• Proceedings of the Korean Institute of Information and Commucation Sciences Conference
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• 2012.05a
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• pp.521-523
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• 2012

In the field of virtual reality and game production with realistic, real-time character's behavior is frequently used. In this paper, the terrain changes or other actions on the surrounding environment by implementing adaptive any action that is the most natural and can be adapted to analyze real-time character animation is implemented. For this purpose, in order to control the various movements of the character of the human body, by highlighting the major joints Kinematic dummy character animation is to create a way. Changes in terrain height difference of the two stairs that could cause analysis of the behavior in the environment and the other on the surrounding environment by adapting behavior to analyze the behavior of the slope climbing Based on this, the character animation is implemented.

• Electronics and Telecommunications Trends
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• v.27 no.3
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• pp.1-11
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• 2012

아바타(avatar)는 온라인 게임이나 채팅, 가상 공간 등에서 사용자의 역할을 대신하는 애니메이션 캐릭터를 뜻하는 말로 1990년대 인터넷 보급과 더불어 활발히 도입되기 시작하였으며 2000년대에 실제 사람의 사실성보다는 3D 그래픽 캐릭터의 관점에서 세컨드라이프(Second Life)나 리니지 등의 서비스에서 활용되었다. 또한 컴퓨터 그래픽스 기술의 발달로 인해 보다 사실적인 인체 표현이 가능한 아바타 기술이 영화나 CF를 중심으로 활발히 활용이 되었다. 최근 컴퓨터 그래픽 기술과 컴퓨터 비전 기술의 결합으로 인한 시너지 효과 및 센서 기술과 컴퓨팅 하드웨어의 발전으로 인해 실제 사용자의 외형이나 움직임을 사실적으로 표현할 수 있는 실사 인체 아바타에 대한 연구와 산업으로의 응용이 활발히 진행되고 있다. 본고에서는 이러한 실사 인체 아바타의 생성 기술과 아바타를 응용한 활용 기술에 대해 살펴보고자 한다.

• Journal of Korea Multimedia Society
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• v.11 no.9
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• pp.1245-1257
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• 2008

The establishment of a production pipeline imported 30 computer graphics is suggested in this paper to improve the efficiency of existing production pipeline of clay animation. The point is that the process of building clay characters that remains labor intensive among the existing procedures is replaced by the process of creating computer generated characters. In order to create characters out of clay by means of 30 computer graphics, a diffuse map and displacement map are made of an oil-based clay according to the UVW coordination of polygon modeling, which is the same color and kind of clay used to make a clay character. In addition, a panoramic HDRI recording system is developed to record the lighting information of shooting environment for miniature sets, which is imported in 3D computer graphic tools as digital light source. On account of the new production pipeline, a hyper realistic rendering image can be produced, and at the same time it improves the traditional pipeline of stop motion animation that is know-how based procedure of a complete artist by the engineering approach to the automatic process.

• Archives of design research
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• v.17 no.2
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• pp.55-66
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• 2004

Full-length Animation has been producing very actively with a large of U.S.A and growing rapidly as a pare of entertainment industry since the middle of the 1990's. However, in actual fact, Korea Animation doesn't have any characteristics as compared with Japan Animation & U.S.A Animation's growth. It is owing to in financial difficulty and that there's no conversion about consciousness that Animation is only for children. This study is constructed with color information as the central figure from a gradation of information delivery and analyzed ‘Image Color’ of full-length animation which is produced by large studio in U.S.A. This study predicts about past, present and future of animation centering around a color that visual sensitivity factor which recognize enormous information very quickly among sensitivity stimulus of human being. With this study analysis a color of U.S.A animation, looking for sensitivity color factor that react to elaborate and delicate stimulus, and then expressed color from developed animation skill apply to sensitivity industry.

• Cartoon and Animation Studies
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• s.9
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• pp.235-249
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• 2005

Manual processing to make illusion-image of Digital Animation consists of handicraft technology indeed, such as an animation process, image addition and image revision etc.. This thesis asserts that is acquiring new art concept, resuscitating the craftsmanship of art in this digital manufacturing process. To concrete this, this paper consists of the following steps. First, reproduction and mixture in a Film. In art history which have emphasized 'Aura' of an, Reproduction by machine became that can not avoid. Various pictorial information and added images stored by digital become having an opportunity that can do easily a new film-work with reproduction and mixture It is the second rank, extension of an area of Digital Animation. Now, Digital Animation is recognized as a new creative art through illusion of meta-realism. Consequently, the process of Digital Animation is acquiringing the possibility as a new art of Digital Animation, showing the characteristics of a new media art that reconstructs imagination which past media arts could not achieve.

• Electronics and Telecommunications Trends
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• v.20 no.4 s.94
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• pp.29-42
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• 2005

본 논문에서는 영화 및 애니메이션에서 특수효과로 많이 사용되는 유체 표현 기술의 흐름 및 발전 방향을 살펴 본다. 유체의 사실적 움직임을 재현하기 위한 기술은 이미 오랫동안 Computational Fluid Dynamics 분야를 통해 연구되어 왔지만, 그 결과가 컴퓨터 그래픽스 분야에서 적용된 것은 그리 오래되지 않았고 응용 분야의 특성상 아직 해결해야 할 문제들이 많이 남아 있다. 본 논문은 유체 표현을 위해 사용되는 기술의 상이성에 따라 현상을 구분 짓고 각 현상을 표현하기 위한 기술들을 세부적으로 설명한다. 또한 최근에 발표된 기술들이 다루고 있는 이슈들을 짚어 추후 연구 개발의 방향을 제시한다.

• Journal of the Korea Computer Graphics Society
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• v.11 no.2
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• pp.9-15
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• 2005

가상환경에서의 실시간 캐릭터 애니메이션은 컴퓨터 게임 및 가상현실 분야에서 중요한 문제이다. 최근에는 캐릭터 애니메이션의 사실성을 높이기 위해 대규모 동작 캡쳐 데이터를 활용하고 있다. 그러나 거대하고 복잡한 가상환경을 만들기 위해서는 현실 환경에서 동작을 캡쳐하고 이를 넓은 가상환경에 적용해야하는 어려움이 따른다. 본 논문에서는 애니메이션 캐릭터가 몇 가지 빌딩 블록(building block)들로 건설된 넓은 가상공간에서 자유롭게 활동하게 하는 새로운 방법을 제안한다. 빌딩 블록들은 반복적인 형태로 배열되어 더 큰 환경을 생성할 수 있다. 우리는 이러한 각각의 블록들을 모션 패치(motion patch)라고 부른다. 모션 패치는 해당블록 내부에서 캐릭터가 수행할 수 있는 동작들에 대한 정보를 가지고 있다. 우리는 다수의 캐릭터가 방대하고 복잡한 가상환경 속에서 실시간으로 애니메이션되고 제어되는 예제들을 통해 이 논문에서 제시하는 방법이 다양한 목적에 유용하게 사용될 수 있음을 보인다.

• Journal of Korea Multimedia Society
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• v.13 no.5
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• pp.771-779
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• 2010

Sketch-based interface is used more and more in developing animation contents. Particularly, there has been a system where the user's sketch inputs are interpreted and presented as live motions. In this study¸ it is to design an animated flight learning system using sketch-based interface. Most of the flights include movements in three-dimensional space and have unique and complex flight patterns. In other words, the actual flight movements not only include acceleration and deceleration, rising and falling, straight or circular flying, but also may include combinations of two or more movements as they simultaneously occur such as accelerating while falling, or slowing down while rising, and so forth. And, currently existing flight learning animation system cannot present such complex flight patterns to the pilots of aircrafts or to those personnel for air-traffic controllers. Hence, it is to be shown in this study that unit-path sketch animation method can support quicker ways to create animations to present those complex flight movements, and requires lesser inputs compared to the existing frame-based animation method. Also, the flight learning system suggested uses the flight-route realization tasks to reflect complex flight patterns, and therefore creates animations close to real as possible.

• Smart Media Journal
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• v.1 no.1
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• pp.64-71
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• 2012

Computer graphics applications such as virtual reality, games, animation begin from 3D modeling. The technology of 3D modeling and deformation has become an active research field in the past few decades from the combination of basic 3D primitives to the realistic modeling and deformation algorithm. In this paper, we introduce recent trends in 3D human modeling and deformation technology.

• Proceedings of the Korea Contents Association Conference
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• 2007.11a
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• pp.708-712
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• 2007

In computer graphics, fluid dynamics are used for animating and expressing the various special effects of water. Although the algorithms that were impossible through the hardware at that time become to be possible in real time, it still requires a lot of time to achieve the realistic and detailed expressions. Therefore, there are many researches on the techniques of balancing between performance and quality. Specially in environments with the game context which express the interaction between water surface and 3D objects in the wide area such as sea or lake according to user's request, it must give priority to the executive performance preserving the visual reality even though physical reality is sacrificed. In this paper, we propose a method for the realtime animation of interaction between water surface and 3D objects using the linear convolution of height fields and the bounding spheres of objects.