• Proceedings of the Korea Contents Association Conference
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• 2019.05a
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• pp.55-56
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• 2019

본고는 캐나다 국립영화위원회(NFB, National Film Board of Canada)의 단편 애니메이션 (1999) 속에 재현을 위한 새로운 시도로서 로토스코핑 기법이 갖는 미학적 의미를 도출해내고자 한다. 이러한 연구를 통해, 관습적인 제작방식에서의 탈피와 응용이 창조적 정신을 갖춘 작가를 배양할 수 있음을 강조하고, 로토스코핑 기법의 새로운 미학 발견으로 인한 다양한 영상 분야 속 로토스코핑의 효과적 도입 가능성을 함께 제시하고자 한다.

• Proceedings of the Korean Society of Computer Information Conference
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• 2022.07a
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• pp.233-234
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• 2022

본 논문에서는 영상합성 방법들 중 하나인 로토스코핑에 대해서, 그 중 현장에서 수작업으로 수행되어온 키잉 작업의 단계별 과정을 살펴본 후 이들을 영상처리 알고리즘 등을 활용하여 반자동 혹은 자동화를 할 수 있는 방법을 모색해 본다.

• Cartoon and Animation Studies
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• s.39
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• pp.111-132
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• 2015

Although Rotoscoping technique has been used for a long time to mimic the natural and smooth motion since the early 20th century, its artistic value was devalued as tricks because it traces the already recorded images. But the fact that the rotoscoping images can cross the boundaries between animation and live action in an infinite integral freedom in the digital era became rather expansive new aesthetic possibilities of representation of the reality. In addition, Jonas Odell's animations such as (2010), (2008), (2006) are good example to prove that the rotoscoping images also can serve as means to enhance its narrative. This study is to analyze how rotoscoping images act as a unique role in relation with the narrative based on the said person's real stories and realistic images. I argue that his animated films constantly contain these three characteristics -Images to mediate Auditory sensitivity as a record of inner metaphysical reality, anonymous images to represent a specific existential character, and images that act as physical representation that holds the physical space/time and related memory. This reveals that rotoscoping images in this digital era went beyond reproduction for natural movements or special type of style. It rather suggests new layers of experience, and acquires new value in animation. I hope that this study could serve as a foundation to rediscover and re-position the value of rotoscoping images as well as good opportunity to introduce very talented swedish animation artist who already received global attention with his unique philosophical and aesthetic style.

• Journal of Digital Contents Society
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• v.18 no.2
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• pp.275-282
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• 2017

With the development of digital technology, a cinematic content has been changed into various forms. Web and mobile platforms bring new forms of cinematic contents. However despite of fast growing of VR(Virtual Reality) technology, they haven't applied to cinematic contents yet. This research focused on the esthetical use of rotoscoping technique for the Virtual Reality Cinema based on the (HMD) Head Mounted Display. First, we look though on VR films 'Notes on Blindness' and 'Pearl' to find how these films express esthetical virtual space. Through this, we found out graphical space provide new esthetical experience to viewers in virtual space. Also, we analyze fantastical usages and successful cases of rotoscoping technique with the 'Waking Life' and 'Scanner Darkly' that utilize rotoscoping technique to live action image. Lastly, we utilize rotoscoping technique esthetically to the VR film 'Girl on a swing' to fulfill the viewers experience and desire.

• Cartoon and Animation Studies
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• s.45
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• pp.27-50
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• 2016

The present study argues that documentary-animation films, which are based on actual human voices, on the level of representation, constitute a new expansion for the medium of animation films, which serve as testimonies to the real world. Animation films are produced using very diverse techniques so that they are complex to the degree of being indefinable, and documentary films, though based on objective representation, increase in complexity in that there exist various types of artificial interventions such as direction and digital image processing. Having emerged as a hybrid genre of the two media, documentary-animation films draw into themselves actual events and elements so that they conceptually share reality-based narratives and are visually characterized by the trappings of animation films. Generally classified as 'animated documentaries', this genre triggered discussions following the release of , a work that is mistaken as having used rotoscoping transforming live action in terms of the technique. When analyzed in detail, however, this work is presented as an ambiguous medium where the characteristics of animation films, which are virtual simulacra without reality, and of documentaries, which are based on the objective indexicality of the referents, coexist because of its mixed use of typical animation techniques, 3D programs, and live-action images. Discussed in the present study, , , and share the characteristics of the medium of documentaries in that the narratives develop as testimonies of historical figures but, at the same time, are connected to animation films because of their production techniques and direction characteristics. Consequently, this medium must be discussed as a new expansion rather than being included in the existing classification system, and such a presupposition is an indispensable process for directly facing the reality of the works and for developing discussions. Through works that directly use the interviewees' voices yet do not transcend the characteristics of animation films, the present study seeks to define documentary-animation films and to discuss the possibility of the medium, which has expanded as a testimony to the real world.