• The Journal of the Korea Contents Association
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• v.7 no.8
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• pp.152-162
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• 2007

Subject of this Study is focused on set design for short animation, GHOST, made and presented by animation studio, BEYOND PROSCENIUM. Sets in animation have several functions. First, sets are a playground that character can play to lead a story. Second, sets explain background, which is time and space. Third, sets can visualize metaphorical meaning or symbolic system in animation. To obtain final design that is sufficient to those functions, this study analyzes the case that metaphorical and symbolic meaning from scenario is how to apply into set design also, mentions the method that designer multiply considers character, property and composition from the camera and movement from those elements. Set designers for animation should have ability that simultaneously considers so many elements and they need design skills to create it.

• The Journal of the Korea Contents Association
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• v.15 no.11
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• pp.50-57
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• 2015

The fact that Disney studio produced several propaganda animations for the U. S. Government during World War II, is not widely known to the public. Der Fuehrer's Face that this essay centrally deals with totally includes the characteristics of signification and aesthetics in Disney animation. And, Der Fuehrer's face shows the tendency that represent the connotative theme of the work and myth to the audience, based on the typified character and the imagery of spaces in the work. Therefore, from this perspective, the semiotic studies on Der Fuehrer's Face is ultimately the approach to the characteristics of Disney animation's representation and communication that is established, through experimental trials and efforts.

• Journal of Integrative Natural Science
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• v.15 no.1
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• pp.37-48
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• 2022

Metabus, a three-dimensional virtual environment for digital communication, has gained a lot of attention recently. Even so, there are still many unanswered questions about the user's consciousness and behavior. A difference in nature from conventional digital communication is also unclear. This paper aims to study Metabus on a hypothetical premise by organizing the possibility of Metabus for communication activation based on a research project aimed at using Metabus to support the formation of a community of school dormitories and studio rental residents. After reviewing the establishment process and application cases of Metabus, we focus on the character (avatar) used as the user's alter ego within the metabus, which will allow customization of both form and content different from text-based communication. The "physicality" and the "spatiality" of the metaverse and the "immersion" they bring are among the most important, functional innovations. Based on this summary, a case of using metabuses will be reviewed to describe the research plan aimed at supporting community formation.

• Journal of the Korean Society for Library and Information Science
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• v.48 no.2
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• pp.201-220
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• 2014

This study examines user satisfaction and information behavior of information commons in the National Digital Library (NDL) of Korea through survey method. It analyzed service quality factors that affect the overall user satisfaction, and users' information behavior according to the physical spaces/facilities in the information commons. User satisfaction factors were developed to measure library satisfaction in all aspects of the eleven physical spaces/facilities of information commons service, and information behavior on eleven physical spaces/facilities in information commons were explored by users' character. According to survey findings, overall level of user satisfaction was maintained highly since the beginning of NDL. In particular, the facility of 'Productivity Computer Cluster' was ranked highest as 83.8 and the 'UCC Studio' was ranked lowest as 70.8 among the eleven facilities in information commons.

• The Journal of the Korea Contents Association
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• v.16 no.11
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• pp.731-741
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• 2016

It has become five years since comprehensive programming licenses were rendered in Korea. Allocating a lion's share of their air time on live news and news commentaries, those channels have established a unique live production system or a broadcasting system which is heavily live production-oriented, to be exact. The live commentaries are filled with a mixture of news flashes, conventional news commentaries, and debates. Those channels get their news and commentary programs made through subsidiaries' where production directors and studio staffs belong. They, being very sensitive about viewer rating, tend to be aggressive about reruns of highly rated programs and they do not even seem to care when the regular programs actually went out. This kind of reckless strategy to pursue a higher viewer rating could limit not only new programming attempts but also exposure diversity.

• Journal of Broadcast Engineering
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• v.8 no.1
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• pp.63-71
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• 2003

In sport programs, real-time virtual imaging system come into notice for new technology which can compose information like team logos, scores. distances directly on playing ground, so it can compensate for the defects of general character generator. In order to synchronize graphics to camera movements, generally two method is used. One is for using sensors attached to camera moving axis and the other is for analyzing camera video itself. KBS technical research institute developed real-time sensor-based virtual imaging system 'VIVA', which uses four sensors on pan, tilt, zoom, focus axis and controls virtual graphic camera in three dimensional coordinates in real-time. In this paper, we introduce our system 'VIVA' and it's technology. For accurate camera tracking we calculated view-point movement occurred by zooming based on optical principal point variation data and we considered field of view variation not only by zoom but also by focus. We developed our system based on three dimensional graphic environment. so many useful three dimensional graphic techniques such as keyframe animation can be used. VIVA was successfully used both in Busan Asian Games and 2002 presidential election. We confirmed that it can be used not only in the field but also in the studio programs in which camera is used within more close range.

• Journal of Broadcast Engineering
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• v.7 no.1
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• pp.2-9
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• 2002

Recently. VR( Virtual Reality) applications such as virtual studio and virtual character are wifely used In TV programs. and AR( Augmented Reality) applications are also belong taken an interest increasingly. This paper introduces a virtual screen system. which Is a new AR application for broadcasting. The virtual screen system is a real-time video augmentation system by tracking a chroma-patterned moving panel. We haute recently developed a virtual screen system.'K-vision'. Our system enables the user to hold and morse a simple panel on which live video, pictures of 3D graphics images can appear. All the Images seen on the panel change In the correct perspective, according to movements of the camera and the user holding the panel, in real-time. For the purpose of tracking janet. we use some computer vision techniques such as blob analysis and feature tracking. K-vision can work well with any type of camera. requiring no special add-ons. And no need for sensor attachments to the panel. no calibration procedures required. We are using K-vision in some TV programs such as election. documentary and entertainment.

• The Journal of the Korea Contents Association
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• v.15 no.5
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• pp.1-17
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• 2015

In domestic game market, the video game market is getting smaller and also decreasing funds and high level developers. So we need the software that can help us to make more realistic and high quality contents by non-expert developer in poor environments. In this paper, we selected global studio's animations which were scored good evaluation by public and critics as a well-made emotional expression that can convey the emotion properly. We selected movements that express emotions from the animation scripts by using Ekman's 6 basic emotions and Greimas' dynamic predicate, and then we had analyzed and categorized with the data. We also analyzed the movements for which data we needed to create specific movements to express emotions by using 'Animation Layer' that used in Unity's blending process. And suggest concept of the program that to create the emotional expression movements by using those analyzed data.

• Journal of the Korean association of regional geographers
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• v.14 no.5
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• pp.466-479
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• 2008

This study focuses on the characteristic of community making in urban areas and the implications in the case of Samduck-Dong, Daegu City. This study observed the geographic feature of Samduck-Dong, the background and process of community making and the citizen's interests and respondence. Samduck-Dong is located near CBD of Daegu and surrounded by useful places and facilities. This area is perceived as an attractive housing environment. As the commercial function is increased and the studio type house for rent, so called one room, is constructed, it is anticipated to get some trouble of building up community. The program of community making in Samduck-Dong, started from wall removal, is attempted diversly now. The places in relation to community making became a representative character of Samduck-Dong. However, there is problems of citizen's participation and the appreciation sharing about the contents and scale of community making.

• The Journal of the Korea Contents Association
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• v.22 no.10
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• pp.164-171
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• 2022

The aesthetics of Japanese animation have developed in earnest since Tezuka Osamu produced TV animation . This is because provided the aesthetic foundation of '3-comma animation' and 'limited animation techniques based on 8 frames per second. In fact, Miyazaki Hayao and Takahata Isao of Ghibli studio have expanded the influence of the Japanese animation industry to the world through the production of feature animation based on 3-comma animation. Inoue Toshiyuki, who participated as an animator in many works representing the Japanese animation industry, also said that the essential feature of Japanese animation aesthetics is 3 comma animation that shows the impressive movement of the character concisely. As such, 3-comma animation technique is the main aesthetic background that has led to the industrial development of Japanese animation.