• The Journal of the Korea Contents Association
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• v.22 no.10
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• pp.172-180
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• 2022

Focusing on the concept of "narrative of desire" advocated by Peter Brooks, this paper aims to analyze the construction and presentation of the body narrative in I Am What I Am, combined with the "body situation" concept of Merleau-Ponty, the pioneer of body studies. This paper first analyzes the changes in the characters' physical and mental cognition in the film through the "desire narrative" and "visual body" proposed by body narratologist Peter Brooks. Secondly, this paper summarizes the physical and mental evolution of the coward-rebel-disciple-self-breaker experienced by the teenager, and analyzes the continuous plot composed of the body in time and space through the physical situation formed by time and space, that is, the visual presentation of the juvenile's personal body picture. So the protagonist's physical desire and visual body in "I Am What I Am" are the meta-driving forces of the narrative. The film presents the subject's physical desire in a visual way, and reproduces the deduction process of the body narrative through the body situation.shift from the common surreal, magical special effects, exaggeration, deformation and other techniques of commercial animations such as "Ne Zha: Birth of the Demon Child" (2019) and "Legend of Deification" (2020) to the true-life "I am What I am". "(2021), "To the Bright Side" (2022) and other visual experiences of the same kind marks breakthroughs made by Chinese animation and is of practical significance.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.12 no.8
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• pp.3670-3676
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• 2011

A cell animation is represented by one background cell, and there is much difference of images when its shot is changed. Also, it does not have a lot of colors since people themselves draw it. In order to effectively detect shot transitions of cell animations while fully considering their intrinsic characteristics, in this paper, we propose a animation shot boundary detection algorithm that utilizes color and block-based histograms step by step. The suggested algorithm first converts RGB color space into HSI color one, and coarsely decides if adjacent frames contains a shot transition by performing color difference operation between two images. If they are considered to have a shot transition candidate, we calculate color histograms for 9 sub-regions of the adjacent images and apply weights to them. Finally, we determine whether there is a real shot transition by analyzing the weighted sum of histogram values. In experiments, we show that our method is superior to others.

• Cartoon and Animation Studies
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• s.14
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• pp.53-63
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• 2008

This paper examines the expression of hand appeared in animation. The hand changed its role from the status of the traditional representation to the enlarged meaning; the hand image has shown the individual consciousness and the social reality that has been reflected to our society. On the basis of clarify these concern, the hand appeared in animation gives a new communication and another way to express reality. Futhermore, the hand is no longer an image with realistic representation which generated a form of the consciousness of human being based on the reflection of its own self-identify through the exaggeration and transformation. This means that the hand as a whole is represented by naming one of its parts or vice versa. Therefore, the main purpose of this paper to study the effect and signification process which a synecdoche creates on the work of animation. In conclusion, the expression of hand as new interpretation appeared in animation adapts itself to changing the perspective on animation.

• Cartoon and Animation Studies
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• s.38
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• pp.133-144
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• 2015

Lighting work on 3D animation requires much time and labor. For example, about 60 lighting artists were needed for the theater animation named Postman Pat the Movie globally distributed in 2014. These artists were needed to rapidly respond with shot feedback. However, complicated shots required much of rendering time. Therefore, it was difficult to correspond the work in the middle of test rendering. After 2005, re-lighting techniques were developed to cope with such situations. However, it was not feasible to create shadow with current re-lighting technique which doesn't make natural or realistic result. This paper has realized relighting system that could realistic quality while maintaining fast calculation by applying rasterized ambient occlusion to the relighting calculation of each of the lights. This relighting system has been used for the Hollywood animation titled "Postman Pat: The Movie" globally released in 2014. It is anticipated for this method to be more widely used for animation manufacture that other manufacturers can reduce expenses and create well completed output in the future.

• The Journal of Korean Institute of Communications and Information Sciences
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• v.30 no.8C
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• pp.783-792
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• 2005

This paper proposes a feature extraction method for sketch-based image retrieval of animation character. We extract the specific regions using the detection of scene change and correlation points between two frames, and the property of animation production. We detect the area of focused similar colors in extracted specific region. And it is used as feature descriptor for image retrieval that focused color(FC) of regions, size, relation between FCs. Finally, an user can retrieve the similar character using property of animation production and user's sketch as a query Image.

• Proceedings of the Korea Contents Association Conference
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• 2015.05a
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• pp.321-322
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• 2015

현재 한국인 3명중 1명이 매일같이 접속하여 즐기는 국민 콘텐츠로 '웹툰'을 들 수 있다. 웹툰에 플래시를 활용하여 무빙카툰식의 절제된 애니메이션 타이밍 포즈를 연구하고 그 자체의 재미와 움직임의 재미를 더해 여러 콘텐츠에 활용할 수 있다고 본다.

• Cartoon and Animation Studies
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• s.41
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• pp.511-531
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• 2015

The underlying impetus of the birth of animated film is attraction about a moving image. And the animation image occurs from the process of performative relationship between an animator and apparatus. Therefore, analysing the method how the moving image is constructed will be the focal starting point to deal with an animated film as a text. In this context, that conveys the theme in more sensuous way will be examined in a dimension of the material, technique and image-making method. KIM Jin-man's is a Stop Motion Animated Film with Noodlescreen about a journey of a fish that wishes to go outside of the water. KIM created original and friendly images out of plain thin noodle which is a common ingredient in Korea, and dealt with the ontological introspection based of the concept of Nondualism. Nondualism based on the interconnected and cyclical eastern philosophy which is different from the western dualistic theory points to the idea that the universe and all its multiplicity are ultimately expressions or appearances of one essential reality. This paper focuses on KIM's recent work and sees how Nondualism is applied throughout the animated film by analysing the performative method of mediums, technique, and structure. First of all, the form of Noodlescreen will be reviewed in Chapter Two. Pinscreen Animation which was invented by Alexander Alexeieff and Claire Parker will be also compared with Noodlescreen in the aesthetic viewpoint here. In Chapter Three, it will be analysed how the description of the image of binary opposition itself provides expanded sense and rich metaphor. Lastly, the format of Mise-en-abyme going constantly towards outer space will be dealt how it exposes the cinematic illusion and spatiality in Chapter Four. Throughout the whole chapters, it will reviewed how the concept of Nondualism relates the images of and deactivate the boundary of binary opposition in terms of both the story development and the visualization method. By this methodology, it will be confirmed that image of animated film not only explains the narrative but also activates the perception about the theme and provides integrated sensory experiences in the independent and expanded dimension.

• Journal of the Korea Society of Computer and Information
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• v.15 no.2
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• pp.75-81
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• 2010

Feeling of shooting is one of the most important features of shooting games. Game developers have tried to improve feeling of shooting by using various techniques, such as visual/sound effects, rumble effects, animations, and camera techniques. In this paper, we introduce the results of the empirical analysis of the several techniques in a 2D shooting game. We carried out two experiments in which levels of feeling of shooting were measured in a simple 2D shooting game. The first experiment was configured with 16 combinations of the four techniques (visual, animation, sound, and rumble effects) applied to a shooting object (a cannon), and the second was configured with 16 combinations of the two techniques (visual and sound effects) applied to both or either side of a shooting object and exploding objects (enemy ships). The analysis results of the experiments showed that all of each techniques were statistically significant factors. We could also found that sound effects and rumble effects are more effective than visual effects and animations and that exploding objects are more important that a shooting object.

• Journal of Korea Society of Industrial Information Systems
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• v.24 no.5
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• pp.17-25
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• 2019

In this paper, we introduce the technology to convert a single human image into a fashion show animation video clip. The technology can help the customers confirm the dynamic fitting result when combined with the virtual try on technique as well as the interesting experience to a normal person of being a fashion model. We developed an extended technique of full human 2D to 3D inverse modeling based on SMPLify human body inverse modeling technique, and a rigged model animation method. The 3D shape deformation of the full human from the body model was performed by 2 part deformation in the image domain and reconstruction using the estimated depth information. The quality of resultant animation videos are made to be publically available for evaluation. We consider it is a promising approach for commercial application when supplemented with the post - processing technology such as image segmentation technique, mapping technique and restoration technique of obscured area.

• Cartoon and Animation Studies
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• s.45
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• pp.435-450
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• 2016

Animation is an artificial image created by artist's imagination. Animation is defined as "the art of the animated image" in the sense that immobile images can be seed as a living creature. In other words, the term "diegesis" in modern arts genre is generally considered as something that indicates fictional world in which narration develops. Therefore, when we say that animation world is formed based on diegesis, it represents the fictionality of animation world. The problem occurs at this point. Even thought the animation world is recognized as a fictional world, we contradictorily believe that the event occurring in the screen world are real and accept them as a true message. This condition is called "quasi-emotion". Quasi-emotion is not fake bit not real either, and it is the third emotional state. It happens when we "make believe" that we believe a fictitious figure or a situation. However, in order to actively operate this "make-believe" state, an appropriate environment and props are required, specially metaphorical imagination and storytelling in short animated film. So that this article will draw a conclusion from the method that make-believe the fictional world and communicate the message through analysing the short animate film, form Disney.