표정연기가 자연스럽다고 평가된 영화배우 10명을 선정하고, 이들이 출연한 50여편의 영화비디오에서 표정자료를 수집하였다. 한사람의 인물당 50개의 표정을 한세트로 하여 총 10명분 500가지의 표정자료수집을 완료하였다. 한사람의 인물당 50개의 표정을 한 세트로 하여 총 10명분 500가지의 표정자료수집을 완료하였다. 각각의 표정은 시작-상승-절정-하강-종료의 연속 5단계를 비율적으로 표집하여 동적정보를 포함하고 있다. 이들 자료들은 등자인물의 출연맥락이나 상황별로 분류하여 표정관련 맥락단서를 기록하였고, 후속연구를 통해 각 표정에 대응되는 내적상태를 기록할 수 있도록 DB화 하였다. 이와같이 구조화된 자료들은 표정인식과 합성의 입출력모형을 위한 기초자료로 활용될 뿐 아니라, 한국인의 얼굴 프로토타입 DB구축 및 향후 표정관련 연구의 타당성을 검증할 수 있는 Benchmarking 정보를 제공할 수 있다.

• The Journal of the Korea Contents Association
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• v.17 no.12
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• pp.408-416
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• 2017

This researcher looked at the characteristics of "$N\bar{a}tya$ $\acute{s}\bar{a}stra$" acting techniques focused on body expressions and sought to utilize it as training method for modern actors. 'Body postponement as a symbol' is a key characteristic of "$N\bar{a}tya$ $\acute{s}\bar{a}stra$" acting techniques, and each facial expression, gesture, and movement performed by an actor has a specific meaning. Therefore, the study on "$N\bar{a}tya$ $\acute{s}\bar{a}stra$" has been treated as a major study mainly in the non-realistic expression style or the body-centered acting theory. Therefore, a study on "$N\bar{a}tya$ $\acute{s}\bar{a}stra$" acting techniques was mainly dealt with as a major research subject in the nonrealistic expression style or body-centered acting theory. This study, on the other hand, emphasized the importance of research on the utilization plan of actor training, which can be usually used in realistic plays as well as non-realistic plays. According to psychologists such as Damasio and Eckman, internal impulses can also be triggered through expressions and actions associated with emotions. In addition, not only acting through the actor's inner impulse, but also expression of the actor's faithful external emotion can trigger the emotion of the audience. Such a case can be a psychological basis that "$N\bar{a}tya$ $\acute{s}\bar{a}stra$" acting techniques, which defines rasa and expresses it physically, can be used as a methodology to enhance inner truth. Therefore, the study on the actor training utilizing ing "$N\bar{a}tya$ $\acute{s}\bar{a}stra$" can be applied as an effective approach in the study of contemporary acting theory which intends to integrate inner impulse and external expression.

• Journal of Korea Entertainment Industry Association
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• v.13 no.2
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• pp.123-132
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• 2019

This paper analyzes the performances of actor Song Kang-Ho in the background of interdisciplinary and integrated film acting, using performance rather than acting as a general term. If the act is a concept limited to acting training or acting skills, performance is a broad concept that includes expressions, movements, and emotions. The performance on the screen can be explained in the context of film and can be extended to the social attitude of acting. In addition, I used the term screen in terms of representation rather than film referring to medium. Song Kang-Ho expressed the performances of various characters in more than 30 films. Although his facial expressions, gestures, and voices suitable for individual characters in various genres are represented in various ways, personality inherent in the actor Song Kang-Ho integrates persona with character. What drives it is the social attitude of screen performance. As a sign, acting is an ideological construct and foregrounds a character who describes a certain social and historical moment. Song Gang-Ho as actor, persona and character, who asserts the popularity, speaks to society and makes discourse. His comic performance is always confronting the tragedy of life, his face is the spirit of the times, and it expands into social meaning. The face of the close-up does not laugh at all, the gesture symbolized by the curved rear view is exaggerated disorderedly and disturbingly, and the voice using dialect accent does not follow the standard of the vocal.

• Proceedings of the Korean Society for Emotion and Sensibility Conference
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• 2000.11a
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• pp.189-193
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• 2000

표정인식 시스템을 구현하기 위해서는 어떠한 얼굴 특징점이 특정한 내적상태와 밀접한 관련이 있는가를 알아야한다. 이를 위해 MPEG-4 FDP 중 39개의 얼굴 특징점을 사용하여 쾌-불쾌 및 각성-수면의 내적상태와 얼굴 특징요소간의 상관관계를 분석하였다. 연극배우들의 다양한 표정연기 사진 150장으로부터, 5개의 필터 크기와 8개의 필터 방위로 구성된 Gator wavelet을 사용하여 39개의 특징점을 중심으로 영상처리 하였다. 이들 특징점의 필터 반응 값과 내적상태의 상관관계를 분석한 결과, 내적상태의 쾌-불쾌 차원은 주로 입과 눈썹 주변의 특징점과 밀접한 관련이 있었고, 각성-수면 차원은 주로 눈 주변의 특징점과 밀접한 관련이 있었다. 필터의 크기는 주로 저역 공간빈도 필터가 내적상태와 관련이 있었고, 필터의 방위는 주로 비스듬한 사선 방위가 내적상태와 관련이 있었다.

• Digital Contents
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• no.9 s.160
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• pp.90-93
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• 2006

흥행의 귀재 스티븐 스필버그가 오랜 동료 로버트 저메키스와 함께 제작한 애니메이션 <몬스터 하우스>는 제목 그대로 집 자체가 괴물인 영화다. 집 창문이 야수의 눈처럼 이글거리고, 양탄자가 혓바닥이 되어 세상의 모든 것을 집어삼킨다. <몬스터 하우스>는 그렇게 낯선 폐가가 주는공포를 기발한 상상력으로 완성해낸다. 특히 배우들의 움직임과 표정을 세밀하게 포착한 퍼포먼스 캡처기술을 사용해 마치 실사와 같은 테크닉을 발휘하며 작품속에 몰입하게 만든다. 메가폰은 스필버그가 발탁했다는 신인 감독 길캐넌이 잡았고, 각본은 <유령신부>의 파멜라페틀러가 썼다. 다양한표정연기를 선보이는 캐릭터들이 선사하는 유머와 공포를담은<몬스터하우스>의매력을 되짚어본다.

• The Journal of the Korea Contents Association
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• v.12 no.2
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• pp.154-162
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• 2012

Facial expression and gesture of the actors can be magnified or understated depending on the size of the camera framing. The direction, quality, and quantity of the lighting can also make the actors look different. That's why we have to deliberate how to photograph the actors who will be projected on the screen. This thesis shows the way of improving performance and emphasizing each character with camera and lighting. You will also find out how visual elements influence the actors and their performances.

• Cartoon and Animation Studies
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• s.49
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• pp.143-167
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• 2017

The purpose of this study is to analyze the characteristics that appear when actual comedy movie is made into animation, from the singularities which arise from producing remake of existing media contents into animation. Animation and slapstick comedy movies possess a similarity in that they both evoke laughter from the viewer via exaggerated motion, expression and action. In the case of live action film, people must carry out the acting and there exists spatial limitations, whereas animation does not have such limits, which allows the comic animation to materialize spatial scene directing and acting which are different from that of live action comic films, despite the fact that they share elements of the same genre. Accordingly, this study performs comparative analysis of and which is based on the contents of the same event, from the English comedy TV program and the , the TV animation which is a remake animated version of the original series, to conduct comparative analysis the character acting and the scene directing in accordance with the live action movie and animation. The result of studying the point that makes it easy to create comic genre into animation and the advantages possessed by the media of animation, through analyzing two works that deal with the same character and the same event, were as follows. It was proven through the analysis that comedic directing with doubled composure and amusement is possible through the anticipation of exaggerated directing in the acting through expression and action, and diversity of the episodes with added imagination in the story, as well as the estrangement effect of the slapstick expression and etc.

• Korean Journal of Cognitive Science
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• v.12 no.1_2
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• pp.77-89
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• 2001

Applying perceptual hierarchy of facial feature points, a neural network model for recognizing facial expressions was designed. Input data were convolution values of 150 facial expression pictures by Gabor-filters of 5 different sizes and 8 different orientations for each of 39 mesh points defined by MPEG-4 SNHC (Synthetic/Natural Hybrid Coding). A set of multiple regression analyses was performed with the rating value of the affective states for each facial expression and the Gabor-filtered values of 39 feature points. The results show that the pleasure-displeasure dimension of affective states is mainly related to the feature points around the mouth and the eyebrows, while a arousal-sleep dimension is closely related to the feature points around eyes. For the filter sizes. the affective states were found to be mostly related to the low spatial frequency. and for the filter orientations. the oblique orientations. An optimized neural network model was designed on the basis of these results by reducing original 1560(39x5x8) input elements to 400(25x2x8) The optimized model could predict human affective rating values. up to the correlation value of 0.886 for the pleasure-displeasure, and 0.631 for the arousal-sleep. Mapping the results of the optimized model to the six basic emotional categories (happy, sad, fear, angry, surprised, disgusted) fit 74% of human responses. Results of this study imply that, using human principles of recognizing facial expressions, a system for recognizing facial expressions can be optimized even with a a relatively little amount of information.