• The Journal of the Korea Contents Association
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• v.19 no.9
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• pp.144-151
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• 2019

The expression of natural backgrounds in a digital clip such as forest, water and sky break new ground and evolve. The process of arriving at a certain background style and designing belongs to the pre-production stage of animation produuction. Due to the advancement of CG technology, the production and consumption of animation has accelerated and so in an effort to reduce production time, the natural background has increasingly becomme normalised. For the distinction in contents, narrative and characters are emphasized in pre-production since it is believed that the background design will simply be a still image. However, there is a need to focus on background design as it is a tool that can effectively emphasize the narrative. This research is an analysis of the background design's role in forest background in productions such as "Alice's Adventures in Wonderland"(1951) and "Princess Mononoke"(1997). It details how appropriate each background forest was for the artist's intent using the 7 types of forest landscapes according to dendrology.

• Journal of the Korea Computer Graphics Society
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• v.29 no.3
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• pp.21-31
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• 2023

In this paper, we introduce a case study of cinematography using digital human in virtual production. This case study deals with the system overview of virtual production using LEDs and an efficient filming pipeline using digital human. Unlike virtual production using LEDs, which mainly project the background on LEDs, in this case, we use digital human as a virtual actor to film scenes communicating with a real actor. In addition, to film the dialogue scene between the real actor and the digital human using a real-time engine, we automatically generated speech animation of the digital human in advance by applying our Korean lip-sync technology based on audio and text. We verified this filming case by using a real-time engine to produce short drama content using real actor and digital human in an LED-based virtual production environment.

• Digital Contents
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• no.8 s.123
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• pp.56-59
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• 2003

인류의 마지막 전쟁이 시작된다.미지의 행성 엘리시움의 침공으로 인해 폐허가 된 2013년 뉴욕. 피자배달부인 반은 여자친구 라디아가 엘리시안군에 죽음을 당하자 복수심에 불타게 되고, 결국 지구를 지켜야 할 운명을 지닌 3명의 선택된 기사들과 함께 전장에 나선다.3D애니메이션 및 특수영상 전문프로덕션인 빅필름이 4년 동안 제작비 45억원을 들여 만든 국내 최초 100% 3D애니메이션 '엘리시움'은 미래에서 이뤄지는 거대한 전쟁과 운명적 사랑을 그린 작품이다. '스타워즈 에피소드1'등의 제작에 참여한 헐리우드 스탭들이 후반작업을 도맡았다고 해 더욱 기대되는 엘리시움을 만나본다.

• Proceedings of the Korea Society of Design Studies Conference
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• 2004.10a
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• pp.148-149
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• 2004

• Cartoon and Animation Studies
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• s.49
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• pp.247-265
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• 2017

With the increasingly diverse, sophisticated and complex character animations that can be represented in 3D animations, the importance of rigging, which can most directly affect animating quality, is becoming more and more important. In addition, rapidity is another crucial aspect of 3D animation production. So, the importance of technical director's role which is accurate and rapid handling of rigging pipeline building and immediate application and, corrections of errors during the longest and manpower consuming animation production is more becoming key. Baek Ji Won and Kim Jae-woong (2014) said, "The technical director is adding new importance to the new job, which is created by 3D animation, in conjunction with the limited production period, manpower, budget and production process." Most major overseas studios are developing in-house software to handle rigging and animation processes. Software development code is used to freely develop and modify production pipelines in accordance with the direction of the work. They are making efforts to build an optimal environment for animators. However, too many efforts and ineffective efforts have been made to develop, adapt, and stabilize the rigging process for small producers, creators, and students who do not have the capacity to develop their own in-house software or hire a technical director. This study suggests the most suitable auto-rigging tool among the many auto-rigging tools released in the market, and suggests the most accurate and quick auto-rigging process setting method for those who have insufficient knowledge about 3D character rigging. The efficiency of use of auto-rigging tool was examined.

• Cartoon and Animation Studies
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• s.13
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• pp.97-114
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• 2008

This study aims to study mouth shapes suitable to the shapes of Korean consonants and vowels for Korean animations by analyzing the process of English-speaking animation lip-sync based on pre-recording in the United States. A research was conducted to help character animators understand the concept of Korean lip-sync which is done after recording and to introduce minimum, basic mouth shapes required for Korean expressions which can be applied to various characters. In the introduction, this study mentioned the necessity of Korean lip-sync in local animations and introduced the research methods of Korean lip-sync data based on English lip-sync data by laking an American production as an example. In the main subject, this study demonstrated the characteristics and roles of 8 basic mouth shapes required for English pronunciation expressions, left out mouth shapes that are required for English expressions but not for Korean expressions, and in contrast, added mouth shapes required for Korean expressions but not for English expressions. Based on these results, this study made a diagram for the mouth shapes of Korean expressions by laking various examples and made a research on how mouth shapes vary when they are used as consonants, vowels and batchim. In audition, the case study proposed a method to transfer lines to the exposure sheet and a method to arrange mouth shapes according to lip-sync for practical animation production. However, lines from a Korean movie were inevitably used as an example because there has not been any precedents in Korea about animation production with systematic Korean lip-sync data.

• Cartoon and Animation Studies
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• s.51
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• pp.293-319
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• 2018

Thanks to the advancement of the related technologies and equipment, today's video contents like movies, animations and soap operas are rapidly expanding their expressible cinematic imagination area. In order to fulfill the elevated visual expectations of audiences and realize exciting storytelling and fantastic world, the fusion of different techniques is actively used, and the reality for visual effects and image synthesis is increasing more and more. Accordingly, recent VFX-oriented movies using CG have a much more complicated production process than before. Therefore, the importance of Pre-visualization, aka Pre-vis is becoming bigger in the planning process for sophisticated design. Pre-vis means that the advance visualization for stories or directing ideas in the planning process before starting production of movies or animations. 3D animated Pre-visualization realizing directors' abstract and ambiguous ideas in 3 dimensional environment in advance is, as a powerful means for visual storytelling, briskly used focusing on the VFX film industry on which the present CG is broadly used, and the role of Pre-vis throughout productions has increased compared to the past. The studies, however, on the role and utility of Pre-vis are not enough. Therefore, this study was conducted on the role of Pre-vis used for present VFX movie productions using the examples of 3D animated Pre-visualization production in which the researcher of this study participated. In this study, the role of the Pre-vis that is subdivided presently, is divided into and 3D animatics and their each role is analyzed with the example images. Through this, the characteristics that Pre-vis should have are clarified and the concept of the advantages and utility led by the use of Pre-vis in productions is strengthened. The goal of this study is to induce active uses of Pre-vis throughout productions after forming consensus about the various roles of Pre-vis and their utility.

• Journal of Korea Multimedia Society
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• v.13 no.9
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• pp.1391-1398
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• 2010

Animation is breathing life into drawings through motion. Animation is formed by the afterimage phenomenon, that is, deviation of sequential pictures in every frame makes a person possibly perceive it as a live video. Consequently, animation is mostly produced using traditional frame-by-frame methods. The study of relations on timing has been a major concern of animation theory. Nevertheless, issues of timing on production outcomes and effectiveness are mostly ignored. Special focus, analysis and leadership studies on timing are addressed on animatics. Creating better timing through animatics, that is writing movies, directing, scheduling and amending storyboard in pre-production stage, eventually shorten time to animation production. This research is centered on animatics as a cutting edge educational courses. This course will introduce students to the animation production skill and instructors to in-depth teaching points. One of the concepts that we want to go for is keeping animatics apart from mere storyboard. In conjunction with the animation theory, this research conducted under the focus of production of animatics will lead to more efficient way of education on animatics.

• Journal of the Korea Computer Graphics Society
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• v.22 no.2
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• pp.11-19
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• 2016

This paper proposes a method to directly retarget facial motion capture data to the facial rig. Facial rig is an essential tool in the production pipeline, which allows helping the artist to create facial animation. The direct mapping method from the motion capture data to the facial rig provides great convenience because artists are already familiar with the use of a facial rig and the direct mapping produces the mapping results that are ready for the artist's follow-up editing process. However, mapping the motion data into a facial rig is not a trivial task because a facial rig typically has a variety of structures, and therefore it is hard to devise a generalized mapping method for various facial rigs. In this paper, we propose a data-driven approach to the robust mapping from motion capture data to an arbitary facial rig. The results show that our method is intuitive and leads to increased productivity in the creation of facial animation. We also show that our method can retarget the expression successfully to non-human characters which have a very different shape of face from that of human.

• Cartoon and Animation Studies
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• s.33
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• pp.173-202
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• 2013

This research focuses on the part of animation production pipeline. Among the four stages in the process (development, pre-production, main production, and post-production), this research explores theoretical features of the development stage. As the development stage is not well-known and theorized in Korea, this research provides roles and values of the development stage. The development stages is very important because two works have to be proceeded in this stage. First, the story idea for making animation should be decided. Ideas have to be developed into definite synopsis. And, the bible to pitch for investors are prepared on the basis of the story. Secondly, the basic production plan has to be initiated. This production plan includes the financial budget, the production schedule, and the production team. These three elements are so crucial that the producer (or executive producer) should take into consideration from the early stage of production.