• Archives of design research
• /
• v.16 no.1
• /
• pp.83-92
• /
• 2003

Recently 3D animation can produce animation dose to real picture owing to rapid technical development of hardware and software and is used as entertainment factors for movie, ads, game and digital pictures. The process of making 3D animation needs the various making techniques and expression factors unlike traditional animation. Production technique and expression factors in making 3D animation are not acted as individual factor, but they can achieve an animation with high perfection when they should be combined. Therefore this study analyzes the technical expression methods based on hardware and software for operation by computer process and the artistic expression factors based on aesthetic, figurative, design and pictorial factors and then seeks a method of making animation with technical perfection.

• Cartoon and Animation Studies
• /
• s.28
• /
• pp.101-124
• /
• 2012

Success of brought a large revolution in the world of cinema and the media market. They have predicted new industrial possibility for 3D Stereoscopic image and trends started to support for producing in the field of various media platform. We can see our domestic technology creates higher added value in the sphere of hard-wear for the market of worldwide home TV electronics. But in reality we are short of effective and organized pipeline of producing and we should analyse cases more for Stereoscopic 3D animations. Therefore in this paper, we present case study on animation made into Stereoscopic 3D animation to build up suitable Stereoscopic 3D TV animations pipeline. We differentiate from any other Stereoscopic content by applying artistic elements and technological elements, especially human factor and 3D Sweetening to elevate the level of 3D Stereoscopic effect for main audience, children. We propose how to strengthen the competitiveness of Korean animation for world animation market.

• Cartoon and Animation Studies
• /
• s.16
• /
• pp.113-124
• /
• 2009

This study shows that there is an essential difference between colors of animation and live action film through the expressive colors of 2D animation as distinct from three dimension space. While live action film has an obvious object of representation, the image of 2D animation is a creature made by human without the process of mechanical representation. And this is revealed sharply in the expressive colors of 2D animation. Therefore the expressive colors of 2D animation are the important points in which the autonomous meaning of animation image is revealed.

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

• The Journal of the Korea Contents Association
• /
• v.7 no.10
• /
• pp.105-114
• /
• 2007

The purpose of this study is to investigate how to express Surrealism techniques in Chris Landreth who is very famous for 3D short such as Ryan. The case works are focused on 'the end', Chris Landreth's early work. He set up situation of the absurd and describes human being's alienation in animation. A phase of social life is not only revealed with vivid colors and his own surrealism techniques but communication capacity of 3D animation is also shown. Digital Technology, reproducing impossible images is not all about 3D animation. As well as this, it is not far away the way of creating arts. 3D animation will be shown the new possibilities with extension and harmony of all kinds of arts expression.

• Digital Contents
• /
• no.6 s.121
• /
• pp.142-143
• /
• 2003

3D애니메이션은 컴퓨터 그래픽스의 응용 분야 중 방송, 영화, 광고, 애니메이션과 같은 상업용 영상물 제작 및 게임과 사용자 인터페이스 구현 등 여러 분야에서 중요한 위치를 차지하고 있다. 인간 또는 의인화된 동식물, 혹은 로봇과 같은 사물의 움직임을 표현하는 애니메이션은 만화영화와 같은 2D 애니메이션으로 출발해 게임 등 주변 산업과 연계해 발전해 왔다. 그러다 최근 컴퓨터 그래픽을 이용한 3D 애니메이션 기술의 발전과 더불어 새로운 시대를 맞이하고 있다.

• Proceedings of the Korea Contents Association Conference
• /
• 2015.05a
• /
• pp.327-328
• /
• 2015

디지털시대에서 미국카툰시장은 3D 디지털 기법을 충분히 활용하여 마치 실사 같은 영화(Photo realistic movie)를 제작하는 한편. 일본의 경우는 그들만의 독특한 전통 셀 애니메이션(cell animation) 형식을 3D CG 기술과 결합하여 새로운 제작방식의 애니메이션을 제시하고 있다. 본 연구는 일본 2D 애니메이션에서 제작 방식을 유지해야 할 당위성을 카툰 렌더링 3D의 제작방식에 도입하여, 융합한 사례 분석을 통해 2D 애니메이션의 필요성과 중요성을 제시하려 한다.

• Proceedings of the Korean Institute of Information and Commucation Sciences Conference
• /
• 2017.05a
• /
• pp.207-209
• /
• 2017

3D printing, will make it integrated into one of the important branches of animation art, such as stop-motion Animation, to improve stop-motion Animation and put the modern science and technology and the manual craft into perfect combination. Throughout the development of stop-motion Animation, innovation in traditional concept is needed, to put the 3D printing integrated into traditional making and apply it to stop-motion Animation creation, and make sure to reconsider the animation production technology and production material, exploit its unique and distinctive features in multi-level and multi-angle, reshape art form of stop-motion Animation so as to highlight the advantages of 3D printing in making stop-motion animation.

• The Journal of the Korea Contents Association
• /
• v.18 no.1
• /
• pp.665-672
• /
• 2018

The purpose of this study is to analyze the problem of existing stop motion animation and to apply 3D printer technology and computer special effect technology applied with latest technology as a solution to solve this problem. For this purpose, we review the history of stop motion animation and confirm how the technology applied to stop motion animation through previous research. As a result, we have overcome limitations of the existing stop motion animation limited to the cline cloth in terms of expression by using 3D printer like recently released and . Furthermore, the natural phenomenon, which is the biggest limitation of stop motion animation, was able to produce a unique work of stop motion animation rather than computer special effect processing. Therefore, in the stop-motion animation, the acceptance of 3D printer technology and computer special effects technology has enabled unlimited imagination and original expression. Recent technology-based stop-motion animation is expected to provide the foundation for the continued development of the animation field in the future.

• 한국HCI학회:학술대회논문집
• /
• 2006.02a
• /
• pp.836-842
• /
• 2006

3D 애니메이션 제작에서 동작의 타이밍(예를 들면 timing&spacing, slow-in, slow-out)은 연기의 의미와 느낌을 정확히 표현하기 위한 매우 중요한 요소 중의 하나이다. 따라서 이러한 타이밍의 편집은 애니메이션 작업에서 필수적이라고 할 수 있는데, 이를 기존의 3D 애니메이션 시스템에서 수행하기에는 기술적으로 많은 어려움이 있었다. 첫째로 타이밍의 편집은 시간축 자체를 변형하는 문제이기 때문에 보간 곡선에 대한 재매개변수화가 필요한데, 이러한 가능은 기존 애니메이션 시스템에서 제공되지 않는다. 둘째로 타이밍 편집에는 종종 애니메이션 감독이 직접 참여하기도 하는데, 일반적으로 3D 애니메이션 시스템의 사용에 익숙하지 않기 때문에 원하는 결과를 직접 만들어 보기가 어려웠다. 본 논문에서는 이러한 문제들을 해결한 새로운 애니메이션 타이밍 시스템을 구현하였다. 이 시스템은 렌더링된 영상파일들과 애니메이션 장면 파일을 입력 받아 사용자가 타이밍 편집을 하고, 그 결과를 애니메이션 장면 파일에 다시 기록하는 방식으로 구현된다. 타이밍 편집은 기존 셀 애니메이션 제작 방식과 유사한 방식으로 프레임을 삽입하거나 삭제하는 가능과 시간왜곡 (time-warping) 그래프를 직접 조정하여 타이밍을 조정하는 가능을 제공한다. 전자는 제작도구에 익숙하지 않은 감독이나 셀 애니메이션 작업자들이 직관적으로 사용할 수 있는 기능이고, 후자는 좀 더 세밀한 타이밍 조정을 위해 제공하는 가능이다. 사용자가 편집한 타이밍 결과는 각 동작변수의 보간곡선을 재매개변수화하여 애니메이션 파일에 기록된다. 본 논문에서 구현한 시스템은 실제 애니메이션 제작에 보편적으로 사용되는 마야 애니메이션 파일을 지원하도록 구현되었다.