• The Journal of the Korea Contents Association
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• v.22 no.7
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• pp.599-606
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• 2022

This study investigates trends and changes in gender expression in film and animation. It compares how gender, race, and class discrimination that was socially and culturally expressed differently in past and modern media contents. Indiscriminate content appreciation by the "digital native" generation is likely to unconsciously create false stereotypes. In this study, 「Aladdin」(1992) and 「Aladdin」(2019) were analyzed. This study looks at in the characters have changed since the original, which was a 2D animation in 1992, was re-released as a live-action film in 2019. For character analysis, we compare and analyze major characters and find out the differences based on the nine personality types of Enneagram, which define human personality types. As a result, Princess Jasmine's character change was remarkable. In the past, Disney animations had the majority of patriarchal and male-dependent princess characters, but now Disney is aiming for self-directed and independent female characters. Also, scenes that could instill stereotypes of gender, race, and class were changed. Disney's change can be seen as expressing the gender image that the public wants. Analysis of the change in character's personality in these works can be a useful methodology for creating attractive characters for the public.

• Journal of the Korea Institute of Information and Communication Engineering
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• v.20 no.4
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• pp.755-762
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• 2016

Motion graphic is the recently emerged technique which extends the ways of expression in video industry. Currently, it is worldwide trends that the image design gets more attention in the field of movie, advertisement, exhibition, web, mobile, games and new media, etc. With the development of computer's new technologies, VFX methods for the visual content is dynamically changed. Such production methods combine the real scenary and CG(Computer Graphic) to compose realistic scenes, which cannot be pictured in the ways of ordinary filming. This methods overcome the difference between the real and virtual world, maximize the expressive ways in graphics and real space. Match moving is technique of accurate matching between real and virtual camera to provide realistic scene. In this paper we propose the novel technique for motion graphic image production. In this framework we utilize the match moving methods to get the movements of the real camera into 3D layer data.

• Journal of Broadcast Engineering
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• v.23 no.6
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• pp.866-875
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• 2018

With the popularity of VR content, actual image based VR 360-degree video production using various shooting devices has attracted attention in recent years. Requiring a lot of work, the existing VR content production was possible only at the level of the research institute, but the recent miniaturization of cameras has made the VR actual image shooting more common to the content creators. In this paper, we compare and study various VR contents distribute in today's context and analyze the strengths and weaknesses of robust actual image-based 360 video production in terms of cost. We are to point out the disadvantages that make it difficult for existing video shooting experts to use and suggest a solution for this. The experiment shooting proved that it can be operated more manually than action cam or integrated camera and 360-degree shooting on a raw format support camera is more suitable for film type post-production.

• Proceedings of the Korea Contents Association Conference
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• 2006.05a
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• pp.279-284
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• 2006

The field of film art to be wised expression as development of Media has grown. Recently, the concern and effort has built up in digital film by Computer Graphics(CG) one of SFX. In this paper, I certified the formative properties based on Gestalt theory and centering best show in 2005. As a result, I confirmed that to insert 3D animation in film can lead fantasy or virtual world unable to be felt in real world, with the intention of producer, and that it was applied to free space not to be restricted making a film of scenes. And I confirmed that the partial modeling animation as the Gestalt theory that gives totality to objects of perception and needs closure can play role of understanding the meaning of film.

• Digital Contents
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• no.9 s.160
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• pp.90-93
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• 2006

흥행의 귀재 스티븐 스필버그가 오랜 동료 로버트 저메키스와 함께 제작한 애니메이션 <몬스터 하우스>는 제목 그대로 집 자체가 괴물인 영화다. 집 창문이 야수의 눈처럼 이글거리고, 양탄자가 혓바닥이 되어 세상의 모든 것을 집어삼킨다. <몬스터 하우스>는 그렇게 낯선 폐가가 주는공포를 기발한 상상력으로 완성해낸다. 특히 배우들의 움직임과 표정을 세밀하게 포착한 퍼포먼스 캡처기술을 사용해 마치 실사와 같은 테크닉을 발휘하며 작품속에 몰입하게 만든다. 메가폰은 스필버그가 발탁했다는 신인 감독 길캐넌이 잡았고, 각본은 <유령신부>의 파멜라페틀러가 썼다. 다양한표정연기를 선보이는 캐릭터들이 선사하는 유머와 공포를담은<몬스터하우스>의매력을 되짚어본다.

• Proceedings of the Korea Contents Association Conference
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• 2015.05a
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• pp.327-328
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• 2015

디지털시대에서 미국카툰시장은 3D 디지털 기법을 충분히 활용하여 마치 실사 같은 영화(Photo realistic movie)를 제작하는 한편. 일본의 경우는 그들만의 독특한 전통 셀 애니메이션(cell animation) 형식을 3D CG 기술과 결합하여 새로운 제작방식의 애니메이션을 제시하고 있다. 본 연구는 일본 2D 애니메이션에서 제작 방식을 유지해야 할 당위성을 카툰 렌더링 3D의 제작방식에 도입하여, 융합한 사례 분석을 통해 2D 애니메이션의 필요성과 중요성을 제시하려 한다.

• The Journal of the Korea Contents Association
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• v.11 no.12
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• pp.19-27
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• 2011

The humanoid creatures like Na'Vi in 'Avatar' remind the audience of a few actors' faces in the movie, enhance realism in film through combining CG and Live action which are related to the story. The design of face-recognizable humanoid creature is expected to be used in many ways; not only in film, but also in newest media. This research proposes to apply the main concept of Caricature which is 'exaggeration' of distinctive face elements from their prototypes for 'likeness' with the subjects. Also, it provides the idea of extracting the distinctive features of a face and combining the exaggerated subject as those features with an imaginary creature-other species, alien, etc. Finally, it proves the effectiveness of the design process with some experiments.

• Journal of Game and Entertainment
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• v.1 no.1
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• pp.55-62
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• 2005

The expression of the movement in the animation is one of important factors built up the work. It is determined wholly by the experiences of the animator in the animation, on the contrary, the expression of movie depends on the data obtained from the motion capture or the movement of the actors. One of the most important factors is the timing expression in expression of movement of characters and the proper understanding of direction circumstance and the expression of the timing make the animation more plentiful visually and also these are the basic method that introduce the feeling to the characters. In this study we Identify the basic principles of timing expression in the animation, make experiments for the changes of timing by the camera's angle, compare them and show the most proper methods of timing expression.

• The Journal of the Korea Contents Association
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• v.14 no.11
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• pp.575-583
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• 2014

Roland Barthes views a myth as a chain of connotative concepts that are mutually connected. For him, a myth appears through a chain connotation that is mutually related, due to the first-stage signification system. In other words, the connotation of a particular scene is already inherent in a culture in the form of social convention or social values before it is made. In the case of Disney animation, as mentioned Barthes, it has also two layers of denotation and connotation for signification. However, Disney animation shows the tendency that seek the denotative representation and the direct communication, based on the typified character, to the representation and delivery of the myth that is inherent. Therefore, the tendency of denotative signification is seen Disney animation can be said as a branch of research methodology for the approach to the aesthetics of Disney animation.

• Cartoon and Animation Studies
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• s.16
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• pp.165-178
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• 2009

It seems like that the main stream of animation for theaters transferred from cells to 30 animations. It can be easily seen if current situation is compared to the time when al! works were Cell animations. Although earlier papers were mostly about studies on Cell animation works, future studies will publish papers related to 30. Accordingly, this study studied the association of the researcher's paper with 30 works while It had been applied to 20. Then, based on the data, this study analyzed how major/supporting characters were transformed to animation characters in the scenes that were animated at the beginning and end of film that were reieased in 2007. This result was compared with the character made using a voice actor in the Pixar's long piece of animation for theater that had been already screened. The data were made into values to some extent in an attempt to increase satisfaction in the result of analysis comparing the character with the voice actor. When making characters using actual persons, it is hoped that grasping the modeling factors of the images making 20/30 characters as indicated in this study will be helpful in producing animation characters.