• Proceedings of the Korean Society of Computer Information Conference
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• 2022.07a
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• pp.577-580
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• 2022

본 논문에서는 마이크로소프트(Microsoft, MS) 홀로렌즈v2를 이용하여 물리 기반 애니메이션은 유체와 로프를 제어할 수 있는 새로운 방법에 대해 소개한다. 물리 기반 시뮬레이션 혼합현실, 메타버스, 게임 등 다양한 콘텐츠에서 몰입감을 개선하기 위해 활용되고 있는 기술이다. 하지만, 계산양이 크고 사용자가로 인한 직관적인 제어 시스템의 부재로 많은 시장에 활용되기에는 어려운 구조이다. 이러한 문제를 완화하기 위해 본 논문에서는 혼합현실 환경에서 무선으로 사용자 인터페이스를 구현한 홀로렌즈v2를 이용하여 물리 애니메이션을 제어하고자 한다. 이러한 도전은 혼합현실에서도 사용자의 손동작, 음성, 눈 추적 등 다양한 인터페이스를 통해 시뮬레이션을 제어할 수 있다는 가능성을 열어줌으로써, 관련시장도 확장 될 수 있다. 본 논문에서는 대표적으로 유체와 로프 시뮬레이션을 홀로렌즈를 통해 제어하는 결과를 보여준다.

• 한국만화애니메이션학회:학술대회논문집
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• 2011.05a
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• pp.41-51
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• 2011

• Cartoon and Animation Studies
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• s.35
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• pp.107-128
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• 2014

Cultural Content industries based on imagination and creativity are attracting attention and the animation high value-added industry is still spotlighted. Among them, Disney Studios make money through using their professional skills. There are the know-how has developed for a long time, and there are timeless strategy. This study is analyzing by fantasy elements for knowing the messages of Disney animation. Fantasy defined as genre of literature by Todorov and Jackson emphasized its social role and significance. Hume expanded the area of fantasy and Tolkein Jahoriski and Boyer classified the fantasy according to the purpose. Through the analyzing Disney animation , Disney's fantasy show the specific expression depending on the target. Disney is based on the three types of fantasy depending on the growth of the journey. The first area is composed of the main character's growth and satisfy the desire and escapism, The second is the word of antagonist who opposed to reality and break the rules of the dominant ideology. The last area is the utopia provided after hero beat the antagonist. Disney characters give the messages by using the fantasy like the transformation or alter ego. That show the subject of the main character's growth and the supporting characters as the expression of the multiple personality of main. These emphasize the hero's growth and give the fun. Also, in the subject of the otherness, the hero always destroy the evil who broke the rules of reality. In this way, the fantasy offered by Disney give the messages of sacrifice and family from true love. Disney has the support of their target audiences continue to be able to convey ideology.

• Journal of the Korea Computer Graphics Society
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• v.16 no.2
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• pp.1-7
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• 2010

This paper proposes a real-time simulation technique for thin rods undergoing large rotational deformation. Rods are thin objects such as ropes and hairs that can be abstracted as 1D structures. Development of a satisfactory physical model that runs in real-time but produces visually convincing animation of thin rods has been remaining a challenge in computer graphics. We adopt the energy formulation based on continuum mechanics, and develop a modal warping technique for rods that can integrate the governing equation in real-time. This novel simulation framework results from making extensions to the original modal warping technique, which was developed for the simulation of 3D solids. Experiments show that the proposed method runs in real-time even for large meshes, and that it can simulate large bending and/or twisting deformations with acceptable realism.

• Cartoon and Animation Studies
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• s.24
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• pp.25-48
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• 2011

The fantastic has had various semantic layers between 'the Marvelous' and 'the Uncanny', these has been assorted by historical and synchronic aspects. The Marvelous has been harmonious and abundant world of fantasy which includes metaphysical system and all tradition of magical fence. The Uncanny has been a subversive fantasy world which shows absurdity and negative truths of this very world by modern consciousness. In comics, because of the media features, it is more useful the fantastic than the realistic. However, the relationship about comic and fantasy has rarely discussed in detail. So we has wanted to understand the specificities of affiliation with the Marvelous and with the Uncanny. Then it has been necessary to check the works of You, Sijin the comic book writer, for we ought to know how the affiliations with fantasy could influence each works' styles, and themes. You, Sijin started her works with sensibility of uncanny, but she tried to develop the theme "uptight" and devoted to establish "the Secondary World" stably. However, at Shin Meoung Ki(神明記) fantasy world overwhelmed the theme. After that, in The Closer and On, she crashed down the uptight feeing and made new self-consciousness by mixed fantasy style. The Closer and On has been the turning point of writer You, Sijin. Since than her works has showed a propensity for the Uncanny.

• Cartoon and Animation Studies
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• s.27
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• pp.31-49
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• 2012

This research aims at showing specificity of the 'fantastic' in the movie < Les temps morts (on 1964) > directed by Ren$\acute{e}$ Laloux (1929-2004 ), all over the world recognized director. This movie has a particular style by composing four forms of expression: the real recording (movie), the recording embellishes with images by image (animation), the drawing, the photo. This film is the most strange among his all films. Even if we could catch the key meaning of the film, it offer for the audience the sentiment incertain and unclear. If we consider 'the fantastic' as a hesitation between the real and the unreal, in diverse levels, this movie offers to the spectators the fantastic feelings. In order to present the way this film shows us the fantastic, we divide the film into 15 sequences according to the criteria of the visual elements and the auditive elements. We analyze specificities of this fantastic in diverse levels. At first, the first style of the drawing of Roland Topor, does not let us escape easily from the feeling of fantasy. The four representation formats(drawing, photo, animation, movie) are integrated into one whole by auditive elements(music, narration). On the other hand, certain parts incomprehensible are not integrated into the entire. are fully integrated into the unity that does not understand that part, leaving them can. Laloux leads the audience into a reality toward the end of the film, but he leave incertain sequences at the last moment. Through which the audience is again hesitant between the real and the unreal, the fantastic is strengthened as a result of the work. Finally, the fantastic of the film could be found at three levels. First, the fantastic drawing style of Roland Topor. In the second place, the fantastic exposed through the entire composition and structure of work. Overall, these by leaving through the availability of the story incomprehensible to the audience is to provide a fantastic sentiment.