• Journal of the Korea Computer Graphics Society
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• v.22 no.2
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• pp.11-19
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• 2016

This paper proposes a method to directly retarget facial motion capture data to the facial rig. Facial rig is an essential tool in the production pipeline, which allows helping the artist to create facial animation. The direct mapping method from the motion capture data to the facial rig provides great convenience because artists are already familiar with the use of a facial rig and the direct mapping produces the mapping results that are ready for the artist's follow-up editing process. However, mapping the motion data into a facial rig is not a trivial task because a facial rig typically has a variety of structures, and therefore it is hard to devise a generalized mapping method for various facial rigs. In this paper, we propose a data-driven approach to the robust mapping from motion capture data to an arbitary facial rig. The results show that our method is intuitive and leads to increased productivity in the creation of facial animation. We also show that our method can retarget the expression successfully to non-human characters which have a very different shape of face from that of human.

• Cartoon and Animation Studies
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• s.14
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• pp.151-164
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• 2008

Cross platform game has brought about the expansion of game market, which results in technology innovation overcoming the limit of game consumption. The new model integrates both off and online game services. Gamers can now enjoy game service regardless of age, time, and space. If the technology evolution model of digital contents like cross-platform game engine can provide contents for several platform at the same time, the interactive service can be utilized into maximum level. It is also necessary to allocate, switch data as well as to innovate the transmission technology of data according to each platform. Providing the same contents for several platform as many as possible can be the most suitable strategy to enhance the efficiency and profits. However if the interactive service can be accomplished completely, the development of data switching technology and distribution should be made. To be a leader in the next digital contents market, one should develop the network engine technology which can embody the optimization of consumption in the interactive network service.

• Cartoon and Animation Studies
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• s.51
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• pp.225-254
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• 2018

For the domestic web-toon industry, a new industrial environment has been created by the growth various domestic and international factors, such as technology development, the increase of platforms, charged web-toon, and globalization. Although the role of the agency has not been emphasized at the formation and introduction time of the web-toon, the role growth of the agency has been regularized with the expanding of the web-toon industry. The expending web-toon industry is due to the introduction of smart-phone, by which people can consume the web-toon without any limit of time and place, so the web-toon industry has been growing rapidly. Thereafter the production of the second contents using the web-toon IP has been actively carried out and the activity area of the web-toon artist has been diversified, so the necessity of the specialized web-toon agency has begun to be brought in earnest. In this study, the web-toon industry has been, firstly, classified as transition period of cartoon industry, foothold formation period of web-toon, introduction period of web-toon industry, expansion period, and maturity period according to the industrial life cycle theory. As a result, the web-toon agency has been emerged from the expansion period of web-toon industry, and the role of agency, to prevent web-toon industry entering into declining period from its maturity period, has been researched in this study.

• Cartoon and Animation Studies
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• s.42
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• pp.315-335
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• 2016

Culture is being created and consumed as several form by human development. Populace is forming through movement of mass of people to specific place which influenced by urbanization and industrialization. Since cultural products are created on base of economic principles cultural content makers are make culture products after lot of study and analyze. In early days popular culture was accepted only by the meaning of the text which has settled already via country or company which was holding the capital. But today we can apply culture products freely by the power of public opinion and media art's growth. Especially fandom is giving the opportunity to consume the image of cultural products actively and offering the good influence to make it by several ways of activities to the culture producers. In this study, consumption as a cultural group formed by the fandom in public will be transformed into participatory groups by the influence of cultural activities with fan art reproduction. These changes in the consumption of culture products will make it in positive way. Thereby culture creator who thinks fandom as a group of culture capital maker only use it now for the indicator for predicting success of culture products. Will find out in this study how culture consumption is accomplishing by fan fiction and fan illustration in the fandom culture and how reproduced fan art is affects to culture creators.

• Cartoon and Animation Studies
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• s.42
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• pp.195-212
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• 2016

An interest in 'ordinary things' has been increased because public things become issues as the influence of mass media including mass production has been increased in the 1950s. And this phenomenon drew an art style of pop art in the world of art. Media art means that the fine arts are expressed by means of media such as TV and monitors because media has been developed in the modern society. It started emerging through the artists such as Nam June Paik, Bill Viola, and others in the 1960s. Recently, it can be easily accessible not only at the art museum but also in everyday life such as cafe, park, fashion show, performance, and etc. This study analyzed that how many different techniques of pop art were borrowed by especially Nam June Paik media art and how they influenced it. Accordingly, this study respectively analyzed expressive techniques and characteristics of both pop art and Nam June Paik's media art and then searched for their similarities based on the analysis. Both Nam June Paik's media art and pop art extended media by using various ordinary things in everyday life neglected previously as a material. Next, the characteristic of pop art shown in Nam June Paik's media art is participation with audience. While the arts in the past were high-level culture that only certain people could understand and enjoy, pop art or Nam June Paik's media art is an art trend that has led the popularity of fine arts and audience participation in order to let diverse classes enjoy without any specific knowledge.

• Cartoon and Animation Studies
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• s.31
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• pp.227-248
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• 2013

With the advancement of computers, opening title sequences in movies are continuously improving. Initially, titles and opening credits were created using what is called the optical method, whereby text was photographed on separate film and then copied onto the movies film negative. In contemporary movie making, however, the title sequence may be seamlessly integrated into the beginning of the movie by an insertion method that not only allows for more diverse technical expression, including the use of both 2D and 3D graphics, but also for its emergence as an independent art form. As such a title sequence, in as little as 50 seconds or up to 10 minutes, is able to convey the films concept while also suggesting more implicit intricacies of plot and thereby eliciting greater interest in the movie. Moreover, according to the directors intent and for a variety of purposes, the title sequence, while maintaining its autonomy, is inseparable from the movie as an organic whole; therefore, it is possible to create works that are highly original in nature. The purpose of this study is to analyze the kinetic typography that appears in title sequences of ten films produced by the Korean entertainment industry in 2012. Production techniques are analyzed in a variety of ways in order to predict the future direction of opening title sequences, as well as present aesthetic and technical models for their creation.

• Cartoon and Animation Studies
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• s.31
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• pp.177-208
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• 2013

This research analyzes the media which is simultaneously used with TV viewing, the behaviour of multiple media users, and the characteristics of TV programs under Nscreen circumstances. According to the results, TV provides stories and positions it as the main screen (84.5%, n=566), under the Nscreen circumstances. Personal media reproduces stories from TV by utilizing aspects of social media functions such as participation, open communication, community, connectivity, etc. The content is classified under three categories: 1) elicit emotion(point feeling), 2) information production, 3) participation, which is further divided into three subcategories; watch, wish, and result guarantee based on the level of interactivity. This inquiry is based upon diary survey and focus group interviews emphasized the role change of TV, specifically that TV takes a key role in generating original stories with the expansion of screen and social media. Even though users were able to watch the same TV programs at the same time and same place, the different methods of viewing: smartphone, tablet PC, web based mp3 and etc., it reproduced different stories and elicited different characteristics from its TV viewers.

• Cartoon and Animation Studies
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• s.50
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• pp.187-214
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• 2018

The problem-based storytelling of the three-act structure, which sees the plot of the story as a solution to the problem of the character, has been the guide of creation to the creator of popular stories since Aristotle. Also problem-based storytelling has served as a schema that provides dramatic catharsis to the audience of the story, and one of the dramatic catharsis It has been working as a schema. This problem - based storytelling has been used as a structure for story production programs that have been developed since the 1980s. However, this story authoring program is focused only on the external problem of the story, but it has the limitation of producing the story that can not solve the internal problem of the character and provide the catharsis. This paper analyze the plot structure of 'StoryHelper', which is a domestic story authoring program, and the ending of 900 films, both domestic and foreign, which are database in 'StoryHelper'. 'StoryHelper' presents a problem-based plot structure that can consider not only external problems but also internal problems by applying causality and mythical episodes. The structure of these plots is based on the parameters of external problem solving, unresolved internal problem solving, and unresolved variables maturity plot(542films), disillusion plot(111films), education plot(132films), tragedy plot(205films). The results of this analysis are expected to provide a meaningful structure for plot-based creative and creative program development.

• Cartoon and Animation Studies
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• s.48
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• pp.69-84
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• 2017

In order to display various art works such as media art in a multi-display environment, it is necessary to consider contents arrangement. The advantage of having a 1: N or N: N layout instead of a 1: 1 or N: 1 layout between display and content, but a more complex scheme of how to do spatial and temporal layout in multi-display Is required. In order to distribute contents, existing media server solution or programming-based multimedia production software is used. However, it takes much time to rearrange or modify the contents, and it is not easy to modify the contents. Therefore, It is difficult to place content in the environment. In order to solve this problem, various approaches are needed from research on content placement method to development of content placement software that improves the existing method. However, analysis on systematic content placement type supporting it, or interface There is also no access to. In this study, we have summarized the requirements for designing the interface for each type with the aim of making it possible to utilize previously analyzed content layout types in various display activities such as media art in multi - display environment. The requirements of each type of interface were derived based on spatial arrangement and temporal layout type which are most distinguished when content is placed. The contents of the interface requirements are summarized as follows: We expect to be a cornerstone for system development.

• Cartoon and Animation Studies
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• s.48
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• pp.117-139
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• 2017

The possibility of interactivity of digital media environment is adopted in human expression system and integrates the dynamic aspect of digital technology with expressive structure, thereby transforming the paradigm of image acceptance as well as image expression range. Virtual reality images have an important meaning in that they are changing the one-way mechanism of production and acceptance of images that lead to producers-video-audiences beyond the problem of verisimilitude such as how vividly they simulate reality. First of all, the virtual reality image is not one-sided but interactive image composed by the user. Viewing a virtual reality image does not just see the camera shine, but it gets the same view as in the real world. Therefore, the image that was controlled through framing changes to be configured positively by the user. This implies a change in the paradigm of image acceptance as well as a change in the existing form of the image itself. In addition, the narrative structure of the image and the subjects that are formed in the process are also required to be discussed. In the virtual reality image, the user 's gaze is a fusion of the gaze inside the image and the gaze outside the image. This is because the position of the user as the subject of the gaze in the virtual reality image is continuously restricted by the device of the discourse such as the editing and the narration of the shot. The significance of the virtual reality image is not aesthetically perfect but it is reconstructed according to the user to reflect the existence of the user positively and engage the user in the image.