• International journal of advanced smart convergence
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• v.10 no.3
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• pp.149-156
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• 2021

Today, 3D softwares have become an essential tool in all areas of Video, including Movies, Animations, CFs, Motion Graphics and Games. One of the most commonly used fields is the 3D character video part. However, these 3D character animations and motion graphics softwares are difficult to learn and too much to learn, making it difficult to learn them all in a university education with a limited time of four years. In this paper, many Inverse kinematics tools, which are essential in the 3D character animations and motion graphics field, compare and analyze the strengths and weaknesses of each tool, focusing on Bone, Character Studio, and Character Animation Toolkit, which are most commonly used in work fields. And use Delphi techniques for 3D experts to secure objectivity. Therefore, for universities that require large amounts of teaching in a limited time, I propose an analysis of which of the above three Inverse Kinetics tools is advantageous for students to select and focus on for efficient education.

• Proceedings of the Korea Contents Association Conference
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• 2007.11a
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• pp.894-898
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• 2007

Now a day, lots of the animations include TV series Animations are made by the technique of 3D Animation. However, 3D Animation obstructs visual elements and deteriorates an acquaintance with the limit of unfamiliar material methods and dispersion of light. For this reason, a large of number of 3D Animations are repacked with the style of 2D Animation. Most of previous studies for the conversion of output 3D Animation to the style of 2D Animation are analysis for 2D rendering techniques. In case of Non-realistic 3D Character Animation, first and foremost it needs investigation of the basic producing method for the 2D Animation is different with the realistic expression way of the one for the 3D animation. For a case study, expression methods for the non-realistic and the non-actuality 2D Character Animation come with impossible ways in the real life. This study for the 3D Animation with the style of 2D Animation is to investigate on the keynote for effective expression methods, when we turn 3D Animation into the style of 2D Animation.

• Cartoon and Animation Studies
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• s.9
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• pp.161-183
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• 2005

In the main current 3D animations which are put on the screens, the characters in the animations have a directly effect on the audiences by being closely connected with their descriptive constructions. In this research i am going to recognize the importance of characters and trace the points of sameness in the characters that appear in the 3D animations by analysing them. For this, 1 divided the characters that made lots of box-office profits all over the world and were made at Pixar which focused on characters and stories into 7 types according to written by Vladimir Propp and grasped the characters with MBTI system. 1 found out the points of sameness between the characters with this system. That will be able to be made use of referring the streams of stories and fixing the characters at the planning and producing stages. If we should make a study of figures, expressions, motions of the characters in connection with this research, it could help us to create the characters which are suitable for animations not only formative elements but also acting.

• 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.

• KSII Transactions on Internet and Information Systems (TIIS)
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• v.17 no.7
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• pp.1794-1806
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• 2023

This study presents a method for capturing photographs of users as input and converting them into 2D character animation sprites using a generative adversarial network-based artificial intelligence network. Traditionally, 2D character animations have been created by manually creating an entire sequence of sprite images, which incurs high development costs. To address this issue, this study proposes a technique that combines motion videos and sample 2D images. In the 2D sprite generation process that uses the proposed technique, a sequence of images is extracted from real-life images captured by the user, and these are combined with character images from within the game. Our research aims to leverage cutting-edge deep learning-based image manipulation techniques, such as the GAN-based motion transfer network (impersonator) and background noise removal (U² -Net), to generate a sequence of animation sprites from a single image. The proposed technique enables the creation of diverse animations and motions just one image. By utilizing these advancements, we focus on enhancing productivity in the game and animation industry through improved efficiency and streamlined production processes. By employing state-of-the-art techniques, our research enables the generation of 2D sprite images with various motions, offering significant potential for boosting productivity and creativity in the industry.

• International Journal of Contents
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• v.11 no.1
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• pp.15-20
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• 2015

The purpose of this research is to study methods for performing transition that have visual representation of corresponding animations with no bounce in subsequently recognized user information when attempting to interact with a virtual 3D character in real-time using user motion. If the transitions of the animation are needed owing to a variety of external environments, continuous recognition of user information is required to correspond to the motion. The proposed method includes linear interpolation of the transition using cross-fades and blending techniques. The normalized playing time of the source animation was utilized for automatically calculating the transition interpolation length of the target animation and also as the criteria in selecting the crossfades and blending techniques. In particular, in the case of blending, the weighting value based on the degree of similarity between two animations is used as a blending parameter. Accordingly, transitions for visually excellent animation are performed on interactive holographic projection systems.

• Journal of Information Technology Applications and Management
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• v.28 no.6
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• pp.69-85
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• 2021

In the era of the 4th Industrial Revolution, not only artificial intelligence, big data, robots, and biotechnology, but also cultural industries that require human creativity will lead. Among the cultural industries, the animation industry has high industrial utilization value due to its high connection with other industries. Among them, animation characters play the most important role as the subject leading the story of animation. In particular, the villain character not only serves as a medium for the main character to lead the story, but also captivates the audience with a different presence from the main character, adding to the fun and completeness of the animation. These characters consist of visual elements such as form and color, of which color is a tool that effectively conveys the character's personality and role to the audience, and is the first visual element to be considered in delicately describing the character's emotions and the relationship between characters. Therefore, this study attempts to analyze the color of the villain character. To this end, we will select eight Disney animations to derive the characteristics of the villain character's color by analyzing the color, value, chroma, and color association of the colors used in the Disney villain character. As a result of the analysis, the colors mainly used by Disney to convey the villain's image were red (R) and Orange (YR), and there was no difference depending on the times or animation production methods. Second, the brightness of Disney villain characters appeared to be the same medium/famous regardless of the times and production methods, and the frequency of use of high brightness was very low. In terms of saturation, the frequency of use of high and low saturation was high. Third, blackish (Bk), Strong (S), dull (Dl), and deep (Dp) tones were mainly used for tones. In particular, in recent 3D animations than previously produced 2D animations, the use of low chroma and the high black mixing rate increased. Fourth, it can be seen that Disney uses color as a visual method to more clearly express the psychology of the villain character using color association. In conclusion, the color selection of animation characters should be carefully considered as a tool to convey the character's personality, role, and emotion beyond simply using color, and the color selection of characters using color associations and symbols strengthens the narrative structure. It is hoped that this study will help analyze and select the character color of animation.

• Proceedings of the Korea Contents Association Conference
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• 2006.11a
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• pp.257-263
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• 2006

Nowadays, 3-D(Three-dimensions) is used in various field such as Games, Movies, Animations etc. Especially the Role of 3-D computer graphic is being generalized by turnover of Screen from '2-dimensional' to '3-dimensional'. There are not enough data about 'Motion Capture' even though it plays main function in 3-dimensional movement. 'Motion Capture' could be also unfamiliar for people. And as a matter of fact, the use of this equipment is limited due to its high cost. Therefore, I studied the outline of Digital Motion Capture system and its application to 3-D game Character Animation. And I checked the movement of 3-D Character after transplanting the Motion Data to the 3-D Character. I acquired Motion Data by Optical Motion Capture Equipment which we possess and transplanted it into the 3-D Character then Implemented it as walking, running and hitting which are the basic motions of Expression.

• Journal of KIISE:Computing Practices and Letters
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• v.8 no.4
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• pp.367-375
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• 2002

Inverse kinematics is a very useful method for control]ing the posture of an articulated body. In most inverse kinematics processes, the major matter of concern is not the posture of an articulated body itself but the position and direction of the end effector. In some applications such as 3D character animations, however, it is more important to generate an overall natural posture for the character rather than place the end effector in the exact position. Indeed, when an animator wants to modify the posture of a human-like 3D character with many physical constraints, he has to undergo considerable trial-and-error to generate a realistic posture for the character. In this paper, the Inductive Inverse Kinematics(IIK) algorithm using a Uniform Posture Map(UPM) is proposed to control the posture of a human-like 3D character. The proposed algorithm quantizes human behaviors without distortion to generate a UPM, and then generates a natural posture by searching the UPM. If necessary, the resulting posture could be compensated with a traditional Cyclic Coordinate Descent (CCD). The proposed method could be applied to produce 3D-character animations based on the key frame method, 3D games and virtual reality.

• Journal of KIISE:Computing Practices and Letters
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• v.15 no.10
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• pp.796-800
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• 2009

Currently, there are many software tools that can generate 3D human figure models and animations based on the advancement of computer graphics technology. However, we still have problems in interoperability of human data models in different applications because common data models do not exist. To address this issue, the Web3D Consortium and the ISO/IEC JTC1 SC24 WG6 have developed the H-Anim standard. However, H-Anim does not include human motion data formats although it defines the structure of a human figure. This research is intended to obtain interoperable human animation by defining the data for human motions in H- Anim figures. In this paper, we describe a syntactic method to define motion data for the H-Anim figure and its implementation. In addition, we describe a method of specifying motion parameters necessary for generating animations by using an arbitrary character model data set created by a general graphics tool.