• International Journal of Contents
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• v.18 no.1
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• pp.98-104
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• 2022

With Unity creating footage is possible by using 3D motion, 2D motion, particular, and sound. Even post-production video editing is possible by combining the footage. In particular, Cinemachine, a suite of camera tools for Unity, that greatly affects screen layout and the flow of video images, can implement most of the functions of a physical camera. Visual aesthetics can be achieved through it. However, as it is a part of a game engine. Thus, the understanding of the game engine should come first. Also doubts may arise as to how similar it is to a physical camera. Accordingly, the purpose of this study is to examine the advantages and cautions of virtual cameras in Cinemachine, and explore the potential for development by implementing storytelling directly.

• 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.

• ETRI Journal
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• v.39 no.4
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• pp.493-501
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• 2017

This paper introduces a new motion-synthesis technique for animating multiple characters. At a high level, we introduce a hub-sub-control-point scheme that automatically generates many different spline curves from a user scribble. Then, each spline curve becomes a trajectory along which a 3D character moves. Based on the given curves, our algorithm synthesizes motions using a cyclic motion. In this process, space-time warp curves, which are time-warp curves, are embedded in the 3D environment to control the speed of the motions. Since the space-time warp curve represents a trajectory over the time domain, it enables us to verify whether the trajectory causes any collisions between characters by simply checking whether two space-time warp curves intersect. In addition, it is possible to edit space-time warp curves at run time to change the speed of the characters. We use several experiments to demonstrate that the proposed algorithm can efficiently synthesize a group of character motions. Our method creates collision-avoiding trajectories ten times faster than those created manually.

• Proceedings of the Korea Contents Association Conference
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• 2008.05a
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• pp.648-652
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• 2008

We all know *.x file is a bridge of the 3D model developer and the game developer. In today's 3D game programming, more and more advanced hardware support it to run, but we still need to consider the methods to generate the animations. 3D model maker is tired of rectifying the skeletal animations. If he mistakes one point in some one animation, this will lead to distortion in *.x file. Then the modification consumes long time. So finding a good blending method is the best choice for generating multiple skeletal animations. There were some methods for animations blending. In this paper, we could use 3D max or Maya to blend animations; and we could use *.x file and blend animations in coding. And we will use 3D max 8.0 to export the *.x file and present a better way to combine skeletal animations.

• Journal of Game and Entertainment
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• v.2 no.3
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• pp.15-23
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• 2006

In this paper, we present a case of making LOGO animation using particles with MAYA, a 3D computer graphics packages of Autodesk Inc. We composite a visual which shows a similar effects with a information movie of Torino 2006 Winter Olympic Games. By analysing the movie, we model a human body part as a set of cubes and animated the cubes to have dynamic visuals which shows similar visuals with the movie. All the system is implemented with MAYA MEL scripts. The system shows various visual effects by controlling options available in the designed UI.

• Journal of Korea Society of Industrial Information Systems
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• v.4 no.3
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• pp.21-27
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• 1999

This paper introduces the research and development of automatic generation technology to develop the character agent. The R&D of this technology includes three major elements-body model generation, automatic motion generation and synthetic human generation. Main areas of application would by cyber space- 3D game, animation, virtual shopping, on line chatting, virtual education system, simulation and security system.

• Proceedings of the Korean Society of Computer Information Conference
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• 2014.01a
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• pp.323-326
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• 2014

본 논문에서는 Unity 3D 엔진을 심층 분석하여 게임개발 교육현장에서의 유용성을 검토하였다. Unity 엔진을 이용하면 필드의 제작, 캐릭터 애니메이션 세팅, 스크립트 작성, Asset 관리, 레벨 디자인 등 많은 작업을 하나의 통합 환경에서 수행할 수 있다. 또한 컴파일 과정을 거치지 않아도 게임을 제작하는 도중 언제라도 실행해 볼 수 있기 때문에 개발에 걸리는 시간을 단축 할 수 있다. 본 연구의 초점은 게임 앱 설계 관련 프로젝트의 수행이나 교육용 게임 개발의 학습 모형을 제시하기 위한 과정이다.

• Journal of Korea Multimedia Society
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• v.10 no.7
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• pp.934-943
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• 2007

This paper presents a real-time fire simulation on the mobile phone using stable fluid animation techniques. Stable and fast fluid simulation methods are developed in PC and console games, but fluid simulation and interactive fluid models require too much system resources for applying on mobile environment. We studied and implemented physics-based models for fluids like fire and smoke effects using billboard and stable fluids simulation method on mobile 3D system. The mobile platform of our system is WIPI, which is the standard mobile platform in Korea, also we adopted NF3D API for our 3D programming API. We implemented real-time fire simulation and added it in mobile 3D game, "Rupee Story".

• Journal of the Korean Home Economics Association
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• v.44 no.2 s.216
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• pp.127-135
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• 2006

This paper suggests guidelines for virtual clothes modeling and draping software suitable for clothes designers. We first analyze Maya Cloth, which is widely used in game and animation fields, and which has been adopted by Pad System as a 3D cloth draping system. We then discuss what functions and procedures would improve Maya Cloth to assist designers in being able to create the clothes they have conceptualized. While Maya Cloth has many good functions and features forvirtual cloth modeling and draping, it treats input 2D patterns as approximat and it creates 3D clothes by considering other factors such as the 3D body model. As a result, it is hard for clothes designers to control the shape of the 3D clothes by changing 2D patterns. Furthermore, Maya Cloth does not handle seamlines satisfactorily. We suggest that the following new features should be added to Maya Cloth : respecting the input 2D patterns, handling seamlines, and controlling the shape of the clothes in 3D space.

• Cartoon and Animation Studies
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• s.14
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• pp.165-176
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• 2008

In the future there would be many kinds of digital images for many industrial markets. 3D stereoscopic images for variable fields; medical operation, film and animation, broadcasting, internet, game, or design for art and architecture. And many people to work about computer programming, and digital image making will concern about it more and more. However, these kinds works and studies are focused on the professional technical fields like 3D display or computer programming technology so far. To revitalize the market of a variable stereoscopic contents, there should build up the foundation for easy processing of the making stereoscopic images. This paper is based on stereoscopic making skills for anaglyph system. An anaglyph system has an old history about making stereoscopic images, and very simple method to produce the stereoscopic images. Particularly this study is focused on color compositing technique, and camera positioning on the compositing system. It will help optimization of the environments to create 3D motion graphic and animation contents.