DI 색 보정의 3D 애니메이션 제작 중 활용 및 연구

진가상(Jia-Xiang Chen),김형기(Hyung-Gi Kim) 한국애니메이션학회 2020 애니메이션연구 Vol.16 No.4

과학기술의 발전과 애니메이션 영화 제작 과정의 개선에 따라 3D 애니메이션의 화면 표현력이 크게 향상되었다. 조명과 색채는 애니메이션 화면의 시각 표현과 정서적 표현을 결정할 수 있다. 오늘날 3D 애니메이션 산업화 환경에서 디지털 색 보정 기술은 화면 조명 효과와 색채 표현을 제고하는 중요한 기술 형식이 되었다. 3D 애니메이션의 색채 창조는 장소, 날씨, 촬영 도구의 제한을 받지 않고 강력한 주관성과 창조성을 갖고 있다. 3D 애니메이션의 화면 색채는 감독의 의도를 직접적으로 드러내면서 관객의 감성을 자극할 수 있는 요소라고 할 수 있다. ‘색 보정’은 디지털 인터미디에이트 시스템에서 자체 설계된 조작 과정을 통해 촬영된 소재의 모든 색채 또는 일부 색채에 대해 강화 또는 약화의 처리를 하는 것이다. 이를 통해 최종 스크린에서 상영된 작품의 색채 언어 표현 능력을 강화시키고, 감독과 색 보정 감독이 표현하고자 하는 정서 분위기를 더욱 정확하게 전달하는 것이다. 이 외에, 색 보정 시스템을 이용하여 영상 화면에 없던 허구적인 조명을 추가할 수 있다. 추가된 허구의 조명은 원래 현실에 있는 조명과 상호 작용하여 특별한 조명 효과를 모방할 수 있다. 또한 선택 구역의 조절로 영상 화면의 어느 한 부분에 대해 명암을 조절하여 화면의 섬세한 변화를 줄 수 있다. 영상 화면에 대한 조명 효과에 대한 포스트 프로덕션 처리는 앞 단계의 촬영 후 이루어지는 후속적인 창작으로 볼 수 있고, 영화 화면의 조명 언어에 대한 재구축을 실현할 수 있다. 3D 애니메이션 예술가에 대해, 색 보정 감독이 DI 제작 과정에서 마침 애니메이션을 정교롭게 장식하고 있는 것과 같다. 디지털 색 보정에서 각종 색채 감정 지식과 조명의 변화를 이용해 화면을 다시 구상하고 디자인해서 관객들이 화면 안에서 화면 외부에 있는 감독과 촬영 감독의 취지와 의도를 느끼게 해야, 관객들의 정서를 감독이 미리 설정한 장면으로 이끌어 갈 수 있다. 따라서 본 연구는 디지털 색 보정 기술의 정의, 발전과 역할을 정리하고, 3D 애니메이션 영화에서 디지털 색 보정 기술의 우수한 사례 분석과 결합해 3D애니메이션의 제작 과정에서 적당하게 디지털 색 보정 기술을 사용하는 필요성과 방법을 논증하였다. With the technological development and the improvement of the production process of animated films, the picture expressiveness of three-dimensional animated films has also been greatly improved. Shadow and color decide on the visual presentation and emotional expression of pictures of animated films. In the context of the industrialized three-dimensional animated films, the digital color-matching technology has become an important technical form of improving the shadow effect and color expression of pictures. Colors in the three-dimensional animation are highly subjective and creative, free from the restraints of site, weather and shooting equipment. Colors in the three-dimensional animation may directly express the thoughts of directors and are the factor that most easily touches the inner mind of the audience. The so-called “color matching” is that the digital color-matching technology may strengthen or suppress some or all the colors of the shooting materials through their inner operation process, so as to enhance the expressiveness of the color language in the final film, and more accurately convey the emotions and artistic conceptions that directors and colorists want to express. In addition, the digital color-matching technology may be used to add the virtual lights to the pictures of three-dimensional animation, and simulate the light effect jointly created by the increased virtual light and the original realistic light. It may also adjust the picture brightness of any part of the image picture by adjusting the selected area, realize the subtle light and shade change of the picture, and further make the visual effect of all the lens satisfy the director’s requirements. The later-stage treatment of the light effect of the image picture may be deemed as the continuous creation after the early-stage photography. Its application realizes the reconstruction of the illumination language of the film pictures. For three-dimensional animation artists, colorists accurately paint animations in DI production. Through digital color matching, various knowledge of color emotions and shadow changes are applied to reconstruct and redesign the picture, so as to make audiences understand from the picture the ingenuity and conceptions of directors and photographers outside the picture, and further enable audiences to be immersed into the pre-designed situations of the directors. Therefore, this paper shows the definition, development and role of the digital color-matching technology. Then it combines the excellent cases of using the digital color-matching technology in the three-dimensional animated films, and analyzes the necessity and method of properly using the digital color-matching technology in the production process of three-dimensional animations.

중국어권 한국어 문법서에 나타난 계기 관계 연결어미의 문법 기술

진가가(Chen Jia-jia) 어문연구학회 2018 어문연구 Vol.97 No.-

본고는 중국의 한국어 문법 교육을 위해서 중국에서 출판된 20가지 한국어 문법서를 대상으로 계기 관계 연결어미 ‘-자’와 ‘-자마자’의 문법 기술 내용을 검토해 보고 문제점과 방안을 제시하는 것을 목적으로 한다. 연결어미 ‘-자’와 ‘-자마자’는 모두 계기적 의미 기능을 갖고 있지만 각각 독립된 형태로 존재하므로 의미 차이가 있다. 한국어 학습자가 그 의미 차이를 정확하게 이해하고 활용할 수 있도록 하기 위해 본고는 계기 관계 연결어미 ‘-자’와 ‘-자마자’의 의미 기능과 통사적인 특징(서술어 제약, 주어 제약, 시상 제약, 서법 제약, 부정 표현 제약)에 대해 자세히 살펴보았고, 이를 바탕으로 중국에서 출판된 20가지 한국어 문법서에서 계기 관계 연결어미 ‘-자’와 ‘-자마자’의 의미 기능 정보과 통사적 정보를 분석하였다. 중국에서 출판된 20가지 한국어 문법서에서는 ‘-자’와 ‘-자마자’는 모두 계기적인 의미 기능을 갖는다고 기술하였는데 ‘-자’는 이외에도 ‘원인 이유’, ‘나열’의 의미 기능을 갖는다고 기술해 왔다. 그러나 같은 계기적 의미 기능을 갖는 두 연결어미의 의미 차이를 ‘-자마자’는 ‘-자’의 강조 형식밖에 언급하지 않는다. 그리고 중국 출판의 20가지 한국어 문법서에서 계기 관계 연결어미 ‘-자’와 ‘-자마자’의 통사적인 제약은 대부분의 문법서에서 서술어 제약만 기술하였고 주어 제약이나 시상 제약, 서법 제약 등에 대해 거의 언급하지 않는다. 한국어를 모국어로 하고 있지 않아 직관이 없는 한국어 학습자를 위한 한국어 문법서는 되도록 자세하고 명확하게 기술을 하도록 해야 한다. 따라서 조금 더 정확하고 정교한 문법서가 나올 수 있게 여러 방면으로 논의가 이루어져야 할 것이다. The purpose of this paper is to examine the contents of the descriptive grammar of ‘-자’ and ‘-자마자’ in 20 Korean grammar books published in China for Chinese Korean grammar education in China, and to present problems and solutions. The connective endings ‘-자’ and ‘-자마자’ both have sequential semantic function, but they exist in independent form, and that’s why they have difference in meaning. In order to enable the Korean language learner to understand and utilize the difference of meaning precisely, this paper examines in details the semantic function and syntactic features of the sequential relation of connective endings ‘-자’ and ‘-자마자’ (predicate constraints, subject constraints, tense constraints, mood constraints, negative expressions constraints). Based on this, it analyzed the semantic function information and the syntactical information of the sequential relation of connection endings ‘-자’ and ‘-자마자’ in 20 Korean grammar books published in China. In the 20 Korean grammar books published in China, ‘-자’ and ‘-자마자’ both have an sequential semantic function but it has been described that -자 has other semantic functions such as ‘cause / reason’, ‘enumerate’. However, the meaning difference of two connective endings who have the same sequential semantic function did not mention except the emphasis form of ‘-자’. And, in the 20 Chinese grammar books of Chinese publication, the syntactic constraints of the sequential relation of connective endings ‘-자’ and ‘-자마자’ are described in most grammatical books only in terms of predicate constraint, not mentioning subject constraints, tense constraints, mood constraints, etc. The Korean grammar for non native Korean language learners who have no intuition should be described as detailed and clear as possible. Therefore, it should be discussed in various ways so that more accurate and elaborate grammar can be found.

한국어 ‘-어 죽다’ 구성에 대한 연구

진가리(Chen, Jia-li),이은섭(Lee, Eun-sup) 국어국문학회 2016 국어국문학 Vol.- No.176

The purpose of this paper is to explain the grammatical function and properties of -어 죽다. The basic meaning of 죽다 is to die in Korean. However it can be interpreted into two meanings when it used with the connective ending -어. One is to die because of something, the other is the extreme scalar implication. When this construction expresses the latter meaning, the grammatical status of 죽다 is not so clear. Through the test of syntactical dependency, anaphoric operation, inner inseparability, possibility of inversion with antecedent verb, we found out that the word 죽다 included in the construction carries the features of the auxiliary verb, even though it still can not function as an typical auxiliary verb completely. Moreover, we acquire that the construction of -어 죽다 has many syntactic constraints by analyzing the data. At first, it has to be combined with the negative psych adjective in most cases. However, when the verbs involved the judgment or mood of the speaker, they could be also used with this construction. At second, the type of sentence which using this construction should not be imperative sentence or propositive sentence. At third, the subject of the sentence which including this construction usually should be the First Person, while the speaker expresses the sentence according to the perspective on the inner world of the participant, the subject can be the Second Person or the Third Person. Besides, this construction can not be used in most of the negative sentences, but it sometimes be allowed in the sentence which including the negative verb of 없다.

‘-다 못하-’ 구성에 대하여

진가리 ( Chen Jia-li ) 국어학회 2014 국어학 Vol.71 No.-

The purpose of this paper is to clarify the meaning of ‘-da mota-’ and analyse the syntactic properties according to its different meanings. Specifically, the meaning of ‘-da mota-’ can be regarded as ‘can not’ or ‘exceed the degree of standard’. When used with the meaning of ‘can not’(here we mark it as ‘-da mota-1’), it can usually be replaced by the construction of ‘-ji mota-’, and it appears the feature of typical negation in Korean. In contrast, when used with the meaning of ‘exceed the degree of standard’(marked as ‘-da mota-2’), it can not be changed into other constructions. The construction of ‘-da mota-2’ appears the features of metalinguistic negation. Concerning on the syntactic properties of these two categories, both of them should have the same subject of antecedent clause and following clause, and they only permitted to be placed in the middle of a sentence rather than at the end. However, there are distinctions between ‘-da mota-1’ and ‘-da mota-2’. Firstly, the predicate of ‘-da mota-1’ is required to be verb only, but ‘-da mota-2’ without any restriction. Secondly, in the sentence which includes the construction of ‘-da mota-1’, it is available to use some of the negative polarity item(NPI) such as ‘do mu ji’ or ‘do jeo hi’, but it is unavailable in the sentence which includes the construction of ‘-da mota-2’.

연결어미 -느라고의 의미와 문법 제약

진가리 ( Jia Li Chen ) 한국문학언어학회 2013 어문론총 Vol.58 No.-

The purpose of this paper is to elucidate the grammatical properties of conjunctive ending ``-neurago`` in a more accurate way as the advanced researches have had the study of the syntactic constraints and semantic analysis of ``-neurago`` separately. Through the dates of Sejong Corpus, we know that the syntactic restriction of ``-neurago`` is closely related with the meaning of it. According to the meaning, the syntactic constraint can be changed differently. So put the syntactic constraints and semantic analysis together is very necessary in the study of grammatical properties of conjunctive ending ``-neurago``. As to clarify the relationship between syntactic constraints and semantic functions of ``-neurago``, by analyzing the dates of the Sejong Corpus, we acquire that the semantic function of ``-neurago`` can be understood in terms of [reason], [purpose], [simultaneity] and [the change of state including supposition]. Therefore as taking the semantic functions of ``-neurago`` into consideration, we see there are differences turn up in the syntactic constraints of ``-neurago``. First, when the conjunctive ending ``-neurago`` used with the meaning of [reason] or [simultaneity], there is no constraint about the accordance of the subjects between the antecedent clause and following clause, but when the conjunctive ending ``-neurago`` used with the meaning of [purpose], the accordance of the subjects between the antecedent clause and following clause is demanded. All the more when the conjunctive ending ``-neurago`` used with the meaning of [the change of state including supposition], the subjects between the antecedent clause and following clause should be different. Second, related to meaning of the following clause, it shows an upward tendency that when the conjunctive ending ``-neurago`` used with the meaning of [reason] or [simultaneity], the content of the following clause should contain negative meaning while ``-neurago`` used with the meaning of [purpose] or [the change of state including supposition], there is no such constraint.

한‧중 폐교 활용 방안 분석 연구

진가하(Chen, Jia He),김용구(Kim, Yong Gu) 한국기초조형학회 2025 한국기초조형학회 학술발표논문집 Vol.2025 No.5

메타버스 플랫폼의 혁신 확산 및 실재감 요인이 지속적 이용 의도에 미치는 영향: 시랑(希壤), 제페토를 중심으로

주진가(Chen-Jia Zhou),정의태(Eui-Tay Jung) 한국디지털콘텐츠학회 2024 한국디지털콘텐츠학회논문지 Vol.25 No.2