• Proceedings of the Korean Society of Computer Information Conference
• /
• 2014.01a
• /
• pp.309-311
• /
• 2014

본 논문에서는 만화, 게임, 웹, 앱, 모바일 등에서 2D 애니메이션 기법으로 콘텐츠를 제작하는 플래시 애니메이션의 기법들의 특성들을 나타낸다. 제작 콘텐츠가 어떤 디바이스에서 어떤 애니메이션을 연출할 것인가를 먼저 고려하여야 한다. 따라서 콘텐츠의 목적에 맞는 애니메이션 기법을 사용함으로 콘텐츠 제작 시간과 경제성과 완성도의 효과를 얻을 수 있다.

• Digital Contents
• /
• no.8 s.135
• /
• pp.44-49
• /
• 2004

‘굴뚝없는 21세기 고부가가치 산업’으로 일컬어지는 애니메이션 산업이 침체의 늪을 벗어나지 못하고 있다. 특히 극장용 애니메이션 시장은 기대를 모았던‘오세암’과‘원더풀데이즈’가 지난해 흥행에 실패함에 따라 투자 분위기 자체가 급격히 경색돼 있는 실정이다. 하지만 어려운 상황 속에서도 선우엔터테인먼트와 대원C&A홀딩스, 동우애니메이션, 씨네픽스 등 애니메이션 업체들은 국내 애니메이션 산업의 발전을 위해 지금도 끊임없는 노력을 계속하고 있다. 국내 애니메이션 시장을 이끌고 있는 대원C&A홀딩스와 선우엔터테인먼트의 현황과 전략, 앞으로의 계획 등을 살펴봤다.

• Digital Contents
• /
• no.4 s.131
• /
• pp.109-111
• /
• 2004

영화진흥위원회는 3월 10일, 11일 이틀간 중구 예장동 서울 애니메이션센터 영상관에서‘국산 기획창작 애니메이션 발전을 위한 집중 심포지엄’을 개최했다. 이번 행사는 일본 애니메이션 전면 개방 시대를 대비하고 침체된 국산 기획창작 애니메이션의 활로를 찾기 위해 기획됐다. 총 4부에 걸쳐 진행된 이번 행사는 국내에서 활동하는 영화 및 애니메이션 각 분야 전문가들의 활발한 토론을통해 국산 애니메이션이 제 2의 르네상스를 구가하는 한국영화와 함께 동반 길을 모색하는 자리가 됐다

• Proceedings of the Korea Contents Association Conference
• /
• 2018.05a
• /
• pp.411-412
• /
• 2018

중국 수묵 애니메이션의 확대 발전을 위해서는 수묵 애니메이션의 퀄리티와 양적인 확대가 필요하다. 이를 위해 수묵화 이미지를 이용해 수묵 애니메이션 구현을 최적화하는 방법으로 애니메이션 장르를 다양화해 양적인 문제를 해결하는 방법을 찾으려 했다. 기술이 발달함에 따라 가상현실 콘텐츠로의 수묵 애니메이션 제작에 필요한 적용 방법을 기 제작된 수묵 애니메이션을 바탕으로 VR 확대 연구를 진행해 보았다.

• Cartoon and Animation Studies
• /
• s.43
• /
• pp.47-75
• /
• 2016

This study has analyzed the history of the subcontract animation in Korea that began with Golden Bat of TBC Animation Division in 1966 to 1980s and shed the light on the history of subcontract animation that has been processed over 30 years in Korean animation. For this purpose, through the outlined status of subcontract animation, such as, production company, production status, scale of industry and so forth, the status of the OEM industry then has been checked and it links the solidified background of animation into subcontract production industry with the situation in time for analysis. In addition, on the basis of the foregoing, it is intended to broaden the horizon of the history of animation through the analysis on new search for facilitating the creative animation by overcoming the issues and limits generated by the subcontract animation industry. 1970s was the time that the national objective is to advance heavy-chemical industry and export-led economic growth. From the late 1970s, the animation has been spot lighted as the main-stream export industry through the overseas subcontract orders for animation. Expansion of the subcontract animation production has been influenced from the national policies on public culture, dispersion of color TV, facilitation of video production market and other media changes of the time that led the decline of animation audiences in theaters, and another cause would be in lack of platform of broadcasting companies that avoided the independent animation production for its economic theory. The subcontract animation industry may have the positive evaluation in the aspect of expanding the animation environment, such as, structuring of animation infra, development of new human resources and etc. However, the technology-incentive 'production'-oriented advancement has created distorted structure in advancing the professional human resources due to the absence of 'pre-production' of planning and others as well as the insufficient perception on 'post production (post work)', and it was unable to formulate domestic market by re-investing the capital accumulated for OEM industry into the production of creative animation and it has been assessed as negative aspect. Animation is a cultural and spiritual product of a country. Therefore, the systematic support policy for the facilitation of the creative animation, such as, development of professional human resources, creation of outstanding work, formation of market to make the pre-circulation structure and so forth has to be sought. However, animation is an industry, but there is no perception that it is a cultural industry based on the creativeness, not hardware-oriented manufacturing business. Such a lack of recognition, there was no policies to make the market and facilitate the creative animation by the animation of Korea for this period through the long-term plan and investment for independent work production. Such an attempt is newly begun through diverse searches for protection and advancement of creative animation in Korea after 1990s.

• Cartoon and Animation Studies
• /
• s.48
• /
• pp.311-332
• /
• 2017

Currently, the world is making efforts to develop cultural industries around more refined parts of the world. The development of cultural industries has far-reaching implications for promoting national brands and national image promotion as well as economic benefits. In particular, China hopes to advance into its own animation market because it has an extensive animation market. In 2005 The Chinese government, however, banned foreign animation market from entering the Chinese animation market. However, at that time, Chinese animation firms also saw considerable economic losses because they had to undergo almost everything from animation to distribution to rationing. In fact, the policy was designed to protect Chinese animations, but instead of preventing Chinese animations from developing original contents, it caused various problems such as China's animations, or the development of Chinese animation industries. In this thesis, we will explore the policy related to animation industry in China, research and development of animation industry, and establish the direction of development of Chinese animation industry through suggestion of improvement in Chinese animation industry. For starters, we have diversified the contents of the Chinese animation industry by adapting the contents of the Chinese animation to the global market through the globalization of contents, stories and materials. Currently, animation is developing beyond 3D,4D and VR but there is no shortage of animation experts in China, so it is necessary to nurture specialized professionals by opening a related department in China. Also, the government will establish a National Animation Industry complex to work in various animation companies. We expect to develop cultural contents through mutual cooperation between animation companies in China and the sharing of information sharing and collaborative research.

• Cartoon and Animation Studies
• /
• s.29
• /
• pp.37-60
• /
• 2012

This essay is discusses the phase on expression as experimental animation for the tendency of the animation which appeared newly 1960s in Japan by "3 members in animation". In general, experimental animation is contrary to traditional animation. "3 members in animation" tried to present the concept of animation newly with the various trials which overthrow the form of the conventional animated cartoon. Those days, the feature animation of Toei was the mainstream of the cartoon film. When comparing with Yoji Kuri's works, the movement and theme on expression are different. It can be said that the difference is an alternative method to the mainstream. Other members Ryohei Yanagihara and Hiroshi Manabe connected design and illustration with animation. The independent creators participated in the animation festival which "3 members in animation" held. They tried to create animation interchanging with other genres. It can be said that the intermediality seen in their work is trial which sets variegated the object of animation and it expands the possibility of the new animation. Their approach overthrew the traditional tendency and was able to call it experimental animation. Japanese experimental animation in 1960s is the historical starting point of recent independent animation which searched for art in which an original expression has been formed in Japan.

• Cartoon and Animation Studies
• /
• s.40
• /
• pp.1-31
• /
• 2015

The Korean animation that has relatively short history compared to the Western Europe and Japan's animation started out from the non-commercial short-piece animation produced as part of advertisement animation and culture movie in the later part of 1950s. In 1960s, the culture movie animation reflecting for the Movie Act and cultural policies has hardly been mentioned in the history of Korean animation, but they are the precious cultural work produced prior to the theatrical long-piece animation. In particular, compared to the 15-second short CF animation, the short-piece animations are ranging for 4 minutes to 10 minutes as the work pieces with the historic value to measure the level of the Korean animation at that time. in 1960s, approximately 20 short-piece animation works were produced and they contained the educational contents to enlighten general public in the process of modernization policy. Those short-piece animations produced in cultural movie at the National Film Production Center of Korea had been produced not only in cell-facilitating cartoon animation, but also in paper animation and puppet animation. In this background, this thesis takes a close look to the short-piece animation works produced in the National Film Production Center of Korea in 1960s. While there was almost no studies of early short-piece animation other than CF works, it is meaningful to discover and analyze the works, and, Director Park Young-il, Director Han Sung-hak, Director Jung Do-bin, Director Shin Dong-hyun, Director Nelson Shin and others participated in the creative work process have worked as the animation directors for theater that the analysis on the works would be considered as important fundamental studies to understand the Korean animation. Under this thesis, it is intended to study the historic implication and formative characteristics around some 10 work pieces to affirm participating personnel, including directors, for the short-piece animation created by the National Film Production Center of Korea as well as the situation of time to launch the National Film Production Center of Korea in 1960s. Through this effort, it is intended to come up with the starting point to process enriched researches on non-commercial short-piece animation as well as contemplation on the Korean animation history that have been neglected in the study of the Korean animation history through such effort.

• Proceedings of the Korean Institute of Information and Commucation Sciences Conference
• /
• 2003.05a
• /
• pp.574-577
• /
• 2003

This paper manufactured animation to use expression for efficient action control of character animation. Animation to use expression is method to express natural animation little more easily and usefully in expression of motion. Find urea that could control animation in expression analyzing action control points of character and used in ceremony. Embodied animation to control automatically action of character on the basis of this. Efficiency of expression that animation by expression can create natural and realistic action by manufacturing that is simple was expose by advantage, but showed awkwardness than animation by key frame way by animator.

• Cartoon and Animation Studies
• /
• s.9
• /
• pp.220-234
• /
• 2005

The article deals with the reality subject of animations. Animations are created on the basis of fantasy. Disney's introduction of the narratives and styles of live action film into the field of animation, which laid a foundation for the hyper-reality animation, has produced an unintended consequence of marginalizing other animation genres which have emphasized fantasy through free experimentations of various images. A combination of Disney's world view of hyper-reality with later-developed 3D computer animation technology has made fantastic figures and spaces much more real than the real ones, and succeeded in creating a matrix of simulacre, a world of mere copies without the original.