• Cartoon and Animation Studies
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• s.16
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• pp.165-178
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• 2009

It seems like that the main stream of animation for theaters transferred from cells to 30 animations. It can be easily seen if current situation is compared to the time when al! works were Cell animations. Although earlier papers were mostly about studies on Cell animation works, future studies will publish papers related to 30. Accordingly, this study studied the association of the researcher's paper with 30 works while It had been applied to 20. Then, based on the data, this study analyzed how major/supporting characters were transformed to animation characters in the scenes that were animated at the beginning and end of film that were reieased in 2007. This result was compared with the character made using a voice actor in the Pixar's long piece of animation for theater that had been already screened. The data were made into values to some extent in an attempt to increase satisfaction in the result of analysis comparing the character with the voice actor. When making characters using actual persons, it is hoped that grasping the modeling factors of the images making 20/30 characters as indicated in this study will be helpful in producing animation characters.

• Cartoon and Animation Studies
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• s.40
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• pp.139-155
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• 2015

Animation is completed in accordance with the original planning of visual direction in the process of post-production. Especially, a variety of visualization skills to meet the planning idea are directed in editing and compositing processes such as rendering and shading in the production of 3D animation. Therefore, the studies how to implement these visual effects have been conducted since the emergence of the animation. The rendering method which appears in the recent animations so often is the effect of 2D animation style although it is applied by 3D technique. 3D animation can be classified as two types including photo realistic and non-photo realistic renderings. The former is to render the images realistically while the latter is to highlight the formative effect with analogue style free from the realism of the photographs. Visual effect of 2D animation is non-realistic, that is, non-photo realistic rendering. The animations produced by this method have the depth of 3D animation expression in terms of space and animating, and can direct the viewer-friendly analogue style visuals, which are widely used as a post-production effect. Hence in this study, we selected a short animation, 'Paperman,' one of Disney's animations, produced by cartoon rendering method which belongs to the class of non-photo rendering technique in 3D graphics, as our subject. We analyzed their techniques and visual effects of the scenes expressed by cartoon rendering method so as to understand whether they meet the original direction idea with the composition work. In addition, we expect further developments of post-production methods, exceeding the limit of graphic expression in alignment with the trend that has become more various in the types and genres of non-photo rendering.

• Proceedings of the Korean Institute of Information and Commucation Sciences Conference
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• 2010.05a
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• pp.328-331
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• 2010

The ratio of roles, involving characters created by 2D or 3D Graphic Technology, has risen within games, recent animations, movies and the educational sector. However, the "monster character" appears mainly in "Shanghai Ching" and Greek and Roman mythology. To receive worldwide accolade, it is time that we should use our games, movies and animations to present the history and spirit of Korea. I researched Korean myths so as to understand the characteristics a "Korean monster" would need to portray. This also allowed me to visualise the monster and realize the necessary manufacturing processes involved.

• Cartoon and Animation Studies
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• s.48
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• pp.45-67
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• 2017

Many of the modern animations have 3D technology, and as time goes by, their production technology becomes more diverse and sophisticated. When John Alan Lasseter insisted on studying CG animation technology, he might have taken our jobs to the computer in the near future, as many people were worried about. It may be premature to worry that an unstable future may become a reality at this point, but I do not think there will be any difference in the fact that many animations are being produced using 3D technology. Since the Toy Story was screened in 1995, the 3D animation production technology has started to develop rapidly and now it has been elaborately developed so that it can not distinguish the part where computer graphics technology is applied from the live film. On the other hand, Disney's 2D animation part falls into the decline path because the appearance of 3D animation was perceived as a new expression technique at that time, and the efficiency of the work process was superior to the 2D animation in addition to receiving the attention from the audience. Is it necessary to accept the retrogression of 2D animation technology, reflecting the environment of the animation industry that 3D animation production technology has become mainstream in the first 20 years since the first theatrical works appeared? Since 2D animation technology has a long history and is still attractive to the audience, it is not hard to find an attempt to combine 2D and 3D animation technology. In this paper, I want to study 2D hand - drawn character in 3D animation. Through this, it is hoped that animation convergence technology will be applied more actively in the future.

• Journal of the Korea Society of Computer and Information
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• v.15 no.2
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• pp.75-81
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• 2010

Feeling of shooting is one of the most important features of shooting games. Game developers have tried to improve feeling of shooting by using various techniques, such as visual/sound effects, rumble effects, animations, and camera techniques. In this paper, we introduce the results of the empirical analysis of the several techniques in a 2D shooting game. We carried out two experiments in which levels of feeling of shooting were measured in a simple 2D shooting game. The first experiment was configured with 16 combinations of the four techniques (visual, animation, sound, and rumble effects) applied to a shooting object (a cannon), and the second was configured with 16 combinations of the two techniques (visual and sound effects) applied to both or either side of a shooting object and exploding objects (enemy ships). The analysis results of the experiments showed that all of each techniques were statistically significant factors. We could also found that sound effects and rumble effects are more effective than visual effects and animations and that exploding objects are more important that a shooting object.

• Journal of Digital Contents Society
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• v.13 no.3
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• pp.459-467
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• 2012

In this work, we develop an instructional method in which students create 3D animations based on problem-solving techniques and computational thinking. The educational, easy-to-learn programming environment/language called "Alice 2.3", which supports story-telling, is used for the delivery of the instructional method. Unlike typical 3D animation instructional methods using command-based demonstrations and/or 3D animation tools, learners engage in a group project in which they develop a story and solve problems by creativity, computational thinking and reasoning skills. Then they develop animations based on the story by programming with Alice. The analysis based on the collected data showed that learners had to put much effort while working on the project, but their critical-thinking skills were improved. It also showed they were more involved and their interests were heightened in developing animation through programming.

• The Bulletin of The Korean Astronomical Society
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• v.44 no.2
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• pp.51.1-51.1
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• 2019

At the commissioning phase of KVN from 2009 to 2013, single-dish survey and monitoring observations were performed toward about 1000 evolved stars and about 60 relatively strong SiO and H2O maser sources respectively. Based on these single-dish results and VLBI feasibility test observations at K/Q/W/D bands in 2014, KVN Key Science Project (KSP) has started from 2015 and will be completed in 2019 as KSP phase I. Here we present the overview of observational studies on evolved stars using KVN. In KSP phase I, we have focused on nine KSP sources which show a successful astrometrically registered maps of SiO and H2O masers using the source frequency phase referencing method. We aim at investigating the spatial structure and dynamical effect from 43/42/86/129 GHz SiO to 22 GHz H2O maser regions associated with a stellar pulsation and development of asymmetry in circumstellar envelopes. Using the combined network KaVA (KVN+Japanese VLBI network VERA), KaVA Large Program titled on "Expanded Study on Stellar Masers: ESTEMA Phase I" was performed from 2015 to 2016. Based on ESTEMA Phase I, EAVN Large Program titled on "EAVN Synthesis of Stellar Maser Animations: ESTEMA Phase II" was also performed from 2018. The ESTEMA II project aims to publish composite animations of circumstellar H2O and SiO masers, which taken from up to 6 long-period variable stars with a variety of the pulsation periods (333-1000 days). The animations will exhibit the three-dimensional kinematics of the maser gas clumps with complexity caused by stellar pulsation-driven shock waves and anisotropy of clump ejections from the stellar surface. Adding three EAVN telescopes (Tianma 65m, Nanshan 26m and NRO 45m telescopes) with KaVA always secures the high quality of the maser image frames through the monitoring program.

• Journal of Korea Multimedia Society
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• v.18 no.2
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• pp.268-276
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• 2015

This article analyzes the background representation of 3D animation and look at what its proper background expression. With the development of computer graphics technology, the background of the 3D animations can be expressed as The actual background. In contrast, "The Smurfs" which was released recently was created to take the actual background. However, 3D animation with real background is not appropriate in terms of creative expression space in the main role of the animation. In this Study, we analyze the character and background of the animation made in 3D graphics. Based on this, we propose a correct representation of 3D animation background.

• Journal of the Korean Society for Computer Game
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• v.31 no.4
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• pp.175-184
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• 2018

The commercial success of the game has also led to animation of the original game, especially the live version of The Street Fighter II in 1994 and a variety of videos of the game-based version, 2D Animation and 3D Animaion until now. But animations are not always successful because they are based on popular and commercially successful games. That's because when the original game was remade into an animation, the difference between the narrative structure of the original game story and the setting of the game and animation is striking. Nevertheless, a feature-length animation based on the Angry Birds game, which was released on May 19, 2016, has also been a huge commercial success, with this paper analyzing the case applied to the 12th stage of Christopher Vogler's hero's journey, Aengibird the Movie, and discussing the way in which the animation developed based on the game compared with other animations. Christopher Vogler, a Hollywood playwright, analyzed the structure of popular-loved movies based on the common narrative of the myth as the main motif of the mythologist Joseph Campbell. His narrative style is a hero's journey, using a total of 12 stages of epic narrative structure to help the protagonist find himself and achieve what he wants. Foreign heroes, adventure films as well as animations from big studios like Disney, Pixar, and Ghibli are using the story-development method of this Christopher Vogler.

• Design Convergence Study
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• v.14 no.3
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• pp.61-72
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• 2015

This research attempts to provide greater understandings about 'Transbranding' theory by an analysis of , a 3D animation produced by Disney Studio released in 2013 partly in comparison with . Furthermore, this research shows the branding strategy of "Disney", reputed for its well-devised marketing strategy, in the era of Transmedia. This research analyzes the animation with four components of 「Transmedia Mix strategy」 and the 「2F(Flexible Fit) strategy」. In the 「2F(Flexible Fit) strategy」 analysis, is compared with another Disney-made animation . not just maintains the core values of Disney animations but also implements diverse strategies for developing the evolving interactions, the collaborative creation, and the multi-experience. has achieved successful branding identity/image by securing the strategic flexibility by differentiating itself from the existing Disney animations. Disney also establishes itself as a new and modern brand through 2F strategies.