• Journal of Digital Contents Society
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• v.16 no.4
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• pp.645-650
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• 2015

In this paper, we propose the method for creating a stable stereoscopic 3D contents with the production guidelines by removing the excessive depth value and scene changes for high quality. We have developed a three-dimensional depth analysis tool for detecting the scene changes out of the production guidelines and the depth value changes excessively. The Scenes detected by depth analysis tool can be modified at the post production and it helps to make a stable stereoscopic 3D contents.

• International Journal of Advanced Culture Technology
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• v.11 no.4
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• pp.352-357
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• 2023

This study focuses on the art style research of the 3D Animation <Spider-Man: Across the Spider-Verse>, exploring the film's innovation in art design. The article first analyzes how the movie skillfully blends American comics, watercolor painting style, Pollock drip painting, and ink painting, among other artistic techniques, to present a unique visual experience for the audience. By specifically dissecting the character design and scene composition in the movie, it explores the specific application of these art styles and their methods in digital image production. Ultimately, the paper emphasizes the contribution of <Spider-Man: Across the Spider-Verse> to 3D Animated cinema, particularly its innovation in the field of art design, as well as its inspiration and possibilities for the diversity of art styles in animated films. Overall, this study aims to provide in-depth academic insight into the field of animated film art design and to promote its development and innovation.

• Cartoon and Animation Studies
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• s.41
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• pp.153-168
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• 2015

In Kyung-GI DO, An-sung, Each local autonomous entity developed the character design to inform the public relations and revitalize local economy and culture. consequently, These have got benefits with marketing local speciality related to their an-sung character; we call it name is arum, pung-mul, duck-bugi who korea traditional face characters. On the contrary, Most of old characters which have been fallen off their formative qualities became a reason that unfit (4D,3D) special film at local doom movie theater. This thesis aims to study on the character of 'namsadang' group what have been produced in ansung-si, that the show up to people about an-sung 4D Contents what local actually character and to make it more competitive through 3D,4D spacial character project developing process. It is need for new various characters, that (3D,4D-VFX) -Graphics of new an-sung'namsadang' group. that will be total different and new development. total VFX; 4-Dimantion visual graphics released in next an-sung local festival, Business prospects are bright and receiving benefits are increasing. As seen in the case of the character of in 2015, it can be a measure to earn benefits as a higher value-added business if it is managed in the local autonomous entities. In this thesis, I propose what the of character in the local special graphics; VFX style characters design. also I was show up to '4D contents character;' ; 'namsadang' group; creative processing including planing. It is possible to be ranged from special 4D series animation, a feature-length special effct cartoon film, character products, and even local doom Theme parks show up film. which are all expected high profits. These profits will be returned back to the an-sung local autonomous entity, who can use them to develop new contents, one of foundations in local economy. As a result, it is helpful to make local traits and effective tourist attractions.

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

• Journal of the Korea Society of Computer and Information
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• v.19 no.12
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• pp.57-70
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• 2014

The study proposes an exploratory analysis on the success of animation films in Korea industry. It identifies animation films that have been successful in the Korean film industry during 2004-2013 period and explores (1) how the number of screens allocated to the films have been changed; (2) what are the major factors that influence the success of the films; (3) what are the differences between Japan and the US animation in terms of plots and genres; and (4) how the characteristics of the US animations are related to the success of the US market, the global market, and Korean market. Analyses show that the number of screens allocated to the animation films has been consistently increased due to the vertical integration of Korean film industry; and the (FTA) period, months in year (summer and winter break months for middle and high school students), and the number of screens allocated to the films were the major factors influencing the financial success of animations. It also finds that specific characteristics embedded in its own cultural trait were shown in the plots and genres in the animations. Lastly the study also finds that specific set of characteristics extracted from IMDB site influence certain markets. Budgets and actor's power were found to influence the success in the US market while period (pre-FTA, FTA, post-FTA) only influence the success in Korean market. The study points out that the success of the US and Japan animations in Korean film industry are due to the historicity of animation cultures which are not found in Korean animation industry.

• Cartoon and Animation Studies
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• s.33
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• pp.31-53
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• 2013

In the early twentieth century, history of animation began by modern artists, they produced various experimental images with the newly invented film and cameras. Artists in the field of movie, photography, paintings and others manipulated images in motion. But as some animated movies won industrial success and popularity, they became the trend but experimental style of early animation preserved by so-called non-mainstreamers or experimental animators, counteracting commercialism. Disney animation also followed the trend by applying realistic Hollywood film style, the worse critics placed a low value on the animation and it tarnished the image, although it was profitable investment from a business standpoint. To make images realistic, they opened a drawing class that animators developed skills to imitate motions and forms from subjects in real life. Also some techniques and gizmos were used to mimic and simulate three dimensional objects and spaces, multiplane camera and compositing 3D CG images with 2D drawings. Moreover, they brought animation stories from fairly tales or folk tales, and Walt's personal interest in live-action movies, they applied Hollywood-film-like narratives and realistic visual, and harsh criticism ensued. On the surface early disney animations' potential seems to be weakened, but in reality it still exists by simplifying and exaggerating forms and color as modern arts. Disney animation employs concepts of the modernism paintings such as simplified shapes and colors to a character design, when their characters are placed together in a scene, that visual elements cause mental reaction. This modification gives a new internal experience to audiences. As conceptual colors in abstract paintings make images appeared to be flat, coloring characters with no shading make them look flat and comparing to them, background images are also appeared to be flat. On top of that, multi-perspective at background images recalls modernist paintings. This essay goes in details with the animation pioneers' works and how Disney animation developed its techniques to emulate real life and analyses color schemes, forms, and spaces in Disney animation compared with modern artists' works, in that the visual language of Disney animation reminds of impression from abstract paintings in the beginning of the twentieth centuries.

• Cartoon and Animation Studies
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• s.24
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• pp.135-154
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• 2011

Simulacra theory as propounded by Jean Baudrillard in his seminal treatise, "Simulacra and Simulation," explores the significance of images, media and art in contemporary culture. Its central theoretical premise is the simulacrum, a sign or symbol that plays a crucial role in constructing perceived reality but which lacks a real-world referent. In Michel Gondry creates simulacra in the form of hallucinatory dream imagery by combining stop-motion animation and live-action elements. As experimental film-making that combines analog and minimum digital technologies, the result is a tour-de-force of synchronization. This study analyzes the film's technique and expressive content and, by adopting simulacra theory as a conceptual framework, aims to provide a better understanding of Gondry's work.

• The Journal of the Korea Contents Association
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• v.10 no.4
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• pp.123-132
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• 2010

Beginning in 1990's, 3D filmmaking reappeared. As almost every job in filmmaking is digitalized, 3D takes advantage of its new software and hardware, and digital friendly customers as well. One reason why Korean cinema should take 3D seriously is that it can resolve the old and tough problem of unemployed human resources in film production. Another reason is the cooperation programs in which universities and 3D companies can join. 3D cinema can create new cinema goers who don't belong the regular viewer. The totally new experience of 3D can bring people to the movie theaters, and this will add up the total movie customers that expand the whole film industry. The newly designed 3D also could take care of piracy of movie file uploading and downloading through internet. 3D cinema would be precious alternative for film industries of Korea.

• The Journal of the Korea Contents Association
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• v.11 no.12
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• pp.162-170
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• 2011

Through this thesis, I intended to analyze Hollywood animation through that achieved in box office by directing viewpoint. of Chris Sanders and Dean Deblois not only shows standard narrative structure of adventure, comedy, fantasy, but also express message of story and thorough visual. Analysis of directing classify contents and form. In contents, constitution of narrative and set up of character, irony of plot, characterization and popularity are embossed. In form, lighting and special effect, design and layout, 3D technology and stereoscopic camera technique based on the capital strength are outstanding. The high evaluation for film is possessed of box offic, remained within value and popularity, and delivered metaphysical theme without repulsion. The director's direction make success even if the pre-production manage by huge system approach.

• International Journal of Computer Science & Network Security
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• v.22 no.10
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• pp.25-30
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• 2022

The article is devoted to the actual problem of the use of digital technologies in modern cinema in developed countries. The purpose of the study is to identify the essence of the term "cyberdramaturgy" and the problems of its use in modern film production. The research methodology is based on a systematic approach and includes the methods of the general scientific group (analysis, synthesis, deduction, induction), as well as a number of special methods: the method of content analysis of scientific literature on the research topic; sociological survey method; as well as the method of statistical analysis. The results of the survey were analyzed using the Neural Designer program (a tool for advanced statistical analytics) and translated into a graphical diagram format for clarity of perception. Answers in 75 questionnaires were evaluated by the average score for six analysis criteria, which made it possible to bring all the calculations to a 10-point scale. As a result of the study, the author of the article concluded the following: directors believe that the use of cyber analogues of actors and backgrounds leads to the blurring of genres, the hybridization of cinema and animation; directors are also concerned about the problem of replacing the director himself with a special program. The writers are completely concerned with the problem of machine scripting with almost infinite variability beyond the human imagination. Directors-producers believe that the cyberdramaturgy development will lead to completely new standards of cinematic quality, sharply different from the traditional assessment of acting and scene setting, to the appreciation of 3D animation as the highest category in the art. Such innovations actually devalue all international cinematography awards, as cyberdrama reduces the value of cyberactors to zero. It is impossible to bail out an "Oscar" or a "Golden Globe" award for a digital double or a separate cyber model that is used in the film instead of the actors.