• Proceedings of the Korea Society of Design Studies Conference
• /
• 2002.11b
• /
• pp.152-153
• /
• 2002

• Journal of Korea Game Society
• /
• v.8 no.1
• /
• pp.91-101
• /
• 2008

Most designers use professional 3D animation tools such as 3DS MAX to manually create animation. This manual method requires a great deal of time and efforts, and does not allow animation characters to interact with one another. In this paper, we design an AI middleware of form as 3DS MAX plug-in to solve these issues. We present an AI expression structure and internal processing method for this middleware, and the method for creating AI character's structure. It creates AI character's structure by drawing figures and lines for representing AI elements. For experiment, we have produced same animations with the traditional method and our method, and measured the task volume in both methods. This result verifies that the task volume is similar or higher than the traditional method in small-scale tasks, but up to 43% of the task volume is reduced in large-scale tasks. Using the method proposed in this paper, we see that characters in an animation interact each other, and task volume in large-scale tasks are reduced.

• Cartoon and Animation Studies
• /
• s.43
• /
• pp.321-342
• /
• 2016

The "uncanny valley" curve describes the measured results of the negative emotion response which depends on the similarity between the artificially created character and the real human shape. The "uncanny valley" effect that usually appears in the animation character design induces negative response such as fear and hatred feeling, and anxiety, which is not expected by designers. Especially, in the case of the commercial animation which mostly reply on public response, this kind of negative response is directly related to the failure of artificially created character. Accordingly, designers adjust the desirability of the character design by avoiding or utilizing the "uncanny valley" effect, inducing certain character effect that leads to the success in animation work. This manuscript confirmed the "uncanny valley" coefficient of the positive emotion character design which was based on the actual character design and animation analysis. The "uncanny valley" concept was firstly introduced by a medical scientist Ernst Jentsch in 1906. After then, a psychologist Freud applied this concept to psychological phenomenon in 1919 and a Japanese robert expert Professor Masahiro Mori presented the "uncanny valley" theory on the view of the recognition effect. This paper interpreted the "uncanny valley" effect based on these research theory outcomes in two aspects including sensation production and emotion expression. The mickey-mouse character design analysis confirmed the existence basis of the "uncanny valley" effect, which presented how mickey-mouse human shape image imposed the "uncanny valley" effect on audience. The animation work analysis investigated the reason why the produced 3D animation character should not be 100% similar to the real human by comparing the animation baby character produced by Pix company as the experimental subject to the data of the real baby with the same age. Therefore, the examples of avoiding or utilizing the "uncanny valley" effect in animation character design was discussed in detail and the four stages of sensation production and emotional change of audience due to this kind of effect was figured out. This research result can be used as an important reference in deciding the desirability of the animation character.

• Cartoon and Animation Studies
• /
• s.42
• /
• pp.53-79
• /
• 2016

The public interest and popularity of animation has already forecasted the value of animation as the leader of pop culture and cultural industry. The trend in animation changed from 2D to 3D animation, a new genre that appeared in the 1990s with the development of computer technology and innovative changes in media, and 3D animation secured its position in the 2000s. Researches on 3D animation are conducted in various ways. Integrating the area it shares with film and the area it shares with design, it is produced and consumed. This study focused on 'formativeness(design)', the basis of character design, and tried to find out how it is recognized by the audience, who actually watch and feel it. Also, it approached basic theory and tried to deduce logic that is easy to understand and can analyze design or formativeness which keeps changing. Lastly, this study regards the parts that viewers are not satisfied with as problems, and tries to find out a developmental direction. Among the animations for theaters that were big hits in 2015, this study focused on the characters of and . It reviewed errors and what was lacking in the previous studies, collected experts' opinions and made adjustment. Using the frame prepared through this process, it conducted a survey on study participants, the viewers, to see how it is perceived by them. Finally, it tried to find out the reasons why the audience felt that way through theoretical reviews and applications.

• Cartoon and Animation Studies
• /
• s.49
• /
• pp.247-265
• /
• 2017

With the increasingly diverse, sophisticated and complex character animations that can be represented in 3D animations, the importance of rigging, which can most directly affect animating quality, is becoming more and more important. In addition, rapidity is another crucial aspect of 3D animation production. So, the importance of technical director's role which is accurate and rapid handling of rigging pipeline building and immediate application and, corrections of errors during the longest and manpower consuming animation production is more becoming key. Baek Ji Won and Kim Jae-woong (2014) said, "The technical director is adding new importance to the new job, which is created by 3D animation, in conjunction with the limited production period, manpower, budget and production process." Most major overseas studios are developing in-house software to handle rigging and animation processes. Software development code is used to freely develop and modify production pipelines in accordance with the direction of the work. They are making efforts to build an optimal environment for animators. However, too many efforts and ineffective efforts have been made to develop, adapt, and stabilize the rigging process for small producers, creators, and students who do not have the capacity to develop their own in-house software or hire a technical director. This study suggests the most suitable auto-rigging tool among the many auto-rigging tools released in the market, and suggests the most accurate and quick auto-rigging process setting method for those who have insufficient knowledge about 3D character rigging. The efficiency of use of auto-rigging tool was examined.

• Journal of the Korea Computer Graphics Society
• /
• v.18 no.2
• /
• pp.55-62
• /
• 2012

This paper presents a new method to represent the secondary deformation effect using simple mass-spring simulation on the vertex shader of the GPU. For each skin vertex of a 3D character, a zero-length spring is connected to a virtual vertex that is to be rendered. When a skin vertex changes its position and velocity according to the character motion, the position of the corresponding virtual vertex is computed by mass-spring simulation in parallel on the GPU. The proposed method represents the secondary deformation effect very fast that shows the material property of a character skin during the animation. Applying the proposed technique dynamically can represent squash-and-stretch and follow-through effects which have been frequently shown in the traditional 2D animation, within a very small amount of additional computation. The proposed method is applicable to represent elastic skin deformation of a virtual character in an interactive animation environment such as games.

• Proceedings of the Korea Contents Association Conference
• /
• 2005.11a
• /
• pp.111-114
• /
• 2005

Squash & Stretch principle is playing an essential principle for animation action. The application of this principle gives the illusion of weight and volume to an animation character, and makes it possible that an animation action be the smooth and soft by escaping from the stiffness and rigidity. If an action of human or object on animation is expressed like a real world, it seems to be unnatural. Any action without Squash & Stretch will look rigid, uninteresting and not alive. It can be applied to movement of all objects, characters' actions, dialogues and facial expressions with a basic rule of mass, volume and gravity. Any action will not be well expressed without this principle. To be a good animation action, it should be deeply applied in 3D animation, not only 2D animation. Thus, a systemic analysis of Squash & Stretch principle is required.

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

• The Journal of the Korea Contents Association
• /
• v.6 no.9
• /
• pp.116-123
• /
• 2006

This study aims to develop the game character to encompass more complicated motions, an upgrade from simple actions, to demonstrate different emotional state. The character takes a medium role in describing various situations by applying the motion of pantomimist and making a connection to the 3D character action. Motion acting is an upgraded version of the basic motion to show various emotional phases such as joy, anger, sorrow and pleasure. Moreover, it delivers clear messages through emotional acting in opposition to symbolic language and provides various perspectives of motion acting.

• The Journal of the Korea Contents Association
• /
• v.10 no.12
• /
• pp.51-58
• /
• 2010

In the environment of instant messengers, the recognition of human emotions and its automated representation with personalized 3D character animations facilitate the use of affectivity in the machine-based communication, which will contribute to enhanced communication. This paper describes an emotional messenger system developed for the automated recognition and expression of emotions for IPTVs (Internet Protocol televisions). Aiming for efficient delivery of users' emotions, we propose emotion estimation that assesses the affective contents of given textual messages, character animation that supports both 3D rendering and video playback, and smart phone-based input method. Demonstration and experiments validate the usefulness and performance of the proposed system.