• Proceedings of the Korean Society of Computer Information Conference
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• 2014.01a
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• pp.309-311
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• 2014

본 논문에서는 만화, 게임, 웹, 앱, 모바일 등에서 2D 애니메이션 기법으로 콘텐츠를 제작하는 플래시 애니메이션의 기법들의 특성들을 나타낸다. 제작 콘텐츠가 어떤 디바이스에서 어떤 애니메이션을 연출할 것인가를 먼저 고려하여야 한다. 따라서 콘텐츠의 목적에 맞는 애니메이션 기법을 사용함으로 콘텐츠 제작 시간과 경제성과 완성도의 효과를 얻을 수 있다.

• The Journal of the Korea Contents Association
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• v.5 no.4
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• pp.111-121
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• 2005

The appearance of digital culture swiftly has changed the culture in domestic and international arenas before and after the year 2004 and the image and animation have become two of the most important expression media in contemporary age. Among the Japanese animations that have demonstrated the rapid development of cartoon and animation in the world, the director Dakahata Isao's 'Graves of the Fireflies' that has influenced many works has been evaluated as one of the noticeable works that has a unique method and scenario dramatization in terms of producing the original novel into an animation. This study investigates the metaphor and symbolism shown in this work according to each sequence, divides the production ability in the work into three elements and applies them to the important elements such as camera, colors and mise-en-scene when the original work is depicted into image. It can be summarized in more detail as in the following: firstly, I study the rhythm of camera corresponding to the symbolism of the angle that the camera has and production; secondly, I analyze the artistic elements appeared in the process of expressing the original work into the image, especially the production for the colors and symbolism contained in them and the composition of screen. Thirdly, I analyze how effectively the atmosphere for the situations for the original work is expressed in animation with the aid of one of the image elements, mis-en-scene. It is expected that the analyzed findings will be effective as a way of overcoming the limitation of expressions that the original work in text and the study on these processes will become good examples to the relevant workers and will be the good references to the producers who are interested in the creation of animation in Korea.

• Journal of Korea Multimedia Society
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• v.19 no.3
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• pp.673-679
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• 2016

Study the movement was formed and developed through the history of the birth of film and animation. The techniques of the immaterial object movement of in the media art which accompany movement have different operational and symbolic aspects with a film or a traditional(existing) animation. Focused on the works of media artist and want to study the movement of media art production methods.

• Journal of Digital Convergence
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• v.7 no.4
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• pp.67-80
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• 2009

The research tried to realize the policy which serves Innovation ability for culture-contents producer, and culture-contents producer's Innovation ability which impacts OSMU of contents in the policies of government for vitalizations of culture-contents industry. As a result, we have reached the conclusion that the supportive policies for technology, exports and marketing were effective to strengthen the innovation ability of management of human resource, creation and production area. Also we have found that content's OSMU has been influenced by innovation ability. The implication of this study are followed. First, the policies which are intended to revitalize the culture content industry by government has the effect that are some different ones from the settlement and intention. Second, the production industry of animation do still passive and closed organization management, without the efforts for opened and cooperative management. Therefore, the efforts of government which are more practical and realistic supports to revitalize and based on strategic cooperation of industry.

• ETRI Journal
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• v.28 no.6
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• pp.697-708
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• 2006

Various adaptive mesh refinement techniques are often employed in numerical simulations for increasing spatial and temporal resolution beyond the limits imposed by available CPU time and memory space. Recently, an octree-based adaptive mesh structure was successfully used in fluid animation to place more grid cells efficiently in visually interesting regions of fluids. In an attempt to optimize the use of computational resources further in fluid animation, this paper extends this adaptive technique by modifying the mesh refinement scheme so that the camera's viewing properties are dynamically exploited during the simulation. Based on a simple adaptive mesh structure, we show that the new meshing strategy can save a substantial amount of computation time and memory space by using a view-dependent adaptive approach. The experimental results reveal that the proposed technique provides a good compromise between the computational effort and the simulation's fidelity, and may be used quite effectively in 3D animation production.

• Proceedings of the Korean Society of Computer Information Conference
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• 2014.07a
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• pp.387-388
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• 2014

최근 2D 애니메이션은 세계적으로 애니메이션 산업이 디지털화 되어가고 있고 디지털 기술의 발전은 끊임없이 애니메이션이 발전과 진화를 거듭되어 오면서 기존의 표준적인 제작파이프라인이 제작 환경과 기법에 따라 독특한 형태로 발전되어왔다. CrazyTalk Animator는 초보자, 교육관련 종사자, 비디오 편집자 및 완성도 높은 캐릭터를 생성하는 전문가와 같이 고성능의 애니메이션 툴을 필요로 하는 전분가 등의 최적의 애니메이션 솔루션을 제공하고 있다. 본 논문에서는 CrazyTalk Animator를 통한 애니메니션 제작 방법으로 아바타 기반의 배경과 소품을 드레그 & 드롭하여 세트를 만들고, 캐릭터들을 카메라와 타임라인 트렉으로 조정하고 제작하여 2D 애니메이션을 제작하였다.

• Journal of Korea Multimedia Society
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• v.11 no.6
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• pp.869-874
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• 2008

The work of creating character motion needs the higher professional technology and sense and the creating work of realistic and natural motion possess the most part of production term. In this paper we introduce the easy and convenient 3D animation authoring tool which makes the motion based on whole-body inverse kinematics and motion editing function. The proposed 3D animation authoring tool uses the forward kinematics using quaternion and whole-body inverse kinematics to determine the rotation and displacement of skeleton. Also, it provides the motion editing function using multi-level B-spline with quasi-interpolant. By using the proposed tool, we can make 3D animation easily and conveniently.

• Journal of Korea Multimedia Society
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• v.22 no.6
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• pp.729-737
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• 2019

This study defined the animation space as the concept of map based on the space of Joseph Campbell's heroic narrative. The space in which the animated character exists is an image symbolic language that reflects the inner and outer growth stages of the hero. I focused on the spatiality that plays the role of the power to lead the narrative and examined the meaning as the mediator that leads the heroic narrative. First, 6 spatial variables were derived by observing 'Hero's Journey 'which is used as a basis of US commercial animation scenario. Second, spatial variables are defined as 64 zones and proposed as 'Spatial Map Model of the Hero's Journey' (SMMH). Third, the character space of was applied to 'SMMH', and the change of space utilization rate and spatiality and the narrative meaning were analyzed. This study extended the narrative of animation space which was not actively studied to map concept. It is possible to provide a different viewpoint in animation production and research.

• Cartoon and Animation Studies
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• s.48
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• pp.1-22
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• 2017

Independent short animation was the expression method for young animation creators through creative and progressive representation. Since the birth of animation, independent short animation has become a driving force for qualitative development and diversification of animation. This has brought many works to the world that emphasize experimentation and challenges in the history of animation and in countries that have the rich animation resources such as France, Japan, and Canada, they recognize its importance and supports young creators in order to maintain the value of it. However, Korean animations are evaluated the quality of works by the popularity of the children, moreover, companies that focus on developing and selling products, including toys, rather than animation works themselves and public awareness that accepts them are formed throughout the Korean animation industry. Because of these points, Korean animation creators can not express the creative vision for the future and philosophical awareness of the problem and they are trapped in commercial animation markets. In order to re-leap and expand the Korean animation industry, which has reached the saturation level with infant animation, it is necessary to reestablish the value of independent short animations with challenging and experimental characteristics and requires the creative environment and support system for the diversity of Korean animation industries, including the achieving commercial goals through good planning, story development and technological innovation. For this purpose, this paper analyzes the current state of production, screening, distribution, and government support of independent short animation in Korea, and explores the structural problems and solutions.

• Cartoon and Animation Studies
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• s.12
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• pp.74-85
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• 2007

The animation exercises its influence all over the our lives, specially it has originated the new film industry by combining and applying with movies and CF. The current of time being active of animation industry brought about many changes to all the field of making films, planning and consumption. This paper is written for to inspect animation techniques that has developed to expand and break the limit of the animation's processing and expanding the part of expression. Specially by analyzing which is made by PIXAR, inquired how the 12 Disney animation skills were applied. As a result, the 12 Disney animation skills were combined to express one natual movement. Even though is 3D animation made by not Disney but PIXAR and made in 2004, it was applied and followed the 2D animation's the processing skill in 1987. Consequently, we could know even if the production, the way to produce and the time change, the exact same way of the 1987's producing skill has applied for now.