• Korean Institute of Interior Design Journal
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• v.24 no.1
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• pp.93-103
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• 2015

This study set out to figure out the tendencies of the staff members participating in the space design of Blade Runner and compare and analyze its set and location characteristics with its narrative based on Gilles Deleuze' Simulacrum, one of the basic theories of Post modernism, thus identifying the characteristics of postmodern space inherent in it. The findings were as follows: first, the spaces in a Late modernism tendency in Blade Runner seem to have been created by the cinematic imagination of Syd Mead and Douglas Trumbull rather than being influenced by the old Late modernism architecture. Second, the postmodern spaces of the movie were designed to depict a more realistic future by reinforcing the old ornamental elements or adding the mechanical aesthetics of Late modernism based on a prediction of future cities. Third, the characters representing Late modernism and Post modernism in the narrative of the movie embrace the tendencies of the parties objected by Model and Simulacrum in the scenes where they deny the tendencies of the spaces to which they belong, thus exhibiting a dual trend. Fourth, the dual narrative of Model and Simulacrum holds duality even in the space and architecture of the movie, which is the reason why the movie chose postmodern spaces reflecting historical contexts instead of inner spaces in the tendency of minimalism, which was in vogue when SF movies were made those days. Finally, the spaces of the movie can be categorized according to the Late modernism and Post modernism tendencies from the perspective of the 1980s and be understood to show the architecture and space of future Post modernism feasible through the layering of historicity, locality, and mechanical aesthetics from ancient Maya to a future city in Los Angeles, the background of the movie, from the perspective of 2019.

• Korean journal of communication and information
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• v.50
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• pp.94-120
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• 2010

This Studies interpret Kim Ki-duk's film in terms of shamanistic world views. In this studies, the ritual properties of Kim Ki-duk's film were trying to reveal. To do this, Kim Ki-duk's entire 14 works were analysed. Specifically, shamanistic characters, their actions, themes, ways of storytelling, mis-en-scenes, and visual settings were focused on. The results show, fantastic and ritual properties were represented directly and the very archetypes of Korean cultural shamanistic symbols were embedded in his films. Shamanistic symbols and narratives in Kim Ki-duk's films were related to the main themes of harmony between suppressing men and suffered women. This symbols and narratives could be interpreted through the sacrifices of characters, exorcistic behaviors, expressions of death etc. In the long run, as visionary or anti-realistic author, Kim Ki-duk has been performing shamanistic ceremonies(in Korean "Gut") with his whole works. With these findings, processes from preparations to completions of Gut-Pan (Shamanistic ceremony) in Kim Ki-Duk's works were tried to reconstruct.

• Journal of the Institute of Electronics Engineers of Korea SP
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• v.40 no.6
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• pp.141-148
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• 2003

This paper proposes a new algorithm that generates the smooth and realistic transition views from one viewpoint to another on the multi-panorama based navigation system. The proposed algorithm is composed of two steps. One is prewarping that aligns the viewing directions of two panoramic images, and the other is the bidirectional disparity morphing(BDM) that generates the intermediate scene from the aligned panoramic images. For prewarping, we compute the phase correlation between two images in order to obtain the information, such as translation, rotation, and scaling. Then we align the viewing directions of two original images using these information. Afterprewarping, we compute the block based disparity vector(DV) and smooth them using two occluding patterns. As we apply these DVs to the BDM, we can generate the elaborate intermediate scene. We make an experiment on the proposed algorithm with some real panoramic images and obtain good quality intermediate scenes.

• Journal of the Korean Solar Energy Society
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• v.32 no.3
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• pp.104-113
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• 2012

A set of candela distribution curves(CDCs) were generated for a fiber optic dish daylighting system by Photopia under clear sky conditions at different solar altitudes. The candela distribution curves were then exported to Radiance for photometric analysis of a windowless lecture room. Observations were made on the Radiance rendered illuminance images, which provided photo realistic scenes varying with solar altitudes. If no tracking error were assumed, the daylight collection efficiency of the system remained at a constant value of 68.4% during its operation. Higher the solar altitude angle, greater in photometric quantities were observed, which are represented by candela(cd) and total lumens(lm). In all cases considered, however, the angle of light distribution remained fixed reflecting the solar tracking feature of the system. The illuminance uniformity on the workplane lingered around 0.12, which is quite low. This is quite a contrast to its average value of 0.68 of the $2.7m^2$ area directly below the terminal device (diffuser) of the system. The maximum illuminance of 1,340lux was obtained at a solar altitude of 80 degrees.

• The KIPS Transactions:PartB
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• v.10B no.5
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• pp.561-566
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• 2003

This paper proposes a new algorithm that generates smooth and realistic transition views from one viewpoint to another view point on the panorama based navigation system. The proposed algorithm is composed with two steps. One is prewarping that aligns the viewing direction in two panorama image, the other is bidirectional disparity morphing (BDM) that generates the intermediate scene from the aligned panorama images. For the prewarping, first of all, we compute the phase correlation between two images in order to get the information such as the displacement, rotation, and scale. Then we align the original images using these information. As soon as finishing the prewarping, we compute the block based disparity vectors (DVs) and smooth them using the two occluding patterns. As we apply these DVs to the BDM, we can get the elaborate intermediate scenes. We make an experiment on the proposed algorithm with real panoramic images and we can get the satisfactory results.

• Journal of Korea Game Society
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• v.7 no.2
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• pp.21-32
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• 2007

It is significant to simulate scattering of light within media for realistic image synthesis; however, this requires costly computation. This paper introduces a practical image-space approximation technique for interactive subsurface scattering. We use a general two-pass approach, which creates transmitted irradiance samples onto shadow maps and computes illumination using the shadow maps. We estimate single scattering efficiently using a method similar to common shadow mapping with adaptive deterministic sampling. A hierarchical technique is applied to evaluate multiple scattering, based on a diffusion theory. We further accelerate rendering speed by tabulating complex functions and utilizing level of detail. We demonstrate that our technique produces high-quality images of animated scenes with blurred shadow at hundreds frames per second on graphics hardware. It can be integrated into existing interactive systems easily.

• The Journal of the Korea Contents Association
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• v.13 no.9
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• pp.72-80
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• 2013

A common fallacy found at opera works is to lean either toward 'opera as drama' or toward 'opera as music'. One of the historical examples of opera creation to overcome this fallacy is Puccini's $\grave{e}$me>. The composer Puccini and the librettists, Illica and Giacossa, found balance between these two extreme poles, which was made possible by keeping the color of the original novel "scenes de la vie de boh$\grave{e}$me" and simultaneously by reconstructing the most operatic characters and story. Their strategies, which can be summerized as 'simplification', 'romanticization and re-creation of characters', and 'realistic description of original atmosphere'. There strategy of adaptation and the 'episodic' feature as the outcome can be a good example for creators of new opera works.

• Journal of Information Technology Applications and Management
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• v.28 no.3
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• pp.77-87
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• 2021

The color gray in the cinema expresses the private or public memory and oblivion in the reminiscence scenes. The aesthetic function and meaning of gray that interacts with other elements in cinematic time and space are expanded in various ways. This study was analyzed the cases in which gray was used as the main visual style by limiting the scope to Korean films. Based on the traditional cultural symbolic meaning of gray, I analyzed how it was applied and transformed in films, and interpreted the cultural-social meaning by the interaction between gray and other elements. In film history starting from monochrome, gray has been used as a visual device suitable for realizing cinematic or imaginary reality. Gray is adopted when dreams or recollections are visualized as imaginary reality, and it is used when dreamy imaginations of daydreaming are demonstrated. Gray, which reproduces the dreamlike reality of imagination, is the concrete and realistic way of expression. First, in Korean films, gray is a flashback visual device that recalls the past, and is an intermediary visual form that materializes the imaginary. In films such as Ode to My Father (2014), DongJu (2015), A Resistance(2019) and The Battle : Roar to Victory (2019), the gray of the past is a visual device for cultural memory that builds the homogeneity and identity of the group. In the era of hyper-visibility, gray in black and white images is intended to be clearly remembered by unfamiliarity rather than blurry oblivion by familiarity. Second, in genre films with disaster materials such as Train To Busan (2016) and Ashfall (2019), the grays of rain, fog, clouds, shadows and smoke highlight other elements, and the gray color causes anxiety and fear. In war films such as TaeGukGi: Brotherhood Of War (2003) and The Front Line (2011), gray shows a more intense brutality than the primary color. In sports films such as 4th Place (2015), Take Off (2009) and Forever The Moment (2007), gray expresses uncertainty and immaturity. Third, gray visualizes the historical memory of A Petal (1996), the oblivion in Oh! My Gran (2020) and Poetry (2010), and the reality of daydreaming Gagman (1988) and Dream (1990). At the boundary between imagination and reality, gray is a visual form of dreams, memories and forgetfulness.

• The Journal of the Korea Contents Association
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• v.22 no.9
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• pp.147-155
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• 2022

This article analyzed the new changes Hong Kong director Lin Chaoxian has brought to theme films of Mainland China and the factors affecting these changes. The objects of the analysis are Lin Chaoxian's films (2016), (2018), and (2020). Compared with Mainland China directors suffering from heavy political burden, Dante Lam directed theme films based on the model from commercial films and adopted lots of elements from Hong Kong films. There, the ideology expression in these theme films was no longer rigid, but a diversified value embodiment resonating with the audience. At the same time, these theme films achieved higher commercial value, in which the stereotyped and unrealistic hero images were replaced by realistic and compound characters, and the display of cool or violent action scenes contributed to lots of visual feasts. All the changes were influenced by the audience preferences and the development of private enterprises in Mainland China.

• Journal of Broadcast Engineering
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• v.28 no.2
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• pp.185-193
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• 2023

As many different over-the-top (OTT) services become ubiquitous, demands for high-quality content are increasing. However, high dynamic range (HDR) contents, which can provide more realistic scenes, are still insufficient. In this regard, we propose a new HDR video reconstruction technique using multi-exposure low dynamic range (LDR) videos. First, we align a reference and its neighboring frames to compensate for motions between them. In the alignment stage, we perform content-based alignment to improve accuracy, and we also present a high-resolution (HR) module to enhance details. Then, we merge the aligned features to generate a final HDR frame. Experimental results demonstrate that our method outperforms existing methods.