초록

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Abstract ▼ AI-Helper

Because computer hardware and 3D computer graphics have walked hand in hand in their development since around 2010, the public expectation has been raised highest ever regarding the boom in the industries that use the VR devices. In this trend, a lot of companies raced in full steam to develop and p...

Because computer hardware and 3D computer graphics have walked hand in hand in their development since around 2010, the public expectation has been raised highest ever regarding the boom in the industries that use the VR devices. In this trend, a lot of companies raced in full steam to develop and produce VR devices around 2015 and the production of the VR content in various areas including game as the flagship, film, medicine, and education. Unlike games, however, the VR animation still has too few titles and its production remains too experimental to establish itself as content that viewers who experience it want to keep returning to it. At this point in the middle of such a transition, this thesis studies the intrinsic characteristics of the VR animation and what exclusive experiences the VR animation can deliver by focusing on the titles produced so far. First of all, the changes with the tools are necessarily related to the changes to the mode of expression. Drawing animation showed exaggerated motions and theatrical characteristics owing to the material-related limitations such as manual operations and 2D drawing, whereas the 3D computer animation involves a different mode of expression that includes movements refined with mathematical algorithms and the subtle acting out of characters. The same is true of VR. VR basically shares the material with the 3D computer animation, as it also involves digital production. But VR registers a pronounced change as mediated by the presence from the first-person perspective. To begin with, VR, which employs a first-person perspective, registers intensifying immersion with increasing interaction with the audience. Therefore, this study explores the relationships among the theatrical characters, the glance from the viewer, and immersion. Next, the study examines the restriction of cut due to deframing and the characteristics of the direction that its spatial characteristics boosted. Furthermore, it examines the work of a moving camera with the aim of escaping the monotonous images due to the compromised use of cuts. Lastly, the thesis studies the theatrical characteristics of the VR animation as a whole which is created by theatrical rendering.

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