• Cartoon and Animation Studies
• /
• s.39
• /
• pp.321-348
• /
• 2015

The purpose of this study was to find a system and a progression principle in orchestral piece based on the outcome after comparatively analyzing the orchestral operation technique in "Battle for The Glory" out of the background music in the animation "Dragon Quest IV" by Koichi Sugiyama(1931~), who is a leading runner of Japan's animation music, based on functional parts daccord & Instrumentation Pattern, Rhythm Pattern, Voicing Pattern, and harmonic ratio by progression section devised by the writer. As a result, first, five themes in this music have specific instrumentation pattern, respectively. In a passage that is shown exposition, reprise, and representation in theme, the unity was emphasized by maintaining the same instrumentation pattern. On the contrary to this, a passage of being suggested new theme is being used the exchange method and addition & subtraction in musical instrument in order to strengthen diversity. Second, the voicing pattern is forming the vertical contrasting relationship of "thinness-thickness" on the whole. However, the diversity is being intensified that is changed into the structure of "thickness-thinness" in the third theme and of "thinness-thickness" that has two melodies in the fourth theme. Third, the rhythm pattern is forming the vertical contrasting relationship of "big-small" on the whole. However, the fifth theme is being given diversity with being changed into the structure of "small-big." Fourth, the harmony by progression section from the horizontal perspective is shown to be high in the proportion of unity in the section of being repeated and represented the theme and to be high in the proportion of diversity in the section of being suggested new theme. In this study, the balanced orchestral operation technique through the operation technique, which was used in this work, is what extracts the relationship of diverse proportions in the horizontal progression section based on the technique of vertical perspective. In this aspect, this analytical study is desired to be positioned as a new paradigm in establishing a theoretical system and an educational method in orchestration.

• Electronics and Telecommunications Trends
• /
• v.13 no.4 s.52
• /
• pp.43-58
• /
• 1998

애니메이션이나 멀티미디어에서 사용될 물체들을 모두 처음부터 만들어 나간다는 것은 굉장히 시간이 많이 들고 힘든 일이다. 따라서, 물체를 처음부터 디자인하는 것이 아니라 단순한 모양의 물체로부터 복잡한 모양의 물체를 쉽게 만드는 방법에 대한 연구가 많이 진행되었다. 본 논문에서는 그래픽스 분야의 물체 변형기법에 대한 연구 결과들을 살펴본다. 대표적인 변형기법으로 Barr의 음함수 변형법, 자유형태 변형기법과 그 확장, skeleton warping 등을 살펴본다. 물체의 보다 사실적인 변형을 얻기 위해서 물리 법칙을 이용하는 방법과, 구조가 복잡한 물체를 여러 상세 단계로 나누어 처리하는 다중해상 방법도 살펴본다. 그리고, 매개변수 함수로 표현된 물체를 편집할 경우에 곡선/곡면의 제어점 대신 물체상의 임의의 위치를 직접 움직이는 직접제어 기법의 연구동향을 살펴본다.

• Cartoon and Animation Studies
• /
• s.44
• /
• pp.143-161
• /
• 2016

This study was conducted focusing on the role of auteurism animation. The purpose of auteurism animation is to criticize irregularities of a society in witty and fierce way through satires from the sharp perspectives of a animator that is not bound by tastes of people or the interests or standpoints of specific groups, and thus to induce positive changes in a society as a purifier. In the context, this study investigated satires shown in by Jan Svankmajer and by Norman Mclaren among the animators who utilize animation as a tool to produce social meaning. As a result, the following characteristics and meanings were found. First, Dimensions of Dialogue is an animation that satires absurdity and irregularities of a human society in symbolic and exceptional way through directing by segmentations of images and omnibus structures. The satire carries the lesson of improvement in the hidden part of cynical attack to history, society, and human beings. It also maximizes absolute reality and engagement of images of Jan Svankmajer through unique and grotesque images of the animator such as alienated world, confusing shapes, and amusement of irregularities. Second, the movie, is an exemplary animation that applied core concept of animation through pixilation techniques based on an event story structure by causal relationship. It satires the changing process of a good man to violent madness through confrontation and conflicts for material desires, with exaggerated slipstick movements and humors as a black comedy. The satire methods of both animation works are delivered through unique image styles and symbolic wordage of the animators who triggered ironical laughter in attacking humanism and moral insensitivity that might be felt seriously otherwise. That is, the animators try to show the positive will for changing the society to a sound one through the form of negativity in terms of moral perspective in animation rather than destruction against the target. As such, the satires in both works worked as an auteurism allegory that maximizes social functions and artistic influence of animation.

• Journal of KIISE:Computer Systems and Theory
• /
• v.33 no.12
• /
• pp.894-906
• /
• 2006

There are many difficulties to develop a mobile contents due to many constraints on mobile environments. It is difficult to make a good mobile contents with only visual reduction of existing contents on wire Internet. Therefore, it is essential to devise the data representation and to develop the authoring tool to meet the needs of the mobile contents market. We suggest the compact mobile contents to learn Chinese characters and developed its authoring tool. The animation which our system produces is realistic as if someone writes letters with pen or brush. Moreover, our authoring tool makes a user generate a Chinese character animation easily and rapidly although she or he has not many knowledge in computer graphics, mobile programming or Chinese characters. The method to generate the stroke animation is following: We take basic character shape information represented with several contours from TTF(TrueType Font) and get the information for the stroke segmentation and stroke ordering from simple user input. And then, we decompose whole character shape into some strokes by using polygonal approximation technique. Next, the stroke animation for each stroke is automatically generated by the scan line algorithm ordered by the stroke direction. Finally, the ordered scan lines are compressed into some integers by reducing coordinate redundancy As a result, the stroke animation of our system is even smaller than GIF animation. Our method can be extended to rendering and animation of Hangul or general 2D shape based on vector graphics. We have the plan to find the method to automate the stroke segmentation and ordering without user input.

• Cartoon and Animation Studies
• /
• s.26
• /
• pp.31-56
• /
• 2012

This is a scientific study of subjectivity on recognition types and preferences of animation audience. Therefore, Q-methodology was used as a methodology of this study. As a result, it was possible to find the various characteristics according to the preferences of audience on animation genres. The features of each type were classified into 3 types. First was an artistic and literary value-oriented type that explored storytelling and descriptive value. Second was a pictorial and aesthetic value-oriented type that explored visual beauty such as characters and Mise en scene. Third was a visual and entertainment value-oriented type that explored entertainment factors and attractions. Thus, according to the classification of preference types, it was inferred that digital image generation audience with an active preference that can create and consume images have developed a tendency that independently consumed their preferences based on thoroughly personal or subjective preferences rather than classified and accepted their preferred culture as their symbolic expressions of hierarchical position. In this aspect, Q-methodological consideration that is useful to analyze the subjectivity of audience could be a significant work. Nevertheless, this study alone could not reveal various generative contexts of specific preferences. It seems to have more significant results by applying various qualitative or quantitative methodologies together with this study and analyzing recognition types and preferences of audience.

• Proceedings of the Korean Information Science Society Conference
• /
• 2005.11a
• /
• pp.1042-1044
• /
• 2005

고화질 입체 영상의 효과적인 재생을 위해 PC 클러스터를 활용한 여러 형태의 병렬화 기법이 제안되었지만, 영상을 구성하는 객체의 분포가 균일하지 않은 경우 충분한 성능을 발휘하지 못하였다. 본 연구에서는 Maya 렌더러를 채택한 PC 클러스터 기반의 병렬 렌더링 시스템을 구축하고, 병렬화 성능을 높이기 위한 효과적인 부하 균형 기법을 개발하였다. 특히 애니메이션을 구성하는 연속 프레임 작업에서 프레임 간의 연관성(coherence)이 높다는 사실에 근거하여, 임의 프레임의 각 분할 영역에 소요된 계산량을 바탕으로 다음 프레임의 부하 분포를 예측하고 이에 맞게 각 프로세서의 작업 영역을 재조정하는 기법을 제안하였다.

• Journal of the Korea Computer Graphics Society
• /
• v.12 no.2
• /
• pp.39-44
• /
• 2006

컴퓨터 그래픽스 분야에서 변형체 애니메이션은 매우 중요한 기법으로 그 응용 범위가 매우 넓다. 본 논문에서는 큰 회전 변형에도 부피의 왜곡이 발생하지 않으며, 변형체의 어느 한 부위가 고정되어 있지 않고 자유롭게 움직일 수 있는 동적 탄성 변형을 실시간에 시뮬레이션 하는 기법을 제안한다. Choi와 Ko [3]가 제안한 모달 와핑 기법은 실시간에 부피의 왜곡이 없는 동적 탄성 변형을 생성할 수 있지만 탄성체의 어느 한 부위가 고정 되어 있어야 하며, Hauser 등 [9]이 제안한 임펄스 기반의 충돌 반응을 고려한 선형 모달 해석법은 안정적인 시뮬레이션 결과를 주지만 큰 변형에 있어서 부피 왜곡이 있다. 본 논문에서는 Choi와 Ko [3]가 제안한 모달 와핑 기법을 임펄스 기반의 충돌 반응을 포함하도록 확장하여 큰 회전 변형에도 부피의 왜곡을 방지하며 또한 자유롭게 움직이는 탄성체의 충돌 반응을 안정적으로 시뮬레이션 할 수 있게 한다.

• Proceedings of the Korea Contents Association Conference
• /
• 2014.11a
• /
• pp.317-318
• /
• 2014

그림자극은 중국의 오래된 민간 전통 공연 예술이며 초기 중국영화에서 많이 이용했다. 지금 시대에 3D 및 입체 영화를 위주로 하는 추세에서 2D형식의 표현 기법인 그림자극은 어떻게 변화해야 할 것이고 고유의 특성을 발전시킬 것인가? 먼저 그림자극은 비주류 애니메이션 형식으로서 표현의 한계를 가지고 있으므로, 이러한 평면적 예술 기법을 사용하는 영화의 표현형식 및 표현 내용을 고려해야 한다. 둘째 이런 예술 표현기법의 특성과 현대 컴퓨터기술을 서로 결합한 것은 그림자극을 계승 발전시킬 수 있는 요소이다.

• Proceedings of the Korean Information Science Society Conference
• /
• 2004.04b
• /
• pp.904-906
• /
• 2004

영화를 제작하는 과정에 필수적으로 사용되고 있는 대본에는 필요한 부분마다 영상기법이 명시되어 있어서 실제 장면을 구현하는 과정에 원작자가 의도하는 상황을 비교적 정확하게 재현하는 것이 가능하다. 이에 비하여 교통사고 사건보고서나 동화 등을 기반으로 디지털 영상을 자동으로 제작하려는 경우 이러한 영상기법이 명시되어 있지 않다. 그러므로 자연언어로 기술된 자료로부터 디지털 영상을 자동으로 제작하기 위해서는 작가의 의도를 파악하여 적절한 영상기법을 추출하는 방안이 있어야 한다. 본 논문의 선행 연구에서는 동화를 대상으로 하는 애니메이션 자동 생성을 위해서 시간 관리, 참조 해결, 위치 설정, 세부 명령 결정 및 다수 캐릭터 제어 등의 요소 기술이 필요하다는 것을 보이고 특히 시간 관리 중에서 적절한 장면전환이 필요한 경우를 자동으로 파악하는 방안을 제시하였다. 본 논문에서는 결합범주문법을 사용하여 동화 문장에 나타나는 작가의 의도를 분석하고, 이에 부합하는 다양한 카메라 운용기법을 자동으로 파악하여 적용한 디지털 영상 제작 방안을 제시하고 구현한 시스템을 보인다.

• Proceedings of the Korea Contents Association Conference
• /
• 2007.11a
• /
• pp.530-534
• /
• 2007

Flow visualization is one of visualization techniques and it means a visual expression of vector data using 2D or 3D graphics. It aims for human to easily understand a special feature of the vector data. Flow visualization can be classified into various criterions such as visualization technique, data dimension, type of the flow, and so on. Visualization technique can be categorized into direct method, integration method and derived data based method. Data dimension can be divided into 2D, 2.5D and 3D. Type of flow data may be classified into steady and unsteady. In this paper, various LIC based flow visualization methods will be introduced which is one of representative integration based techniques. Those methods will be categorized with more detailed criterions such as dimension and type of flows.