• Journal of the Korea Computer Graphics Society
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• v.29 no.4
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• pp.17-24
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• 2023

In computer graphics and computer vision research and its applications, various representations of 3D objects, such as point clouds, voxels, or triangular meshes, are used depending on the purpose. The need for animating characters using these representations is also growing. In a typical animation pipeline called skeletal animation, "skinning weight painting" is required to determine how joints influence a vertex on the character's skin. In this paper, we introduce a neural network for automatically performing skinning weight painting for characters represented in various formats. We utilize signed distance fields (SDF) to handle different representations and employ graph neural networks and multi-layer perceptrons to predict the skinning weights for a given point.

• The Journal of Korea Institute of Information, Electronics, and Communication Technology
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• v.15 no.4
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• pp.271-282
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• 2022

In this paper, we propose a digital human content creation system. The digital human content creation system works with 3D AI modeling through whole-body scanning, and is produced with 3D modeling post-processing, texturing, rigging. By combining this with virtual reality(VR) content information, natural motion of the virtual model can be achieved in virtual reality, and digital human content can be efficiently created in one system. Therefore, there is an effect of enabling the creation of virtual reality-based digital human content that minimizes resources. In addition, it is intended to provide an automated pre-processing process that does not require a pre-processing process for 3D modeling and texturing by humans, and to provide a technology for efficiently managing various digital human contents. In particular, since the pre-processing process such as 3D modeling and texturing to construct a virtual model are automatically performed by artificial intelligence, so it has the advantage that rapid and efficient virtual model configuration can be achieved. In addition, it has the advantage of being able to easily organize and manage digital human contents through signature motion.

• Cartoon and Animation Studies
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• s.36
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• pp.147-165
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• 2014

Around the turn of 21st century, there has been a major technological shift in the animation industry. With development of reality-based computer graphics, major American animation studios replaced hand-drawn method with the new 3D computer graphics. Traditional animation was known for its simplified shapes such as circles and triangle that makes characters' movements distinctive from non-animated feature films. Computer-generated animation has largely replaced it, but is under continuous criticism that automated movements and reality-like graphics devaluate the aesthetics of animation. Although hand-drawn animation is still produced, 3D computer graphics have taken commercial lead and there has been many changes to acting of animated characters, which calls for detailed investigation. Firstly, the changes in acting of 3D characters can be traced from looking at human-like rigging method that mimics humanistic moving mechanism. Also, if hair and clothing was part of hand-drawn characters' acting, it has now been hidden inside mathematical simulation of 3D graphics, leaving only the body to be used in acting. Secondly, looking at "Stretch and Squash" method, which represents the distinctive movements of animation, through the lens of media, a paradox arises. Hand-drawn animation are produced frame-by-frame, and a subtle change would make animated frames shiver. This slight shivering acts as an aesthetic distinction of animated feature films, but can also require exaggerated movements to hide the shivering. On the contrary, acting of 3D animation make use of calculated movements that may seem exaggerated compared to human acting, but seem much more moderate and static compared to hand-drawn acting. Moreover, 3D computer graphics add the third dimension that allows more intuitive movements - maybe animators no longer need fine drawing skills; what they now need is directing skills to animate characters in 3D space intuitively. On the assumption that technological advancement and change of artistic expressionism are inseparable, this paper compares acting of 3D animation studio Pixar and classical drawing studio Disney to investigate character acting style and movements.