• Proceedings of the IEEK Conference
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• 2002.07c
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• pp.1662-1665
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• 2002

This paper proposes a novel semantic feature detection (SFD) method for real-time image transmission of sign language and finger spelling. We extract semantic information as an interlingua from input text by natural language processing, and then transmit the semantic feature detection, which actually is a parameterized action representation, to the 3-D articulated humanoid models prepared in each client in remote locations. Once the SFD is received, the virtual human will be animated by the synthesized SFD. The experimental results based on Japanese sign langauge and Chinese sign langauge demonstrate that this algorithm is effective in real-time image delivery of sign language and finger spelling.

• Journal of Internet Computing and Services
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• v.17 no.3
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• pp.33-43
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• 2016

In this study, 3D-image based course material has been suggested as a potential pedagogical tool for laboratory courses for aviational maintenance in vocational high schools. With a special focus on assembly/disassembly of the combustion chamber, 3D contents described here are created by Soildworks 2014 based on the textbook widely used in aviational high schools. By analyzing several textbooks currently adopted at various schools, we have clearly shown that the current text-based teaching method is far from being effective regarding providing adequate learning environment for high school students who study aviational maintenance. From the analysis of the conventional textbooks, it is seen that it is urgent that we should come up with more effective and efficient way of teaching methods for these topics at vocational high schools. Using Solidworks, we have developed very vivid 3D image-based course material for topics related to a combustion chamber in the airplane. Newly developed 3D material is seen to clearly show step by step procedures of assembly and disassembly of the combustion chamber which has crucial importance in the aviational laboratory courses. Especially the transparent feature in Solidworks could make it possible to observe the parts covered by outer casing, which can not be seen even in any laboratory class with real objects. 3D animated views could provided unprecedented learning environment for students to acquire core knowledge with ease for the maintenance of a combustion chamber. In order to provide easy access for students to this 3D-based course material, the exclusive viewer is also developed using MS office powerpoint 2007. An example of a learning plan using 3d course material is suggested as well.

• Cartoon and Animation Studies
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• s.37
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• pp.221-245
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• 2014

With the success of the world's first 3D computer animated film, "Toy Story" in 1995, industrial development of 3D computer animation gained considerable momentum. Consequently, various 3D animations for TV were produced; in addition, high quality 3D computer animation games became common. To save a large amount of 3D animation production time and cost, technological development has been conducted actively, in accordance with the expansion of industrial demand in this field. Further, compared with the traditional approach of producing animations through hand-drawings, the efficiency of producing 3D computer animations is infinitely greater. In this study, an experiment and a comparative analysis of markerless motion capture systems for facial expression animation has been conducted that aims to improve the efficiency of 3D computer animation production. Faceware system, which is a product of Image Metrics, provides sophisticated production tools despite the complexity of motion capture recognition and application process. Faceshift system, which is a product of same-named Faceshift, though relatively less sophisticated, provides applications for rapid real-time motion recognition. It is hoped that the results of the comparative analysis presented in this paper become baseline data for selecting the appropriate motion capture and key frame animation method for the most efficient production of facial expression animation in accordance with production time and cost, and the degree of sophistication and media in use, when creating animation.

• The Journal of the Korea Contents Association
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• v.6 no.9
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• pp.98-107
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• 2006

By improving performance of mobile machine(3D engine, 3D accelerator chip set, etc) and developing wireless network technology, a demand for actual contents of users is being increased rapidly. But, there are some difficulties yet for the speedy development of actual contents because of the limitation of development resources that is dependent on each mobile device's different performance. In general, much of the animated character-creation work for mobile environment is still done manually by experienced animator with the method of key frame processing. However, it needs a lot of time and more costs for creating motion. Additionally, it is possible to cause a distortion of motion. In this paper, I solved the difficulties by using a optical motion capture system, it was able to acquire accurate motion data more easily and quickly, and then it was possible to make 3D dance contents efficiently. Also, I showed techniques of key reduction and controlling frame number for using huge amounts of motion capture data in mobile environment which requires less resources. In making 3D dance contents, using an optical motion capture system was verified that it was more efficient to make and use actual-reality contents by creating actual character motion and by decreasing processing time than existing method.

• Journal of Broadcast Engineering
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• v.19 no.5
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• pp.569-577
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• 2014

From the year 2009, 3D Stereoscopic movies and TV have been spotlighted after the huge success of a movie called "AVATAR". Moreover, most of 3D movies & contents are created by mixing real-life shots & virtual animated pictures, such as "Robocop 3", "Transformer 4" as shown in 2014. However, the stereoscopic 3D video film shooting with a traditional stereoscopic rig camera system, takes much more time to set the rig system and adjust the system setting for proper film making which necessarily resulting in bigger cost. In fact, these problems have depreciated the success of Avatar as decreasing demand for 3D stereoscopic video shooting. In this paper, inherent problems of traditional stereoscopic rig camera system are analyzed, and as a solution for the problems, a novel implementations of single-lens optical stereoscopic 3D camera system is suggested. The new system can be implemented to a technology for separating two lights when even those lights passing through in the same optical axis. The system has advantages of adjusting the setting and taking video compared with traditional stereoscopic 3D rig systems. Furthermore, this system can acquire comfortable 3D stereoscopic video because of the good characteristics of geometrical errors. This paper will be discussed the single-lens stereoscopic 3D camera system using rolling shutters, it will be tested geometrical errors of this system. Lastly, other types of single lens stereoscopic 3D camera system are discussed to develop the promising future of this system.

• Cartoon and Animation Studies
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• s.36
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• pp.349-374
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• 2014

The light is the language. Directors have to describe the scene component effectively his intention to configure the scene as an appropriately. After this act of the character, the layout of the props and scene lights will enter to the scene components. Those things help to audiences can understand narrative of work and emotion that producer want to send. Expressing their emotions especially using the lights by adjusting the colors and contrast makes audience to concentrate on work and understand naturally. This lighting technique clearly appears on early year theaters stage of England and Rembrandt's paintings. Properly dividing and controlling the lights dramatically increases the beauty of the work elements to express a variety of emotions such as worries and fear. Therefore, it can be evolve depending on director's intent of using lights on his work. Lights can increase involvement of human emotion through basic features that cognition of object, visualization of space-time and by artistic method in the product. This study will examine the role and how to use lighting to express the proper sentiment based on the narrative of the work. Making research named "Lighting Research of 3D animated film which applying light features to express emotion" previous study and have to combine emotional vocabulary and emotion-based theory for classifying the emotional language that can be applied on 3D animation. And choosing most emotional scene from 3D animation for analyze how they used lighting to expressing emotions. Directors trying to show up about the light role through light method that matched perfectly with an emotional language. Expecting this research work of directing 3D animations light for expressing emotional feelings will be continue successfully.

• Journal of Digital Contents Society
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• v.13 no.3
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• pp.373-383
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• 2012

World Skills Korea Committee for Industrial Policy in the 21st century to meet the needs of the historical profession in animation filed excellent acquisition and the need for human resources through research and public hearings beginning in 2009 a new animation filed in the National Skills Competition adopted the profession. Youth animator's features, technologies, and creativity to develop features that help the tournament by forming social relationships and participation. In this study, four years of the test questions analysis and making questions on animation field the way the game athletes and coaching staff interviews, surveys of major in animation through a detailed analysis of the challenges and constructive suggestions by the direction of the best animated field, excavation and occupations were aimed at improving levels of functionality.

• Cartoon and Animation Studies
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• s.35
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• pp.155-180
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• 2014

The roles of the characters of 3D animation Toystory3, which was released in 2010 and achieved worldwide success, can be classified into typical, simple and easy-to-understand roles such as hero, villain, princess, and assistant. However, the process, in which each character's role is finally recognized by the audience, is embodied in a very colorful and exquisite manner and makes the curiosity of the audience continue effectively. The stream of the diverse role changes of the characters of Toystory3 is represented through "visual rhythm of the lighting design" and such rhythm can be confirmed most clearly in the digital colorscript stage. This researcher analyzed the characters' role changes in the work based on Propp's folktale character analysis theory, and extracted the core scenes that lead to inference, doubt, performance, reinforcement by character in order to grasp how the audience gasps major characters' role changes. The visual differences of the lighting design, which the four core scenes of each character show, were represented in graph and analyzed, and the results showed that the changes that one character has constituted rhythmical, visual contrast gradually and the rhythms of each independent character achieve visual contrast and harmony each other like the voice part of polyphony. This researcher calls this "the visual counterpoint of character's changing" and derives the conclusion that a dual visual counterpoint is hidden in the character production of the full-length animation Toystory3. Along with this, this researcher proposes the production of full-length animation that actively utilizes constructive aesthetics.

• Cartoon and Animation Studies
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• s.49
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• pp.697-712
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• 2017

In recent years, film and animation for cinematic release have embraced stereoscopic vision and the three-dimensional depth it creates for the viewer. The maturation of consumer-level virtual reality (VR) technology simultaneously spurred a wave of media productions set within 3D space, ranging from computer games to pornographic videos, to Academy Award-nominated animated VR short film Pearl. All of these works rely on stereoscopic fusion through stereopsis, that is, the perception of depth produced by the brain from left and right images with the amount of binocular parallax that corresponds to our eyes. They aim to emulate normal human vision. Within more experimental practices however, a fully rendered 3D space might not always be desirable. In my own abstract animation work, I tend to favour 2D flatness and the relative obfuscation of spatial relations it affords, as this underlines the visual abstraction I am pursuing. Not being able to immediately understand what is in front and what is behind can strengthen the desired effects. In 2015, Jeffrey Shaw challenged me to create a stereoscopic work for Animamix Biennale 2015-16, which he co-curated. This prompted me to question how stereoscopy, rather than hyper-defining space within three dimensions, might itself be used to achieve a confusion of spatial perception. And in turn, how abstract and experimental moving image practices can benefit from stereoscopy to open up new visual and narrative opportunities, if used in ways that break with, or go beyond stereoscopic fusion. Noteworthy works which exemplify a range of non-traditional, expanded approaches to binocular vision will be discussed below, followed by a brief introduction of the stereoscopic animation loop III=III which I created for Animamix Biennale. The techniques employed in these works might serve as a toolkit for artists interested in exploring a more experimental, expanded engagement with stereoscopy.

• Journal of Korea Game Society
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• v.10 no.5
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• pp.103-113
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• 2010

In this paper, we present a practical method for generating facial animation by using an optical motion capture system. In our setup, we assumed a situation of capturing the body motion and the facial expression simultaneously, which degrades the quality of the captured marker data. To overcome this problem, we provide an integrated framework based on the local coordinate system of each marker for labeling the marker data, hole-filling and removing noises. We justify the method by applying it to generate a short animated film.