• Cartoon and Animation Studies
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• s.11
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• pp.105-120
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• 2007

This treatise has defined afresh the stage setting(image) device with use of animation which is known as virtual studio, cyber studio and all that sort of things as a word 'Ani-Stage' and has also adjusted it's generative background. It will be suggest that the established stage setting device with some confined techniques need to be grafted other various animation techniques together in order to make room for 'Ani-Stage-oriented' and will be offer a device able to make free use of composition angles, simplification of composite process free from limited factors. The purpose of this treatise is that raise up the recognition on ani-stage of the specialistic competent person who playing a role in the sphere of animation and that give a new definition about the stage setting device based on animation.

• Journal of IKEEE
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• v.22 no.4
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• pp.1180-1187
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• 2018

This paper had implemented the underwater stage through interaction with fish robots and visitors in the background of traditional fairy tales using 3D floating hologram in an aquarium. The recognition of the object position of the spectator and the underwater robot were performed using the color recognition algorithm. Also, the position tracking algorithm was proposed to follow the object of the visitor and the original fairy tale. This experimental system consists of fish robot, camera, KIOSK for underwater robot control and beam project for underwater imaging. This experiment was carried out by the National Busan Science Museum, and it had satisfied the performance of the underwater stage.

• Cartoon and Animation Studies
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• s.12
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• pp.27-43
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• 2007

The article concerns the continuity and transformation of the cartoon strip for the musical performance. Recently, the cartoon strip has been considered as a resource for creating the musical performance. However, There are a few articles on the relationship of the cartoon strip and the musical performance. In this respect, the article seeks to examine the characteristics of the cartoon strip and the musical performance in terms of planning system, storytelling structure, character formation and marketing strategies. The case on the musical entitled 'The Great Catsby', which is rooted in the cartoon strip entitled 'The Great Catsby', is examined. As a result, on the one hand, the characteristics of the cartoon strip has continuously affected the process of creating the musical performance in terms of storytelling, character formation, stage management and the marketing activities. On the other hand, the musical performance considers the music and sound, the moving image and stage management, performance of the actors as an essential part in comparison with the cartoon strip. In addition, the musical performance simplifies and recontructs the cartoon strip according to the principles of the musical performance.

• The Journal of the Convergence on Culture Technology
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• v.4 no.1
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• pp.291-297
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• 2018

In this paper, we present an automatic image object tracking system for Studio cameras on the stage. For object tracking, we use the OpenCV-based Python program using PC, Raspberry Pi 3 and mobile devices. There are many methods of image object tracking such as mean-shift, CAMshift (Continuously Adaptive Mean shift), background modelling using GMM(Gaussian mixture model), template based detection using SURF(Speeded up robust features), CMT(Consensus-based Matching and Tracking) and TLD methods. CAMshift algorithm is very efficient for real-time tracking because of its fast and robust performance. However, in this paper, we implement an image object tracking system for studio cameras based CMT algorithm. This is an optimal image tracking method because of combination of static and adaptive correspondences. The proposed system can be applied to an effective and robust image tracking system for continuous object tracking on the stage in real time.

• Journal of Korea Multimedia Society
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• v.14 no.4
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• pp.585-594
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• 2011

On live performance such as play and musical, various stage effects are utilized to attract a diverse audience. These stage effects include traditional direction techniques, striking display effects and all kinds of ways of being immersed in the scene. In this paper, we propose a novel digital visual effects(digilog) for controlling the surface texture of objects based on spatial augmented reality. For this purpose, we present a method of neutralizing the appearance of an arbitrary object using a projector-camera system. To make the object appear as if it is a transparent object by projecting a carefully determined compensation image onto the surface of objects, we use the homography method for a simple and effective off-line projector-camera calibration. The successful uses of the basic algorithm of Smart Projector for measuring radiometric parameters led us believe that this method may be used for temporal variation of plays and musicals.

• Journal of the Korea Computer Graphics Society
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• v.25 no.3
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• pp.31-41
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• 2019

A fog screen consists of tiny water drops and the viewers see the image transmitted through the fog screen. In contrast to ordinary screens, the viewers can see the actors passing through the image on the fog screen on stage. In this paper, we describe methods to build a top-down fog screen where fog particles generated in top space fall by gravity forming a flat vertical screen. We use a fog generation technique in which fog particles come out of the water surface when ultrasound vibrators immersed in water tank vibrate. We describe how fog particles form a flat screen while coming out of the fog passage tunnel, by generating guiding winds beside the fog screen. This technique utilizes the principle that fog particles are generated on the surface of a water tank by an ultrasonic vibrator placed in a water tank. The technique of forming a guiding wind on both sides of the passage exit where the fog comes out and the design and manufacturing method of the fog screen generating device are described so that the generated fog group can maintain one plane.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.17 no.3
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• pp.190-196
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• 2016

This paper proposes a humanoid robot performance system for performing in public places, such as an event, exhibition, or street performance. The system of modular structures can be moved easily, and can be played by a module or a combination of modules. The system developed with open source-based software and hardware is easy to adapt and improve. The robot performance control program for controlling robots, displays, audios, videos, and performance instruments was developed using the open source language, Processing. The performance instruments were developed using the open source hardware, Arduino. The contents of the robot performance were composed of scene-specific image, background audio, computer graphics, and videos. For their control and synchronization, the performance control program communicates with the humanoid robots and the performance instruments. In addition, performance accessories required to represent the performance concepts are produced by 3D modeling and printing. In a public place, the robot performance is performed with the theme of celebrating a Halloween day.

• Cartoon and Animation Studies
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• s.50
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• pp.1-22
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• 2018

This study investigated realism sceneries shown in animation movies of auteurism. Although animation has properties of mechanical images arranged by short cuts, it essentially starts with the images dealing with space art based on the consciousness of an author. In this aspect, sceneries of animation movies can be the most proper subject for study from the viewpoint of image. Generally, sceneries of animation movies maintain the neutral position as a stage setting for story. However, as for auteurism animation, the sceneries have subjective meaning as major media to express the work or the vision and value of the author on the world. The representative animation movies that reflect the role and meaning of realism sceneries among auteurism animations are and . The former shows Korean sceneries and the latter presents local sceneries of Japan quite well. Reviewing the characteristics of sceneries shown in two movies, the sceneries of are the discovery of internal consciousness of the author that signifies pure innocence of childhood into the voice of nature through the style of the author. Meanwhile, sceneries of adopted nature landscape surrealistically based on the internal consciousness of the author and described the forest as the absolute utopia of the author. As such, the sceneries shown in two movies were utilized as the "framework of thought" of the authors that intensify the viewpoint of the movies on the world through empirical interpretation and detailed description of neutral landscape based on internal consciousness of the authors.

• Cartoon and Animation Studies
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• s.44
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• pp.1-31
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• 2016

In this thesis, the movie with mise-en-scene established was compared with the peculiarity of the play that is the etymological source of the term to identify the peculiarity of mise-en-scene which was substituted into animation to find the peculiarity of mise-en-scene in animation. To emphasize the direct connection between the frame's visual peculiarity and the director's opinions, the mise-en-scene of director centered animation created under a restricted environment was reviewed. Mise-en-scene which started from movie critics theory does not simply mean the arrangement of images in a frame. Mise-en-scene emphasizes the exposure of the work's motive by the visual components. The animation's assuming the middle point of environmental share possessed by play and movie when schematizing the genre peculiarity of animation, play and movie was a noteworthy result. It can be said that the cause is that the animation's peculiarity yield different results depending on the making methods; we verified that this is a key factor in the analysis of animation's mise-en-scene. I emphasized that the peculiarity of animation mise-en-scene is in its making method and material and suggested identifying the work's making methods and analyzing the work's aesthetic results derived in this way. The russian animation which was perceived as peripheral arts was relatively free from the burden of censorship while receiving support from the Soviet as a media for propaganda. The russian animation's mise-en-scene which found the material for its works in the country's folklore was metaphorical, focused on new expression forms and achieved experimental elements. Russian animation pursues a unique aesthetic world through space expression based on the forms of opera or ballet and heavy motions formed static inbetweens.