• The Journal of the Korea Contents Association
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• v.16 no.11
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• pp.614-622
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• 2016

As media become diversified, animation fields are being expanded. Various types of animations which were not seen in the past have appeared and the fields which did not have a suffix of "animation" now use the words of animation like motion graphic-animation or interactive-animation. This thesis is a comparative analysis study of U.S. animation education. This study collected and reviewed respective curricula of total 5 universities such as Academy of Art University, California Art of Institute), Ringling College of Art and Design, Rhode Island School of Design, and School of Visual Arts which have led U.S. animation education since animation education was first introduced in 1961. Based on the result drawn from the analysis on the classification of animation curricula into a required subject, an elective subject, liberal arts, a theory subject and a practical subject, it intends to consider improvements of Korean animation curriculum.

• Journal of Advanced Navigation Technology
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• v.11 no.1
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• pp.99-104
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• 2007

On-line avatar community service requires natural representation of communication, emotional expression, and popular dances and various kinds of services. The space should be dynamic, and the interaction between the motions of avatars and the space is required. The avatars with their national, interesting, and various motions should be implemented togetherwith interaction with virtual spaces, in order to have competition in developing 3D avatars. It is expected for 3D avatars to be broadly applied for 3D shopping malls for e-commerce, cyber model houses, 3 D simulations, and 3D virtual reality game. Therefore, for one line 3D avatar community services, we try to provide the scheme for making interactive virtual spaces, together with 3D avatar animations.

• Journal of Digital Convergence
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• v.10 no.11
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• pp.627-633
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• 2012

This paper deals with the design and implementation of interactive e-learning contents for OpenCourseWare. OpenCourseWare, also known as OCW began at MIT in October 2002. OCW is a free and open digital contents of high quality college and university level educational materials. In this paper, we have designed and implemented interactive e-learning contents for a regular course of introduction to java programing language and OCW of D University. We have developed a variety of multimedia elements, such as screen videos of practical exercise and animations in order to improve the effectiveness of learning. These e-learning contents are consist of interactive learning components that users can interact directly with. The e-learning contents developed in this study has been effectively applied to OCW and a regular course opened in the first semester of 2012.

• Proceedings of the Korea Contents Association Conference
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• 2005.05a
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• pp.229-236
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• 2005

This paper is study about emotional Interactive avatar in cellular phone. When user ask what he want to the avatar, it answer with facial expression based on animation Charac- ter. So the user can approach more friendly to the avatar.

• Cartoon and Animation Studies
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• s.49
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• pp.651-676
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• 2017

Shadow images are a representative medium and means of expression for the imagination that exists between consciousness and unconsciousness for thousands of years. Wherever light exists, people create play with their own shadows without special skills, and have made a fantasy at once. Shadow images have long been used as subjects and materials of literacy, art, philosophy, and popular culture. Especially in the field of art, people have been experimenting with visual stimulation through the uniqueness of simple silhouettes images. In the field of animation, it became to be recognized as a form of non - mainstream areas that are difficult to make. However, shadow images have been used more actively in the field of digital arts and media art. In this Environment with technologies, Various formative imaginations are being expressed more with shadow images in a new dimension. This study is to introduce and analyze these trends, the aesthetic transformations and extended methods focusing on digital silhouette animation and recent media art works using shadow images. Screen-based silhouette animation combines digital technology and new approaches that have escaped conventional methods have removed most of the elements that have been considered limitations, and these factors have become a matter of choice for the directors. Especially, in the display environment using various light sources, projection, and camera technology, shadow images were expressed with multiple-layered virtual spaces, and it becomes possible to imagine a new extended imagination. Through the computer vision, it became possible to find new gaze and spatial images and use it more flexibly. These changes have given new possibility to the use shadow images in a different way.

• Cartoon and Animation Studies
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• s.47
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• pp.1-29
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• 2017

360-degree virtual reality has been a technology that has been available for a long time and has been actively promoted worldwide in recent years due to development of devices such as HMD (Head Mounted Display) and development of hardware for controlling and executing images of virtual reality. The production of the 360 degree VR requires a different mode of production than the traditional video production, and the matters to be considered for the user have begun to appear. Since the virtual reality image is aimed at a platform that requires enthusiasm, presence and interaction, it is necessary to have a suitable cinematography. In VR, users can freely enjoy the world created by the director and have the advantage of being able to concentrate on his interests during playing the image. However, the director had to develope and install the device what the observer could concentrate on the narrative progression and images to be delivered. Among the various methods of transmitting images, the director can use the composition of the short. In this paper, we will study how to effectively apply the technique of directing through the composition of this shot to 360 degrees virtual reality. Currently, there are no killer contents that are still dominant in the world, including inside and outside the country. In this situation, the potential of virtual reality is recognized and various images are produced. So the way of production follows the traditional image production method, and the shot composition is the same. However, in the 360 degree virtual reality, the use of the long take or blocking technique of the conventional third person view point is used as the main production configuration, and the limit of the short configuration is felt. In addition, while the viewer can interactively view the 360-degree screen using the HMD tracking, the configuration of the shot and the connection of the shot are absolutely dependent on the director like the existing cinematography. In this study, I tried to study whether the viewer can freely change the cinematography such as the composition of the shot at a user's desired time using the feature of interaction of the VR image. To do this, 3D animation was created using a game tool called Unreal Engine to construct an interactive image. Using visual scripting of Unreal Engine called blueprint, we create a device that distinguishes the true and false condition of a condition with a trigger node, which makes a variety of shorts. Through this, various direction techniques are developed and related research is expected, and it is expected to help the development of 360 degree VR image.

• 한국HCI학회:학술대회논문집
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• 2006.02a
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• pp.393-399
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• 2006

음악을 들을 때 사람이 인지할 수 있는 긴장감을 뜻하는 텐션(tension)은 조성음악의 기본을 이루는 중요한 요소이다. 본 논문에서는 임의의 곡의 텐션의 움직임을 B-스플라인 곡선을 이용하여 표현하고 이 곡선을 수정하여 음악의 긴장도를 조정할 수 있는 방법을 제안한다. 먼저, 우리는 음악에서 사용되는 다양한 코드들의 긴장도를 측정하는 방법세 가지를 제안한다. 첫 번째는 러달이 제시한 5도권 기반의 코드 거리 측정방식을 개량한 것이며, 두 번째는 츄가 제시한 나선형 모델의 거리 측정 방식을 응용한 것이며, 세 번째는 크럼한슬이 제시한 특정한 조성에서 각 구성 음들의 안정도와 구성 음들 사이의 음정의 조화성을 이용한 방법이다. 이 방법들을 이용하여 우리는 음악이 지니고 있는 긴장도를 수치적으로 나타낼 수 있다. 다음으로 B-스플라인 곡선을 이용하여 전체 곡의 텐션의 움직임을 표현한다. B-스플라인 곡선으로 표현된 텐션 곡선은 수정이 가해져 원곡의 긴장도를 변화시키는데 사용될 수 있다. 본 논문에서는 텐션 곡선의 높이를 이용하여 곡 전체의 긴장도를 변화시키는 방법과 스페이스-타임 최적화를 사용하여 특정 부분의 긴장도를 변화시키는 방법을 제안한다. 또한 B-스플라인 곡선을 통하여 새로운 코드 진행을 얻을 수 있는 방법을 소개한다. 게임이나 영화, 애니메이션에서 긴장되는 장면을 연출할 때 긴장감 있는 음악의 사용은 필수적인 요소이다. 본 논문에서 제안하는 방법을 통하여 음악의 긴장도라는 인지적인 요소를 B-스플라인 곡선이라는 수치적인 형태로 표현함으로써, 우리는 실시간으로 음악의 긴장도를 자동적으로 변화시킬 수 있다. 따라서 본 논문에서 제안하는 방법은 게임 같은 인터렉티브한 환경에서 사용자의 몰입성을 증가시키는 방법으로 특히 효과적으로 사용될 수 있다.

• Cartoon and Animation Studies
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• s.48
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• pp.359-383
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• 2017

3,000 years ago, since the first poster of humanity appeared in Egypt, the invention of printing technique and the development of civilization have accelerated the poster production technology. In keeping with this, the expression of poster has also been developed as an attempt to express artistic sensibility in a simple arrangement of characters, and now it has become an art form that has become a domain of professional designers. However, the technological development in the expression of poster is keep staying in two-dimensional, and is dependent on printing only that it is irrelevant to the change of ICT environment based on modern multimedia. Especially, among the many kinds of posters, the style of movie posters, which are the only objects for video, are still printed on paper, and many attempts have been made so far, but the movie industry still does not consider ICT integration at all. This study started with the feature that the object of the movie poster dealt with the video and attempted to introduce the augmented reality to apply the dynamic image of the movie to the static poster. In the graduation work of the media design major of a university in Korea, the poster of each works for promoting the visual work of the students was designed and printed in the form of a commercial film poster. Among them, 6 artworks that are considered to be suitable for augmented reality were selected and augmented reality was introduced and exhibited. Content that appears matched to the poster through the mobile device is reproduced on a poster of a scene of the video, but the text informations of the original poster are kept as they are, so that is able to build a moving poster looked like a wanted from the movie "Harry Potter". In order to produce this augmented reality poster, we applied augmented reality to posters of existing commercial films produced in two different formats, and found a way to increase the characteristics of AR contents. Through this, we were able to understand poster design suitable for AR representation, and technical expression for stable operation of augmented reality can be summarized in the matching process of augmented reality contents production.