• Proceedings of the Korea Contents Association Conference
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• 2007.11a
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• pp.783-787
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• 2007

Although data analysis in earlier days had been sufficiently done only by character user interface, users of these days are more used to the graphic user interface and the requirements for the user interface are gradually varying and increasing. In order to meet users' various wants and needs and to develop well-equipped interface, not only software developers but also professional designers who can complement the technique of the developers are needed. But in reality there are many restrictions and difficulties for developers and designers to work together cooperatively. Moreover, developing user interface in use of 3D type of graphics and animation techniques causes the rise of the developing cost. The thesis attempts to design and implement 3D visualization for real-time sensor data collected by the various environmental sensor and measuring devices, by using WPF (Window Presentation Foundation) which can make both developers and designers work together cooperatively and which makes it possible to implement various multimedia functions such as a 2D and 3D type of graphics, animation techniques, and an acoustic effect.

• Journal of Digital Contents Society
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• v.19 no.5
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• pp.971-979
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• 2018

Currently, Virtual Reality video content is rapidly increasing in number of users due to the rapid growth of related hardware and software. Accordingly, Virtual Reality animation is also being produced in a new form by rapidly integrating with Virtual Reality technology among video contents. Currently, research on Virtual Reality animation has focused on how films are produced and how they are directed, and no research has been done to organize the pipeline for efficient VR animation production. Therefore, this study drew the characteristics of the pre-render VR animation pipeline by comparing it with the production pipeline of the existing 3D animation to produce the VR animation efficiently. Through this, we presented organic integration of production and post production processes suitable for the production of VR animations and reduced rendering time using Render Pass for efficient production.

• Archives of design research
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• v.19 no.2 s.64
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• pp.73-80
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• 2006

The main purpose of this study is to help develop the productional system of the three dimensional digital animation domestically. Many 30 digital animation projects are being developed and finished with foreign computer graphics technology. However, the 3D animation market in Korea is not as good as the ones in other countries. One of the most significant problems is the lack of a program of study in Korea concerning productional systems used to create 3D animation. We previously imported an advanced productional system from the U.S., which was adaptable to big projects, and consequently, expanded the international digital animation market. Now, we need to develop a new production system which is fully adaptable to the Korean market. A non-sequential system of 3D digital animation tailored for small projects is more adaptable to domestic industry than the sequential system known as the 'Pipeline system.' A non-sequential system is good for small productions that are trying to create animation on a limited budget. The workers in this system can learn to make animation fast and effectively. They can also learn how to discuss with the others in order to avoid duplication of action. In contrast, in the Pipeline System, many workers repeat confirmation steps during the process for the same animations. The benefit of the non-sequential system is that the worker's interest and education can speed up production, because he/she can quickly learn every step of the animation process instead of just doing a particular job which does not allow him/her to observe the other steps involved. The 'animatic' step is the most important in the non-sequential system. The final animation is produced from the animatic. It is developed from scratch through to the final product but only after the agreement of all the workers, including a director.

• Journal of information and communication convergence engineering
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• v.10 no.2
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• pp.168-174
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• 2012

Flash is the most popular 2D animation and game development software, supporting vector and media technology at the core, which enables the development of small and pithy games. It is widely used in Web animation, courseware, TV commercials, game development, and other works of design. In this paper, we propose a control movement function and auxiliary functions for an alpine skiing game based on ActionScript 3.0. The control movement function is designed with moving phases (i.e., free fall, sliding, projectile, and landing). The auxiliary functions include drawing path, start/restart movement, and saving the highest score. In addition, for the visual design of our game, we designed animations in connection with a character and background. In order to facilitate testing the friction, users can input a chosen friction value. Without user input, the friction default is set at 0.97.

• The Journal of the Korea Contents Association
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• v.11 no.11
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• pp.19-27
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• 2011

In this paper, we present an emulation library for the essential features and their API function calls provided by Direct3D, the most actively used API for computer game-related application programs on the MS-Windows-based desktop's, with OpenGL library in the Linux environment. In typical Linux-based systems, only the X window system and OpenGL graphics library are available. There are lots of needs for this kind of emulation library to convert the Direct3D-based game applications and user interfaces on these systems. Through carefully selecting the essential API functions from the DirectX version 9.0, we obtained the prototype implementation of that emulation library, to finally get the final full-scale DirectX implementation. Our implementation currently covers 3D coordinate transformations, light and material processing, texture mapping, simple animation features and more. We showed its feasibility through successfully executing a set of Direct3D demonstration programs including a real-world game character animation on our implementation.

• Journal of the Korean Professional Engineers Association
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• v.43 no.3
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• pp.23-27
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• 2010

Since 3DTV was introduced, the market could not grow further due to the several causes such as the lack of content, technology for production and display and eyestrain. However, the rapid advances of the technologies on digital broadcasting, consumer electronics and computer enabled the commercialization of 3D animation, computer graphic, 3D advertising as well as 3D movies, and since then the international technical competition is growing fiercer. Since much more companies introduced the solutions for 3D in NAB 2010 than 2009, the expected size of the market will be bigger than ever before. This article describes the recent trends and the prospect of the 3D technologies including national defence strategy, content, construction, consumer electronics, advertisement, and terrestrial 3D1V pilot project in Korea.

• ETRI Journal
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• v.38 no.6
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• pp.1095-1103
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• 2016

We present a method for transferring deformation weights of a human character to three-dimensional (3D) scanned clothes. First, clothing vertices are projected onto a character skin. Their deformation weights are determined from the barycentric coordinates of the projection points. For more complicated parts, such as shoulders and armpits, continuously moving planes are constructed and employed as projection reference planes. Clothing vertices on a plane are projected onto the intersection curve of the plane with a character skin to achieve a smooth weight transfer. The proposed method produces an initial deformation for physically based clothing simulations. We demonstrated the effectiveness of our method through several deformation results for 3D scanned clothes.

• Proceedings of the Korea Information Processing Society Conference
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• 2005.05a
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• pp.1657-1660
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• 2005

In this paper, we introduce a general method for constructing 3D models viewing, editing and synthesizing system, including the practical algorithms that are necessary in 3D animation and game programming. While at the same time, the user’s customized acquirements are considered in our system by providing a flexible and friendly interface. Also 3D objects file formats and the method for writing 3D file sparser and loader program are introduced.

• Journal of Korea Game Society
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• v.10 no.1
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• pp.147-156
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• 2010

In this paper, we propose 3D cloud animation by cloud modeling method of 2D images retrieved from a meteorological satellite. First, on the satellite images, we locate numerous control points to perform thin-plate spline warping analysis between consecutive frames for the modeling of cloud motion. In addition, the spectrum channels of visible and infrared wavelengths are used to determine the amount and altitude of clouds for 3D cloud image reconstruction. Pre-integrated volume rendering method is used to achieve seamless inter-laminar shades in real-time using small number of slices of the volume data. The proposed method could successfully construct continuously moving 3D clouds from 2D satellite images at an acceptable speed and image quality.

• 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.