• 한국연극학
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• 제53호
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• pp.167-202
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• 2014

When video composes mise-en-scene during the performance, it reflects the aspect of contemporary image culture, where the individual as creator joins in the image culture through the device of cell phone and computer remediating the former video technology. It also closely related with the contemporary theatre culture in which 1960's and 1970's video art was weaved into the contemporary performance theatre. With these cultural background, theatre practitioners regarded media-friendly mise-en-scene as an alternative facing the cultural landscape the linear representational narrative did not correspond to the present culture. Nonetheless, it can not be ignored that video in the performance theatre is remediating its historical function: to criticize the social reality. to enrich the aesthetic or emotional reality. I focused video in the performance theatre could feature the object with the image by realizing the realtime relay, emphasizing the situation within the frame, and strengthening the reality by alluding the object as a gesutre. So I explored its two historical manuel. First, video recorded the spot, communicated the information, and arose the audience's recognition of the object to its critical function. Second, video in performance theatre could redistribute perceptual way according to the editing method like as close up, slow motion, multiple perspective, montage and collage, and transformation of the image to the aesthetic function. Reminding the historical function of video in contemporary performance theatre, I analyzed two shows, Schaubuhne's Hamlet and Lenea de Sombra's Amarillo which were introduced to Korean audiences during the 2010 Seoul Theatre Olympics. It is known to us that Ostermeir found real social reality as a text and made the play the context. In this, he used video as a vehicle to penetrate the social reality through the hero's perspective. It is also noteworthy that Ostermeir understood Hamlet's dilemma as these days' young generation's propensity. They delayed action while being involved in image culture. Besides his use of video in the piece revitalized the aesthetic function of video by hypermedial perceptual method. Amarillo combined documentary theatre method with installation, physical theatre, and video relay on the spot, and activated aesthetic function with the intermediality, its interacting co-relationship between the media. In this performance theatre, video has recorded and pursued the absent presence of the real people who died or lost in the desert. At the same time it fantasized the emotional aspect of the people at the moment of their death, which would be opaque or non prominent otherwise. As a conclusion, I found the video in contemporary performance theatre visualized the rupture between the media and perform their intermediality. It attempted to disturb the transparent immediacy to invoke the spectator's perception to the theatrical situation, to open its emotional and spiritual aspect, and to remind the realities as with Schaubuhne's Hamlet and Lenea de Sombra's Amarillo.

• 공학교육연구
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• 제18권6호
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• pp.64-69
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• 2015

A video-work story analysis system based on emotional state measurement includes a content provision unit which provides story content of a video-work, a display unit which displays content provided by the content provision unit, an emotional state measurement unit which measures a tense-relaxed emotional state of a viewer viewing the displayed story content, a story pattern analysis unit which analyzes the tense-relaxed emotional state measured from the emotional state measurement unit according to a scene in the story content provided by the content provision unit, and a story pattern display unit which prints out an analysis result or displays the analysis result as an image. The emotional state measurement unit measures a tense or relaxed emotional state through one or more analyses among a brainwave analysis, a vital sign analysis, or an ocular state analysis. A writer may obtain support in an additional scenario modification work, and an investor may obtain support in making a decision through the above description. Furthermore, the video-work story analysis system and analysis method based on emotional state measurement may extract a particular pattern with respect to a change in an emotional state of a viewer, compile statistics, and analyze a correlation between a story and an emotional state.

• 한국방송∙미디어공학회:학술대회논문집
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• 한국방송공학회 2009년도 IWAIT
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• pp.267-272
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• 2009

Video digests provide an effective way of confirming a video content rapidly due to their very compact form. By watching a digest, users can easily check whether a specific content is worth seeing in full. The impression created by the digest greatly influences the user's choice in selecting video contents. We propose a novel method of automatic digest creation that evokes a joyful impression through the created digest by exploiting smile/laughter facial expressions as emotional cues of joy from video. We assume that a digest presenting smiling/laughing faces appeals to the user since he/she is assured that the smile/laughter expression is caused by joyful events inside the video. For detecting smile/laughter faces we have developed a neural network based method for classifying facial expressions. Video segmentation is performed by automatic shot detection. For creating joyful digests, appropriate shots are automatically selected by shot ranking based on the smile/laughter detection result. We report the results of user trials conducted for assessing the visual impression with automatically created 'joyful' digests produced by our system. The results show that users tend to prefer emotional digests containing laughter faces. This result suggests that the attractiveness of automatically created video digests can be improved by extracting emotional cues of the contents through automatic facial expression analysis as proposed in this paper.

• 한국멀티미디어학회논문지
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• 제17권7호
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• pp.895-905
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• 2014

Recently the trade show is a massive marketing effort of a particular industry and introduces new products to potential customers, as well as the ability to elevate the brand's image and corporate identity. It is increasing its importance as a venue of communication. In these changes, the exhibition is required to have the emotional approach to enhance the dynamic and creative image of companies. Therefore, the product itself as well as the importance of various visual contents of the exhibition is increasing positive effect of the image and marketing on their products. In this sense, this study analyzes video contents of the exhibition that was held in Amsterdam, the Netherlands, Europe's largest display show 'ISE (Integrated Systems Europe)' in 2013, focusing on the domestic company, Samsung, LG Electronics and other four foreign companies. The analysis is based on the Herbert Zettl's applied media aesthetics related to the video contents, through which we can find the way to the development of exhibition video contents making for Trade show.

• 한국콘텐츠학회논문지
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• 제15권11호
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• pp.10-17
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• 2015

감성을 규칙적인 숫자로 변화하려는 감성컴퓨터 연구가 지속적이다. 감성컴퓨팅 방식으로 감성을 숫자화하고, 감성트리를 통해 실행했다. 감성컴퓨팅의 감성 평가는 James A. Russell의 핵심 효과(Core Affect)의 감성좌표를 활용했다. 감성트리 실행 목적은 감성컴퓨팅과 감성트리의 상관관계를 검증했다. 감성트리 속성실험은 색상, 명도, 채도로 구성했다. 명도 50% 증가했을 때, 쾌정도(X축)는 10.49점 증가했다. 명도 50%, GREEN 50% 증가는 쾌정도(X축) 10.49점, 긴장도(Y축) 15.85점만큼 증가했다. 쾌정도(X축)에 명도 50%, 긴장도(Y축)에 BLUE 50%일 때, 쾌정도(X축) 10.49점, 긴장도(Y축) 14.65점만큼 감성이 변화했다. 대표감성크기 변화는 명도 50%, 색상 RED 50% 증가했을 때, 흥분 감성이 5.4% 증가했고, 우울한 감성이 -4.2% 감소했다. 명도 50%, 색상 GREEN 50%의 증가는 흥분 감성이 8.6%로 증가했고, 우울한 감성이 -5.5%로 감소했다. 감성속성 증감에 따른 감성변화와 대표감성크기를 숫자 방식으로 분석했다. 향후 영상 이미지 감성컴퓨팅의 실행인 감성트리를 통해 사람의 감성과 더 유사하도록 행복한 감성 숫자 연구가 필요하다.

• 디지털융복합연구
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• 제16권4호
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• pp.313-319
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• 2018

본 연구는 최근 방송, 영화 등에 활발하게 사용되고 있는 드론의 무빙 영상이 수용자의 몰입도와 흥미 유발, 감정상태 등에 미치는 영향을 살펴본 실험 연구이다. 그동안 미디어 영상 효과 연구들은 영상의 움직임이 스토리 자체에 내재되어 있는 느낌을 주기 위해서 카메라의 움직임을 자제하는 것이 좋으며, 카메라의 움직임이 오히려 수용자의 자연스러운 시청에 방해가 될 수 있다고 주장하고 있다. 본 연구에서는 드론의 움직이는 영상이 시청자의 몰입도, 흥미 유발, 감정 상태 등에 어떤 영향을 미치는지 알아보기 위해서, 대학생들을 두 그룹으로 나누고, 한 그룹의 피실험자들에게는 무빙 중심으로 편집된 드론 영상물을 보여주고, 다른 한 그룹의 피실험자들에게는 호버링 중심으로 편집된 드론 영상물을 각각 보여준 다음, 설문조사를 통해 이들이 느낀 몰입도, 흥미도, 감정상태 등을 측정하고, 측정한 결과를 변량 분석하였다. 분석 결과, 드론의 움직임이 있는 영상물을 감상한 피실험자들은 드론의 움직임이 없는 영상물을 감상한 피실험자들에 비해, 흥미를 더 많이 느끼고, 긍정적인 감정상태를 더 많이 느낀것으로 나타났다. 그러나 드론의 무빙과 피실험자들의 몰입도 간에는 서로 관련이 없는 것으로 나타났다.

• 만화애니메이션 연구
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• 통권33호
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• pp.403-423
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• 2013

영상 이미지 감성으로 행복 또는 불행, 긴장 또는 평온의 구분 감성을 트리형식으로 가중치를 부여하여 평가한다. 영상 이미지 대표평가 감성인 명도대비를 평가 기준으로 1차는 행복, 불행 또는 긴장, 평온이고 2차는 종속성을 지닌 세분화된 영상 이미지 감성으로 구분한다. 4개의 감성인식을 수치화 된 명도대비 데이터로 측정한다. 평가 구현은 OpenCV를 통해 명도대비를 그래프화하여 긴장, 평온, 행복, 불행 값의 변화에 따라 4개 감성으로 구분하여 컴퓨팅한다. 감성 컴퓨팅은 명도대비의 입력 값에 따라 '불행'을 '행복'으로 또는 '긴장'을 '평온'으로 감성적인 변화를 구현한다. 감성 컴퓨팅은 영상 감성의 규칙성을 계산화 된 컴퓨팅 시스템으로 제어할 수 있고 명도대비 값에 따라 감성의 변화를 구현한다. 향후 산업방향에 감성 인식의 적용에 대한 긍정적인 역할을 할 것이다.

• 만화애니메이션 연구
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• 통권17호
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• pp.147-161
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• 2009

색채는 디자인 요소에 있어서 감각적이며 감성적인 동시에 시각적으로 우선시 되는 비언어적 상징이기도 하다. 제품의 선택에 있어서 소비자에게 우선되어지는 중요한 요소이고, 브랜드에 있어서 차별화된 전략 및 일관된 통합성을 주는 상징이 되기도 한다. 광고에서 색채는 장기적인 브랜드 아이덴티티(identity) 측면뿐만 아니라 제품의 이미지와 광고의 컨셉을 표현하는 중요한 도구이다. 본 논문의 주제는 광고 크리에이티브의 발전을 위해 승용차 영상광고의 주도적 색채를 분석하였다. 분석결과 2000cc급이하 경 소형승용차 광고의 색채적용은 명도와 채도가 높고 밝은 분위기로 권위보다는 개인의 개성을 중시, 파스텔조의 색을 선호하는 것으로 나타났다. 반면, 2000cc급 이상의 중 대형승용차 광고는 전반적으로 명도와 채도가 낮고 어두운 색채가 대세를 이루고 있는 경향을 볼 수 있다. 경 소형승용차 광고는 실용적 가치를 중시하는 제품외형에 초점을 맞추었고, 중 대형승용차 광고는 상징적 이미지에 초점을 맞추어 광고표현을 하는 차이를 느낄 수 있다. 광고에 사용되는 색채는 곧 소비자의 감성을 대변하는 것이다. 영상광고에서 소구 대상이 누구냐에 따라서, 또한 어떤 상품이냐에 따라서 색채의 컨셉이 설정이 되어야 하며, 또 그에 따른 색채에 의한 감성을 파악하여 광고 전략에 맞게 활용될 때 브랜드와 제품의 가치를 높일 수 있다.

• 한국환경과학회지
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• 제32권12호
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• pp.979-985
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• 2023

After the outbreak of COVID-19, the demand for home-enjoyable video games has surged, driven by extended pandemic conditions and resulting in rapid graphic technology advancements. Consequently, games with diverse expression techniques have emerged, captivating players. Virtual Reality (VR) environments predominantly feature natural landscapes, with advancing graphic technology enabling lifelike scenes. The rise in individuals seeking solace through natural elements in games has followed suit. As VR technology and metaverse interest grow, more people are exposed to digital imagery. However, evidence on the influence of graphic expression methods on emotional response to that is lacking. Our study examined user emotional responses, focusing on natural landscapes in digital graphics of games. Analyzing a group of 47 young adults as frequent digital media consumers, we studied reactions to different image styles (Realism, Semi-Realism, Stylized). In the analysis, Realism-style images were perceived the most positively, while emotional responses to natural landscapes with different graphical expressions showed no significant differences. Results suggest that recognizing digital natural landscapes may outweigh expression style impacting the evaluation of digital nature. This study's empirical analysis enhances the understanding of digital nature's application to actual situations.

• 한국멀티미디어학회논문지
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• 제25권2호
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• pp.215-220
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• 2022

Emotion recognition is one of the most important and challenging areas of computer vision. Nowadays, many studies on emotion recognition were conducted and the performance of models is also improving. but, more research is needed on emotion recognition and sentiment analysis of video viewers. In this paper, we propose an emotion analysis system the includes a sentiment analysis model and an interest prediction model. We analyzed the emotional patterns of people watching popular and unpopular videos and predicted the level of interest using the emotion analysis system. Experimental results showed that certain emotions were strongly related to the popularity of videos and the interest prediction model had high accuracy in predicting the level of interest.