• Smart Media Journal
• /
• v.1 no.1
• /
• pp.64-71
• /
• 2012

Computer graphics applications such as virtual reality, games, animation begin from 3D modeling. The technology of 3D modeling and deformation has become an active research field in the past few decades from the combination of basic 3D primitives to the realistic modeling and deformation algorithm. In this paper, we introduce recent trends in 3D human modeling and deformation technology.

• Cartoon and Animation Studies
• /
• s.5
• /
• pp.535-539
• /
• 2001

이 글은 제 1 회 부천국제판타스틱영화제(1997년 8월 29일부터 9월 5일까지 경기도 부천시에서 개최)조직위원회로부터 1997년 6월경에 의뢰를 받아 35mm 필름으로 작업한 20초 분량의 영화제 공식 리더필름에 대한 작업 결과를 요약한 것이다. 작업 내용에 있어서는 3D 컴퓨터그래픽의 무리한 적용보다는 최소한의 절제하고 주로 드로잉 냄새가 강한 2D 캐릭터를 부각시켜, 국내 최초로 도입되는 ‘판타스틱’ 장르 영화제의 취지를 반영해보고자 고심했다. 배경은 3D로 처리하고 캐릭터는 직접 페이퍼에 그려 스캐닝 한 후 2D 공정을 거쳐 이 둘을 합성하였다. 이 작업방식은 당시의 컴퓨터 환경에서는 꽤 거친 공정을 필요로 하였다. 역사적인 조르주 멜리에스의 <달세계 여행> 스틸 컷을 활용한 도입부와 돌비스테레오 녹음방식을 채택한 이 작품의 개요를 정리하면 다음과 같다. ${\circ}$화면형식 : 35mm 스텐다드 사이즈 필름(상영용은 Beta버전) ${\circ}$작품길이 : 20초 ${\circ}$음향 : 돌비스테레오 방식(Only music) ${\circ}$제작기간 : 1997년 6월 - 8월 ${\circ}$사용S/W : 포토샵, 툰즈, 소프트이미지

• Cartoon and Animation Studies
• /
• s.41
• /
• pp.253-277
• /
• 2015

When was launched in 2014, it was immediately ranked 2nd in English gross sales record in the first half of 2014, attracting huge attention from avid game users. Colin Moriarty(2014) states that the worldwide popular game, , lies on the alternative history assumption, 'what if Nazi Germany won the second world war? In regard to this, this research addresses how the characteristics of alternative history was adopted and visually represented in FPS game trailer. In terms of research method, firstly, literatures will be reviewed about definition of alternative history and some of the previous examples where alternative history was applied in novels, films and games. Secondly, narrative composition of alternative history is categorized as three sequential phases, (1) borrowing real history material, (2) connection between real and fictional history and (3) reconstruction of history through reinterpretation. Thirdly, the live-action game trailer will be analysed by three sequential phases of narrative composition, and CG game character and background will be analysed by spatial background, characters and props. The phase of 'borrowing' has used the historic images related to the World War II, and the phase of "connection' has composited by "connection through circumstantial events". The phase of 'reconstruction' has unfolded its fictional narrative in the form of "limited fictional history" In addition to this, has constructed dystopia world through composing of historic images and CG characters by SF design. In the light of this, the narrative composition of alternative history successfully extends to game area.

• Cartoon and Animation Studies
• /
• s.39
• /
• pp.215-231
• /
• 2015

The Cultural Revolution in the history of Chinese animation hinder the development of the initial animation, and after a negative assessment instrument provided the cause is to become sluggish growth of the Chinese animation. So this time animation are things that are the subject of academic research studies or analysis has been depreciating almost uniformly without evaluation. However, of all the cultural and artistic creation it is developing in its own specific historical conditions and has the aesthetic results. This paper puts the primary purpose is to hold in consideration the aesthetic principles that led to cultural and artistic creativity and objective perspective the achievements the Chinese animation of the time period of the Cultural Revolution. Cultural Revolution is avoided to the previous period in accordance with the socialist ideology of Mao Ze-dong(毛澤東) sikindaneun highlight the culture of the proletariat and placed our goal to create a new class culture. Therefore, cultural and artistic creation of this period is often inconsistent with this part of our aesthetic principles generally accepted character has a non- elitist and anti properties. Best drama is a creative one hand as a model to implement the principles of aesthetics, art and culture Cultural Revolution period kkophimyeo reference for understanding the aesthetic principles that animated the Chinese Cultural Revolution period of orientation. This paper has San Tu Chu(三突出), Hong Guang Liang(紅光亮), and Gao Da Quan(高大全) at the time of the Cultural Revolution aesthetic principles are reflected in how the concrete work, the Cultural Revolution when the animation is how to accommodate these aesthetic principles and placed emphasis on comparative studies on best pole and correlation of the Cultural Revolution when the Chinese animation to ensure that adaptation in own way. First, after analyzing whether the aesthetic principles of focusing on the similarities of the best pole time of the Cultural Revolution and China, and how to implement animation in the works, these aesthetic principles according to the analysis of positive and negative influence on the creation of Chinese animation It was described as neutral. The detailed analysis and comparative study courses were trying to access in two significant aspects of the characters and scenes directing. In terms of character animation of the Cultural Revolution in China when a young boy or girl, emphasis should emphasize the health tinged with red lips and cheek blush to highlight the desired Gong Nong Bing(工農兵) shape as the main character and smooth texture and sophisticated highlights the glittering feeling to the touch, it was confirmed focused hayeoteum to implement the principle of 'Hong Guang Liang', highlighting the brilliant colors with a clean, bright colors. Highlighting a number of protagoniste compared to the antagonist in the animated scene of the Cultural Revolution a few times in terms of production and, among a number of protagoniste also emphasizes the outstanding hero figure, "yet three outstanding heroes heroic figures also emphasize the leading figures among the the director of the extrusion step-by-step approach "('San Tu Chu')was used. In addition, the hero figure is generally high and low angle by directing a large and perfect aesthetic appearance was to faithfully implement the principle of 'high-charged'('Gao Da Quan').

• The Journal of the Korea Contents Association
• /
• v.17 no.1
• /
• pp.444-454
• /
• 2017

Stop-motion animation is highly valued for realistic imagery and its ability to captivate the five senses of the audience. Despite this, practical research in this area is limited to date. The long hours required to produce stop-motion animation and turn these into profits can be attributed for the lack of knowledge in this area. In production research, the matter is made worse as it is difficult to protect the intellectual property made through the collaborated efforts of students and teaching staff through each laborious stage of planning, broadcasting and making 2D models. Meanwhile as the animation industry finds the investigation of new production processes taxing, it has maintained its focus on pre-existing processes such as the use of pipeline. This paper aims to shed light on new production methods that can be used to improve the effectiveness of existing stop-motion production. In addition, by working with Taktoon Enterprises on its T.V series Galaxy Kids the paper will revise real world production methods including the traditional use of hand made models. Thus by investigating the use of graphic technology such as 3D printing the paper will be able to extend current business models. Research conducted in this paper is a necessary part of overcoming various contents production obstacles. Furthermore, it may help publicize issues faced in production leading to the discussion and sharing of new innovations.

• Journal of Korea Entertainment Industry Association
• /
• v.13 no.5
• /
• pp.67-72
• /
• 2019

Animation is a comprehensive audio-visual art, animation literature, painting, music, architecture, photography and other art forms are integrated. China's animation industry has made some achievements in the new century, but on the whole, with the globalization of China, China's animation industry has been influenced by Japan and the United States. China has a history and culture of five thousand years, with profound social deposits and cultural foundation. Of the four ancient civilizations in the world, the Chinese civilization is the only one that has survived. China has too many stories to tell. From the development history of Chinese and foreign animation, we can see that many Chinese traditional cultural elements are used for reference. Since the 1980s, Chinese animation has been on the road of national revival. Chinese animation has begun to draw close to traditional culture in terms of themes, characters and scenes, and integrate Chinese traditional cultural elements. The theme of big fish and begonia is to repay kindness by sacrificing one's own life for the sake of justice and friendship. This fearless spirit of sacrificing one's life for justice is the concentrated embodiment of the fine qualities of the Chinese nation over the past several thousand years. Kun to save chun and give up his life, chun in order to repay rather give up half of his life, and qiushui in order to help their beloved, also would rather give up all of their own. These three protagonists are very distinctive personality characteristics, are to "righteousness" and give up their most precious things. At the same time, big fish and begonia combines many traditional Chinese cultural elements to form an animated film with Chinese characteristics.

• The Korean Publising Journal, Monthly
• /
• s.175
• /
• pp.24-25
• /
• 1995

'95 서울국제만화페스티벌(SICAF 95)이 한국종합전시장(KOEX)에서 열렸다. 문화체육부와 한국방송공사가 공동주최하고 대한출판문화협회 등의 후원으로 열린 이번 페스티벌(8.11-8.16)에는 국내외 만화 1천여 점과 세계의 각종 페스티벌에서 수상한 우수 애니메이션 작품 1백여 점이 출품.상영됐다. 우리 역사상 최대의 만화잔치인 이 행사에는 개장 첫날부터 많은 인파가 운집하여 1조원에 달하는 우리 만화시장의 규모와 성장 잠재력을 실감케 했다. 이번 페스티벌에 참가한 국내외 작품 가운데 몇점을 소개한다.

• Cartoon and Animation Studies
• /
• s.34
• /
• pp.197-217
• /
• 2014

The 1920s and 1930s ushered in "the golden age" of Chinese comics when the comics flourished. Satirical cartoons in modern Chinese comics were popular due to emotional instability and war caused by foreign powers. Among many popular comics, this paper analyzes in the 1920s and in the 1930s which were made into films and dramas. Chapter Two shows that China in the Republican era of China expanded its consumer culture into some sectors like films, novels, magazines and fashion in the 1920s and 1930s. However, more than any other things, this chapter considers from the historical perspective "the golden age" of comics including comic magazine in the 1930s and a history of comic magazines that gained popularity with conventional and common story. Chapter Three explains that social satire cartoons were in vogue since the May Fourth Movement and anti-imperialistic and semi-feudalistic stories in the 1920s were realized in life. It also says that comics that describes the negative sides of its society were popular. Ye QianYu, a cartoonist, portrayed many facets of Shanghai through : the daily life of the middle and lower classes, bureaucratic corruption and sympathy for the working class. drawn by Zhang LePing describes the unfair social system between the bourgeoisie and the proletariat and the gap between the rich and poor through the main character, the powerless and poor orphan. and lampooned the reality of its time in an objective, witty and humorous way in terms of ethics and economy respectively. The researcher chooses to study and which are very familiar to us, because good cartoons, animations and movies stimulate the feelings about our surroundings.

• Cartoon and Animation Studies
• /
• s.49
• /
• pp.267-297
• /
• 2017

This paper attempts a close-reading of Michel Ocelot's short animation film, (1979), and proposes it as an available text in art appreciation class for young students. stimulates the students' attention and intellectual curiosity thanks to the exotic and fantastic atmosphere, beautiful mise en scene, and intriguing plot. Ocelot's technique of decoupage used in this film rejuvenates both the traditional folk art and Lotte Reiniger's early experiments in the history of animation film. Ocelot subverts the ideal of modern male adult subject as unique possessor of scientific knowledge and technology, by adopting a female figure and a young child, who is also female, as main characters. The imaginative and subversive power of animation contributes to creating posthuman beings beyond the homocentric figure of Vitruvian Man. The posthuman condition supposes that human beings have the equal relationship of continuum with not only other humans but also non-human beings like all living things and inanimate matters. In order to teach and learn the posthuman condition, it is necessary to conceive an interdisciplinary and integrated curriculum including art, science, philosophy, history, and social sciences. Animation film serves excellently as educational text for the integrated curriculum of the posthuman.

• Digital Contents
• /
• no.11 s.90
• /
• pp.36-42
• /
• 2000

디지털 혁명이 목전에서 일어나고 있다. 문자, 음성, 사진, 동영상, 애니메이션 등이 하나로 통합된 채 초고속 광통신을 타고 세계를 누빈다. 멀티미디어 시대라 일컫는 21세기는 이렇듯 잡지, 신문, 방송, 영화, 정보통신 간의 경계선을 무너뜨리고 새로운 형태의 미디어들을 탄생시키고 있다. 전자잡지, 인터넷 신문, 인터넷 방송 등이 그 대표적인 예라고 할 수 있다. 이들은 기존 미디어가 갖는 특성은 물론, 인터넷이 지니고 있는 불특정 다수의 리얼타임 정보전달, 즉 동시에 보고, 들을 수 있을 뿐만 아니라 쌍방향 통신에 의한 피드백이 실시간으로 이루어져 21세기 새로운 언론 매체로 각광받고 있다.