• International journal of advanced smart convergence
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• v.11 no.2
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• pp.71-76
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• 2022

The continuous development of virtual reality technology in the last five years has brought about a big change in the future film industry. Interactive VR movies using virtual reality technology in movies showed the result of increasing the immersion of the audience due to the characteristics of interaction. This will provide a unique opportunity for a new experience of immersion in various forms of cinema in the near future. In this paper, the interaction of narrative VR movies was studied as an example of the movie , which won the [The Best VR Experience Award] at the Venice International Film Festival, In future development, improve the scene transition, Dizziness, Ways of interaction and other questions, let the audience increase the sense of participation, immersion and curiosity when watching movies, and make watching movies a more interesting thing in life.

• International Journal of Advanced Culture Technology
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• v.12 no.1
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• pp.262-269
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• 2024

The "AR Campus Diary" project innovates in the realm of art through integrating augmented reality (AR) with interactive storytelling, fostering personal and interpersonal development through artistic expression. This artistic endeavor metaphorically represents the growth and fruition of individual stories, facilitated by a series of progressive art activities that emphasize continual interaction between self and others. Set against the backdrop of a university campus, the project employs AR markers designed to unfold stories in phases through a dedicated application, allowing participants to experience and influence the narrative uniquely. Diverging from traditional film editing techniques, "AR Diary" offers viewers the autonomy to navigate through story segments of their choosing, marking a departure from conventional cinematic storytelling by leveraging marker-based plot progression. This project not only showcases the fusion of technology and art but also pioneers a participatory form of art education based on engagement and play.

• Journal of IKEEE
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• v.22 no.4
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• pp.901-906
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• 2018

Due to the development of display technologies for images, the resolution and quality of images are increasing day by day. In accordance with the development of the display technology, researches have been actively conducted on technologies for converting and displaying existing images to higher resolution and quality. Since the results of theses studies are included in the image signal processor, hardware implementation is indispensable. In this paper, we propose a real-time HDR(High Dynamic Range) conversion hardware implementation of LDR(Low Dynamic Range) image using luminance distribution. The proposed method extracts the features of the image using the histogram of the luminance distribution, and extends the luminance and color based on the extracted features. In addition, when the proposed method is designed by hardware IP(Intellectual Property) and its performance is verified, 4K DCI(Digital Cinema Image) can be handled at a rate of 30fps at 265.46MHz.

• Journal of the Korean Society of Manufacturing Technology Engineers
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• v.18 no.4
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• pp.423-429
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• 2009

The motion base to a film used in 4D cinema theaters or theme parks is different depending on the operator's control or hardware system and this causes inefficiency in management of the theater. There are several different simulation software on the present market, but these are difficult for an animation producer to use them. This study introduces the idea in which a film producer simulates the movement of the motion base by using computer graphic animation tools mostly adopted by production for creating 3D animation and motion control data. Maya and 3D Cross were used to show the path of a motion camera visually. Attitude and axis control data were extracted from the movement of the virtual motion base and were used to control a prototype of the motion base. As a result, the motion control data from computer graphic animation tools can be created so that a film producer can create standard motion control data independently regardless of the hardware and operator's skill.

• The Journal of the Convergence on Culture Technology
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• v.5 no.4
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• pp.339-347
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• 2019

This is a comparative cultural study on the cultural dimensions of the Korean original film and its Chinese remake film. This research is based on the cultural dimension study by Dutch organizing psychologist Geert Hofstede (1991). In this research I have tried to compare cultural dimensions that are shown implicitly in the original Korean film of "Blind" and its Chinese remake, entitled "The Witness", in terms of the narrative structures.

• Journal of Advanced Information Technology and Convergence
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• v.9 no.2
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• pp.41-54
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• 2019

The cinema circuit is facing a digital, network, and mobile age, which expands non-theater accessibility to movies. Application platforms are situated as the most competitive business model that provide digital content such as games, music, books, and movies. Consumers can acquire content-related information not just offline, but online as well. Therefore, item information provided by application platforms is required. The information provided by application platforms consists of richly descriptive information such as storyline summary, consumer reviews, and related articles, while non-descriptive normative information covers data such as sales ranking, release date, genre, rental or purchase cost, domestic/foreign classification, consumer rating, number of consumer ratings, film rating, and so on. In this study, we surveyed and analyzed statistically the correlation between real-time sales ranking and other comparable non-descriptive information.

• Journal of Popular Narrative
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• v.27 no.3
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• pp.95-124
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• 2021

As the symbolic images of girls besides its definition have varied according to the age and society, a posthuman girl character recently appears in the digital cinema. This study aims to analyze its cinematic representations and the social contexts in which they are created. For this purpose, the study focuses on what extent the society allows its imagined figurations as a future female body and the meanings revolving around the image of 'technologically body-enhanced female fighter'. Current digital visualization technology has developed to the extent any imaged future humans can be represented, but posthuman girls' representations have its limitation that only a human-like figuration can be allowed in accord with the traditionally idolized image of girls. It is because of the representation logic in which digital cinema is visualized based on perceptual realism that values audiences' experiences. Despite such less critical figuration which does not dare to cross the boundary between the image of human and inhuman, the posthuman girl characters create a new category of the 'dangerous girls' who are both void of sexual femininity and independent of motherhood and heterosexual romance narrative. Of course, they support the modern human-centered belief that humans can take entire control of technology with their moral behaviors and dispel the fear about the negative impact the nature of technology may have on society at large by showing their child-like figuration protecting ethical values. However, the new character of 'unruly girl' exerts her subversive act that seeks to fight against the human-centered liberal humanistic values and melancholic feeling and vulnerability that the neoliberalism and technocracy enforce. When posthuman girl characters are considered to be a marker through which we can see how different social forces are intervening and competing each other in the upcoming posthuman age, the limited figuration of the posthuman girl characters in South Korean movies illustrates the opinionated thoughts toward the instrumentalism in technology but their bloodshed struggles reveal how the corporate or state-governed techno-biopower has oppressively treated and appropriated the human body as the technology-object and also provide a meaningful opportunity to rethink its unethical violence.

• Journal of the Korean Society of Manufacturing Technology Engineers
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• v.26 no.1
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• pp.137-143
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• 2017

An axial fan has competitive advantages that can make air flow more straight and longer and produce larger air volume than the other kinds of fans. In those reasons, axial fans are widely used for ventilator, 4D cinema, duct, and so on. But, as it was designed and manufactured without any mathematical analysis or computer simulations, it is difficult to develop the performance of axial fans. Actually the axial fan is designed and manufactured in industry by imitation or traditional method. Flow velocity and volume of axial fan are changed by pitch angle, frame, the number of blade, camber angle, and chord length. In this paper, the performance of axial fan was analyzed and by computer program known as CFD. Finally, we have designed a new axial fan whose velocity and volume is improved. The performance of new axial fan is also compared with the of conventional fans experimentally.

• Journal of information and communication convergence engineering
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• v.15 no.4
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• pp.217-226
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• 2017

Korea has the tenth largest film industry in the world; however, detailed analyses using the factors contributing to successful film commercialization have not been approached. Using big data, this paper analyzed both internal and external factors (including genre, release date, rating, and number of screenings) that contributed to the commercial success of Korea's top 10 ranking films in 2011-2015. The authors developed a WebCrawler to collect text data about each movie, implemented a Hadoop system for data storage, and classified the data using Map Reduce method. The results showed that the characteristic of "release date," followed closely by "rating" and "genre" were the most influential factors of success in the Korean film industry. The analysis in this study is considered groundwork for the development of software that can predict box-office performance.

• 한국정보통신설비학회:학술대회논문집
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• 2007.08a
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• pp.142-146
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• 2007

Digital Rights Management (DRM) technology has been widely used for protecting the digital contents over the recent years. But the digital contents protected by DRM are vulnerable to various video memory capture programs when DRM packaged contents are decrypted on the consumers' multimedia devices. To make up for this kind of DRM security holes the Forensic Marking (FM) technology is being deployed into the content protection area. Most leading DRM companies as well as big electronics companies like Thomson and Philips already have commercial FM solutions. Forensic Marking technology uses the digital watermarking to insert the user information such as user id, content playing time and etc. into the decrypted and decoded content at the playback time on the consumer devices. When the content containing watermarked user information (Forensic Mark) is illegally captured and distributed over the Internet, the FM detection system takes out the inserted FM from the illegal contents and informs contents service providers of the illegal hacker's information. In this paper the requirements and test conditions are discussed for the commercial Forensic Marking systems.