• The KIPS Transactions:PartB
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• v.12B no.7 s.103
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• pp.795-802
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• 2005

In this paper, we present a facial expression recognition-synthesis system that recognizes 7 basic emotion information automatically and renders face with non-photorelistic style in PDA For the recognition of the facial expressions, first we need to detect the face area within the image acquired from the camera. Then, a normalization procedure is applied to it for geometrical and illumination corrections. To classify a facial expression, we have found that when Gabor wavelets is combined with enhanced Fisher model the best result comes out. In our case, the out put is the 7 emotional weighting. Such weighting information transmitted to the PDA via a mobile network, is used for non-photorealistic facial expression animation. To render a 3-D avatar which has unique facial character, we adopted the cartoon-like shading method. We found that facial expression animation using emotional curves is more effective in expressing the timing of an expression comparing to the linear interpolation method.

• Journal of KIISE:Software and Applications
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• v.27 no.6
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• pp.618-631
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• 2000

In this paper, we suggest the method of 3D facial synthesis using the motion of 2D facial images. We use the optical flow-based method for estimation of motion. We extract parameterized motion vectors using optical flow between two adjacent image sequences in order to estimate the facial features and the facial motion in 2D image sequences. Then, we combine parameters of the parameterized motion vectors and estimate facial motion information. We use the parameterized vector model according to the facial features. Our motion vector models are eye area, lip-eyebrow area, and face area. Combining 2D facial motion information with 3D facial model action unit, we synthesize the 3D facial model.

• Proceedings of the Korea Society for Industrial Systems Conference
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• 1999.05a
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• pp.154-162
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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 be cyber space- 3D game, animation, virtual shopping, on line chatting, virtual education system, simulation and security system.

• Proceedings of the Korean Institute of Information and Commucation Sciences Conference
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• 2002.05a
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• pp.602-607
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• 2002

In this paper, we proposed an approach to efficiently compress and transmit multiresoltion 3D lariat models for multimedia and very low bit rate applications. A personal facial model is obtained by a 3D laser digitizer, and further re-quantized at several resolutions according to different scope of applications, such as animation, video game, and video conference. By deforming 2D templates to match and re-quantize a 3D digitized facial model, we obtain its compressed model. In the present study, we create hierarchical 2D lariat wireframe templates are adapted according to facial feature points and the proposed piecewise chainlet affined transformation(PACT) method. The 3D digitized model after requantization are reduced significantly without perceptual loss. Moreover the proposed multiresoulation lariat models possessed of hierarchial data structure are apt to be progressively transmitted and displayed across internet.

• Journal of KIISE:Computing Practices and Letters
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• v.7 no.2
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• pp.132-140
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• 2001

This paper proposes an efficient walktlu-ough animation from two images of the same scene. To make animation easily and fast, Tour Into the Picture(TIP) enables walkthrough animation from single image but lacks the reality of its foreground object when the viewpoint moves from side to side, and view morphing uses only 2D transition between two images but restricts its camera path on the line between two views. By combining advantages of these two image-based techniques, this paper suggests a new virtual navigation technique which enable natural scene transformation when the viewpoint changes in the side-to-side direction as well as in the depth direction. In our method, view morphing is employed only in foreground objects , and background scene which is perceived carelessly is mapped into cube-like 3D model as in TIP, so as to save laborious 3D reconstruction costs and improve visual realism simultaneously. To do this, we newly define a camera transformation between two images from the relationship of the spidery mesh transformation and its corresponding 3D view change. The result animation shows that our method creates a realistic 3D virtual navigation using a simple interface.

• Proceedings of the Korea Multimedia Society Conference
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• 2003.05b
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• pp.492-498
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• 2003

본 논문에서는 실사와 같은 사실적인 3차원 Facial Model 제작을 위해 해부학 접근을 통한 근육기반의 자연스러운 Facial Modeling 제작을 연구하였다 한국인 기본형 얼굴을 연구 대상으로 선정하여 안면근육 비례를 분석한 후 Multi-patch Surface Modeling 방법을 적용하며 제작하였다. 이 방법에는 통계적 분석기법 중 L/sub 27/(3/sup 13/) 3수준계 직교배열표를 이용하여 검증하였다. 본 연구를 통하여 Facial Model 제작 시 최소의 UV spans 수로 최대 시각화 즉, 원본의 형상을 최대한 유지하면서 작업시간과 Rendering 시간 단축 및 Data 용량을 줄일 수 있는 Modeling 방법을 제안하였고, 향후 자연스런 Facial Animation 제작 및 연구에도 많은 도움이 될 것으로 기대된다.

• Journal of Digital Convergence
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• v.15 no.7
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• pp.393-400
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• 2017

Generally, in special effect video and 3D animation design process, character and background's 3D model is built by 3D program like MAYA or 3DS MAX. But in that manual modeling mode, model design needs much time and costs much money. In this paper, two experimental groups are set to prove use 2D photo scan modeling mode to build 3D model is effective and advanced. The first experimental group is modeling the same object by different experimental setting. The second experimental group is modeling the same background by different experimental setting. Through those two experimental groups, we try to find an effective design method and matters need attention when we use photo scan design mode. We aim to get the model from whole experiment and prove photo scan modeling mode is effective and advanced.

• Journal of the Korea Computer Industry Society
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• v.7 no.5
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• pp.573-582
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• 2006

The game is in progress according to the game story with the text, graphic, animation, motion picture, music, etc. Also the result of the game varies depending on the strategy and tactics of the player. For the development of the game, this paper describes the task of the game planner, game programmer, and game graphic designer. Game graphic designers are classified into 4 parts such as the art director, original picture designer, 2D designer, and 3D designer. Among these, the 3D designer makes the 3D game characters with the use of 3D tools. This paper presents the method that 3D designers and beginners can develop 3D characters easily and quickly, Also, this paper shows the method for making preparations of SourceModel which includes 150 polygons. The SourceModel is made up of between five life size and eight life size. In addition, Character Primitives Interface is made to use SourceModel in MaxScript. Accordingly 3D designers have the free use of SourceModel and they will be able to save time.

• Journal of the Korea Institute of Information and Communication Engineering
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• v.12 no.7
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• pp.1193-1201
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• 2008

In this paper, we propose a automated techniques for generating the gait animation of humanoid character model required in game applications. The proposed method can generate motion data of various styles with intuitive manipulation, and techniques for editing motion data are also proposed. In addition, we introduce an automated tool for gait animation of character model developed with the proposed method to verify the effectiveness of our method. The proposed method tan be successfully employed in motion authoring tools. In this paper, only the gait animation was considered. However, the proposed method can be applied to various motions and can be utilized as a motion engine that automatically generates proper motion according to the state of the character. The motion engine can express various behavior of the character without requiring motion data base which is usually employed in 3D online games.

• 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.