• Cartoon and Animation Studies
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• s.40
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• pp.139-155
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• 2015

Animation is completed in accordance with the original planning of visual direction in the process of post-production. Especially, a variety of visualization skills to meet the planning idea are directed in editing and compositing processes such as rendering and shading in the production of 3D animation. Therefore, the studies how to implement these visual effects have been conducted since the emergence of the animation. The rendering method which appears in the recent animations so often is the effect of 2D animation style although it is applied by 3D technique. 3D animation can be classified as two types including photo realistic and non-photo realistic renderings. The former is to render the images realistically while the latter is to highlight the formative effect with analogue style free from the realism of the photographs. Visual effect of 2D animation is non-realistic, that is, non-photo realistic rendering. The animations produced by this method have the depth of 3D animation expression in terms of space and animating, and can direct the viewer-friendly analogue style visuals, which are widely used as a post-production effect. Hence in this study, we selected a short animation, 'Paperman,' one of Disney's animations, produced by cartoon rendering method which belongs to the class of non-photo rendering technique in 3D graphics, as our subject. We analyzed their techniques and visual effects of the scenes expressed by cartoon rendering method so as to understand whether they meet the original direction idea with the composition work. In addition, we expect further developments of post-production methods, exceeding the limit of graphic expression in alignment with the trend that has become more various in the types and genres of non-photo rendering.

• Journal of Digital Contents Society
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• v.16 no.5
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• pp.699-706
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• 2015

Never Ending Story is an animation work about the stories of the Japanese Sex Slavery Victims who were taken by the Japanese military and forced to sexual slavery, which tormented them with painful memories all their lives. This animation work stimulates the critical perspectives of the audiences in order to ensure a history-based approach based on facts. And, unlike general character animation works which pursue immersion and empathy through illusion of life that are created by the characters, this work demands the audiences to contemplate on historical facts described in the work and make their own judgements. In order to serve these purposes, this work is characterized by its aesthetics properties and elements such as 'sympathy', 'typification', and 'alienation effect'. And, these elements effectively deliver the reality of historical facts that cannot be denied in a chronological narrative. Therefore, this study would sufficiently be of a value in reviewing the diversity in expression and the methodologies used in them, let alone the significance of the theme itself.

• Proceedings of the Korea Contents Association Conference
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• 2019.05a
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• pp.47-48
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• 2019

중국 애니메이션 영화 는 중국의 빠른 산업화와 경제발전에 따라 도시 빈민층의 사회적 소외와 뒤틀린 욕망을 묘사하였다. 세계 최대 경제국가로 성장한 중국은 그 이면에 많은 사회적 문제가 야기 되고 있으며, 본 영화는 이러한 사회현상을 은유와 비유를 통해 표현하였고, 영화를 통해 사회적 비판과 여론의 장으로 끌어내었다. 를 대상으로 한 본 논문은 문헌 연구와 사례 연구를 통해 에서 재현된 사회적 비판에 대한 분석을 시도한다. 이를 통해 중국의 사실주의 애니메이션의 특성을 도출한다.

• The Journal of the Korea Contents Association
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• v.9 no.8
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• pp.198-207
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• 2009

Recently, it was possible to represent the realistic clothes in the cloth simulation along with growth of 3D computer animation such as visual contents. In addition, because of the development of H/W(Hardware) and S/W(Software), the accessibility and participation are growing. However, in order to make the image of high quality of 3D animation, the optimized production pipeline was need. In this paper, in order to overcome the limitation of exiting 3D computer animation production pipeline, we propose the optimized production pipeline of the cloth simulation. Our production pipeline makes the optimization arrangement in consideration of the mobility in order to supplement the related structure limit toward each part of the existing pipeline. Moreover, by utilizing the dummy cloth the association nature with the animation part is solved and a performance is improved. The proposal pipeline actually introduced to the animation production. And then we can improve the performance production time and production manpower consumption. Consequently, our pipeline is guaranteed an optimized work by emphasizing a connection in the direct image production.

• Proceedings of the Korean Institute of Information and Commucation Sciences Conference
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• 2004.05b
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• pp.208-211
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• 2004

Hundred numbers of Special effects in animation and movie are essentionally used. Owing to the rapidly growth of Production method and special techniques, we can produce a real effect such as real scene. The aim of special effect is to generate refined scene, which we can't distinguish one from another. In this paper, New trend of special effects in animation and movie are compared and investigated the extension methods. And also we prospect the development direction of special effect.

• The Journal of the Korea Contents Association
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• v.13 no.8
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• pp.93-100
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• 2013

Works of director Robert Zemeckis have attracted much attention after the appearance of in which realistic digital characters appeared. Although he quitted animation production after , his 3D animation contributed to the 3D stereoscopic animation direction considerably. This study compared and analyzed representative 3D stereoscopic works of Robert Zemeckis with special reference to the theoretical background of 3D stereoscopic, cubic effect awareness factor using single eye sight and dual eye sight and matters of consideration in the direction of 3D stereoscopic image. This study also examined an expression method used in his works to improve cubic effects focusing on and .

• Journal of Korea Entertainment Industry Association
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• v.13 no.8
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• pp.255-266
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• 2019

This paper examines the ink on paper technique that is being used in the animation works by the Canadian filmmaker Michēle Cournoyner from the National Film Board of Canada. It also discusses how in her animated film "Soif"(2013) this technique has been applied to compose the narrative significance and symbols through the use of metamorphosis as a form of artistic expression. Cournoyner had used the ink of paper technique as a means to abandon realistic representations of movement, and in "Soif" through expressive use of metamorphosis, portrayed changes of images in character and object not through chronological order of narrative flow, but through the body of the female character, which had been represented by the improvisation of the ink on paper technique in order to express the surrealistic and unconscious state of mind in animation. Also, the use of Surrealist automatism had been incorporated to evoke the film towards a form of abstract and metaphysical expression, which in terms of expression and technique connects with the character in the animation to give emphasis to its relevancy with the subject matter of the work.

• Journal of the Korea Computer Graphics Society
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• v.26 no.3
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• pp.49-59
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• 2020

In this paper, we propose a speech animation synthesis specialized in Korean through a rule-based co-articulation model. Speech animation has been widely used in the cultural industry, such as movies, animations, and games that require natural and realistic motion. Because the technique for audio driven speech animation has been mainly developed for English, however, the animation results for domestic content are often visually very unnatural. For example, dubbing of a voice actor is played with no mouth motion at all or with an unsynchronized looping of simple mouth shapes at best. Although there are language-independent speech animation models, which are not specialized in Korean, they are yet to ensure the quality to be utilized in a domestic content production. Therefore, we propose a natural speech animation synthesis method that reflects the linguistic characteristics of Korean driven by an input audio and text. Reflecting the features that vowels mostly determine the mouth shape in Korean, a coarticulation model separating lips and the tongue has been defined to solve the previous problem of lip distortion and occasional missing of some phoneme characteristics. Our model also reflects the differences in prosodic features for improved dynamics in speech animation. Through user studies, we verify that the proposed model can synthesize natural speech animation.

• Cartoon and Animation Studies
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• s.45
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• pp.479-512
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• 2016

This is a practice-based research, aiming to explore the experiments of Animated Documentary, which is a unique form can explore the mysteries and complexity of memories. Animated Documentary is a medium through which one can reveal an individual's memories within the context of a narrative that is historically situated and influenced. The marriage of animation and documentary gave birth to a new form of film. How to category this new form? Is it an animated short or documentary short? In fact, this raises issue that questioning the nature of animation and documentary. From Shuibo Wang's works, more young Chinese artists began to experiment with symbols (related to the Political Pop Trend) in visual narration, which could also be seen as a reflection of structuralism and semiology in the contemporary Chinese art field. As a case study, this paper demonstrates how animated short "Ketchup" revealed the problems of youth and social turmoil through the memories of a six-year boy. On the Festivals and conferences, the publics were shocked to know "Ketchup" based on true memories, and they were more curious why the crucial things almost be forgotten. Actually forget fulness is one of the layers of memories and Animated Documentary will offer a new way to explore how our memories are shaped.

• The Journal of the Korea institute of electronic communication sciences
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• v.2 no.2
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• pp.106-112
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• 2007

Recently the crowd environment in the department of the animation is necessary to the digital industry. The goal of researching a proper crowd animation is to design character animation that is defined by the reality of scenes, performance of system and interaction with users to show the crowd vividly and effectively in cyber underwater. It is important to set up the crowd behavior patterns to represent for moving crowd naturally in cyber space. In the paper, we expressed the behavior patterns for flocks of fish in cyber underwater, and compared with the number of mesh, the number of fish, the number of frame, elapsed time, and resolution and analyzed them with the fish behavior simulating system.