Abstract: This paper covered a series of key points in terms of 2D to 3D stereoscopic conversion. A successfully applied stereoscopic conversion approach in current visual effects industry was presented. The purpose of this paper is to cover a detailed workflow and concept, which has been successfully used in 3D stereoscopic conversion for feature films in visual effects industry, and therefore to clarify the process in stereoscopic conversion production and provide a clear idea for those entry-level artists to improve an overall understanding of 3D stereoscopic in digital compositing field as well as to the higher education factor of visual effects and hopefully inspire further collaboration and participants particularly between academia and industry.
Abstract: In films, visual effects have played the role of
expressing realities more realistically or describing imaginations as if
they are real. Such images are immediated images representing
realism, and the logic of immediation for the reality of images has
been perceived dominant in visual effects. In order for immediation to
have an identity as immediation, there should be the opposite concept
hypermediation.
In the mid 2000s, hypermediated images were settled as a code of
mass culture in Asia. Thus, among Asian films highly popular in those
days, this study selected five displaying hypermediated images – 2 Korean, 2 Japanese, and 1 Thailand movies – and examined the
semiotic meanings of such images using Roland Barthes- directional and implicated meaning analysis and Metz-s paradigmatic analysis
method, focusing on how hypermediated images work in the general
context of the films, how they are associated with spaces, and what
meanings they try to carry.
Abstract: Out of all visual arts including: painting, sculpture,
graphics, photography, architecture, and others, architecture is by far
the most complex one, because the art category is only one of its
determinants. Architecture, to some extent includes other arts which
can significantly influence the shaping of an urban space (artistic
interventions). These arts largely shape the visual culture in
combination with other categories: film, TV, Internet, information
technologies that are "changing the world" etc. In the area of
architecture and urbanism, visual culture is achieved through the
aspects of visual spatial effects. In this context, a complex visual
deliberation about designing urban areas in order to contribute to the
urban visual culture, and with it restore the cultural identity of the
city, is becoming almost the primary concept of contemporary urban
and architectural practice. Research in this paper relate to the city of
Niksic and its place in the visual urban culture. We are looking at the
city’s existing visual effects and determining the directions of
transformability of its physical structure in order to achieve the visual
realization of an urban area and the renewal of cultural identity of a
modern city.