• Cartoon and Animation Studies
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• s.51
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• pp.293-319
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• 2018

Thanks to the advancement of the related technologies and equipment, today's video contents like movies, animations and soap operas are rapidly expanding their expressible cinematic imagination area. In order to fulfill the elevated visual expectations of audiences and realize exciting storytelling and fantastic world, the fusion of different techniques is actively used, and the reality for visual effects and image synthesis is increasing more and more. Accordingly, recent VFX-oriented movies using CG have a much more complicated production process than before. Therefore, the importance of Pre-visualization, aka Pre-vis is becoming bigger in the planning process for sophisticated design. Pre-vis means that the advance visualization for stories or directing ideas in the planning process before starting production of movies or animations. 3D animated Pre-visualization realizing directors' abstract and ambiguous ideas in 3 dimensional environment in advance is, as a powerful means for visual storytelling, briskly used focusing on the VFX film industry on which the present CG is broadly used, and the role of Pre-vis throughout productions has increased compared to the past. The studies, however, on the role and utility of Pre-vis are not enough. Therefore, this study was conducted on the role of Pre-vis used for present VFX movie productions using the examples of 3D animated Pre-visualization production in which the researcher of this study participated. In this study, the role of the Pre-vis that is subdivided presently, is divided into and 3D animatics and their each role is analyzed with the example images. Through this, the characteristics that Pre-vis should have are clarified and the concept of the advantages and utility led by the use of Pre-vis in productions is strengthened. The goal of this study is to induce active uses of Pre-vis throughout productions after forming consensus about the various roles of Pre-vis and their utility.

• ETRI Journal
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• v.38 no.6
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• pp.1085-1094
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• 2016

In this work, we present interactive automultiscopic content with mobile surface haptics for multimodal interaction. Our system consists of a 40-view automultiscopic display and a tablet supporting surface haptics in an immersive room. Animated graphics are projected onto the walls of the room. The 40-view automultiscopic display is placed at the center of the front wall. The haptic tablet is installed at the mobile station to enable the user to interact with the tablet. The 40-view real-time rendering and multiplexing technology is applied by establishing virtual cameras in the convergence layout. Surface haptics rendering is synchronized with three-dimensional (3D) objects on the display for real-time haptic interaction. We conduct an experiment to evaluate user experiences of the proposed system. The results demonstrate that the system's multimodal interaction provides positive user experiences of immersion, control, user interface intuitiveness, and 3D effects.

• Journal of the Korea Society for Simulation
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• v.15 no.3
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• pp.93-101
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• 2006

Recently, work-related musculoskeletal disorders (WMSDs) become a hot issue in the industrial fields. To prevent the potential risk of workers, various approaches have been adopted. One of the approaches is to improve the design of product, that of jig (or fixture) and that of workstation in the early stage of the development. 3D simulation technology is known as the powerful method for detecting such problems before constructing the workstation, because it is possible to evaluate the posture of worker using 3D models in a cyber space. It enables to find the unexpected problems and save the time and cost for redesign and rework. This paper introduces a 3D simulation case study of workers in an excavator factory. 3D models of products, jigs were developed with CATIA. The assembly processes were animated in IGRIP and DPM. Finally the various postures of worker were simulated using Human. As a result, some postures were analysed as the risky jobs and the result of simulation was used to improve the system.

• Journal of the Korea Computer Graphics Society
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• v.21 no.2
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• pp.11-20
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• 2015

We present a new interactive technique for directing the motion sequences of an animated character by dragging its specific body part to a desired location in the three-dimensional virtual environment via a hand motion tracking device. The motion sequences of our character is synthesized by reordering subsequences of captured motion data based on a well-known graph representation. For each new input location, our system samples the space of possible future states by unrolling the graph into a spatial search tree, and retrieves one of the states at which the dragged body part of the character gets closer to the input location. We minimize the difference between each pair of successively retrieved states, so that the user is able to anticipate which states will be found by varying the input location, and resultantly, to quickly reach the desired states. The usefulness of our method is demonstrated through experiments with breakdance, boxing, and basketball motion data.

• 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.

• Journal of Korea Multimedia Society
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• v.13 no.9
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• pp.1373-1381
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• 2010

Current flight maneuver diagram used by pilots is based on 2D spatial presentation, so it has limitation on display 3D flight information and hard to understand it instinctively. Flight animation authoring tools for this diagram are complex to use and lack useful features like non-linear editing of flight path and real-time interactivity on multiple aircrafts. This research focuses on 3D flight path generation method in the animation system for flight maneuver education. This research combines initial sketch input on 2D diagram with the thrust of an aircraft to generate 3D linear spline as close as to real flight. Using suggested linear spline creation method, the flight path can be visualized, edited, and animated in real-time at the flight maneuver briefing and debriefing.

• Journal of Digital Convergence
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• v.14 no.12
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• pp.209-215
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• 2016

The quantity of image frames, the widths of transparent slits, and the black bars on the scanline are the three basic elements of scanimation. Besides, the size of scanimation, the color and contrast of scanimation, and the brightness of scanline, etc, can also influence the optical illusion of scanimation. Based on the recent principle of production of 2D scanimation, and through asking questions, and making corresponding experiment, this research finally gets to the conclusion. Based on the principle of production of 3D scanimation, and through various basic testing, this paper aims to verify how to bring out the best visual effects (optical illusion) of animated illusion scanimation in publications by using the 3D animation in the publications. And the future goal is to study and flexibly use Z-axis space in the scanimation.

• The Transactions of the Korea Information Processing Society
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• v.13 no.9
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• pp.453-459
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• 2024

Recent advances in generative AI technologies using natural language processing have critically impacted text, image, and video production. Despite these innovations, we still need to improve the consistency and reusability of AI-generated outputs. These issues are critical in cartoon creation, where the inability to consistently replicate characters and specific objects can degrade the work's quality. We propose an integrated adaption of language analysis-based requirement engineering and cartoon engineering to solve this. The proposed method applies the linguistic frameworks of Chomsky and Fillmore to analyze natural language and utilizes UML sequence models for generating consistent 3D representations of object interactions. It systematically interprets the creator's intentions from textual inputs, ensuring that each character or object, once conceptualized, is accurately replicated across various panels and episodes to preserve visual and contextual integrity. This technique enhances the accuracy and consistency of character portrayals in animated contexts, aligning closely with the initial specifications. Consequently, this method holds potential applicability in other domains requiring the translation of complex textual descriptions into visual representations.

• Journal of Information Display
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• v.3 no.1
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• pp.22-26
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• 2002

Three-dimensional dynamic display system based on computer-generated integral imaging is discussed and its feasibility is verified via some basic experiments. Integrated images observed from different viewing points are seen to have full parallax and the animated 3D image was implemented successfully. Moreover, using large size Fresnel lens array was found to helps widen viewing angle and to make the system more practical.

• Transactions of the Korean Society of Automotive Engineers
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• v.8 no.3
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• pp.190-197
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• 2000

A graphic vehicle modeling pre-processing program and a visualization post-processing program have been developed for AutoDyn7, which is a special program for vehicle dynamics. The Rapid-App for GUI(Graphic User Interface) builder and the Open Inventor for 3D graphic library have been employed to develop these programs in Silicon Graphics workstation. A Graphic User Interface program integrates vehicle modeling pre-processor, AutoDyn7 analysis processor, and visualization post-processor. In vehicle modeling pre-processor, vehicle hard point data for a suspension model are automatically converted into multibody vehicle system data. An interactive graphics capabilities provides suspension modeling aides to verify user input data interactively. In visualization post-processor, vehicle virtual test simulation results are animated with virtual testing environments.