• Cartoon and Animation Studies
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• s.39
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• pp.111-132
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• 2015

Although Rotoscoping technique has been used for a long time to mimic the natural and smooth motion since the early 20th century, its artistic value was devalued as tricks because it traces the already recorded images. But the fact that the rotoscoping images can cross the boundaries between animation and live action in an infinite integral freedom in the digital era became rather expansive new aesthetic possibilities of representation of the reality. In addition, Jonas Odell's animations such as (2010), (2008), (2006) are good example to prove that the rotoscoping images also can serve as means to enhance its narrative. This study is to analyze how rotoscoping images act as a unique role in relation with the narrative based on the said person's real stories and realistic images. I argue that his animated films constantly contain these three characteristics -Images to mediate Auditory sensitivity as a record of inner metaphysical reality, anonymous images to represent a specific existential character, and images that act as physical representation that holds the physical space/time and related memory. This reveals that rotoscoping images in this digital era went beyond reproduction for natural movements or special type of style. It rather suggests new layers of experience, and acquires new value in animation. I hope that this study could serve as a foundation to rediscover and re-position the value of rotoscoping images as well as good opportunity to introduce very talented swedish animation artist who already received global attention with his unique philosophical and aesthetic style.

• Cartoon and Animation Studies
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• s.47
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• pp.1-29
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• 2017

360-degree virtual reality has been a technology that has been available for a long time and has been actively promoted worldwide in recent years due to development of devices such as HMD (Head Mounted Display) and development of hardware for controlling and executing images of virtual reality. The production of the 360 degree VR requires a different mode of production than the traditional video production, and the matters to be considered for the user have begun to appear. Since the virtual reality image is aimed at a platform that requires enthusiasm, presence and interaction, it is necessary to have a suitable cinematography. In VR, users can freely enjoy the world created by the director and have the advantage of being able to concentrate on his interests during playing the image. However, the director had to develope and install the device what the observer could concentrate on the narrative progression and images to be delivered. Among the various methods of transmitting images, the director can use the composition of the short. In this paper, we will study how to effectively apply the technique of directing through the composition of this shot to 360 degrees virtual reality. Currently, there are no killer contents that are still dominant in the world, including inside and outside the country. In this situation, the potential of virtual reality is recognized and various images are produced. So the way of production follows the traditional image production method, and the shot composition is the same. However, in the 360 degree virtual reality, the use of the long take or blocking technique of the conventional third person view point is used as the main production configuration, and the limit of the short configuration is felt. In addition, while the viewer can interactively view the 360-degree screen using the HMD tracking, the configuration of the shot and the connection of the shot are absolutely dependent on the director like the existing cinematography. In this study, I tried to study whether the viewer can freely change the cinematography such as the composition of the shot at a user's desired time using the feature of interaction of the VR image. To do this, 3D animation was created using a game tool called Unreal Engine to construct an interactive image. Using visual scripting of Unreal Engine called blueprint, we create a device that distinguishes the true and false condition of a condition with a trigger node, which makes a variety of shorts. Through this, various direction techniques are developed and related research is expected, and it is expected to help the development of 360 degree VR image.

• The KIPS Transactions:PartB
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• v.14B no.4
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• pp.311-320
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• 2007

This paper presents vision-based 3D facial expression animation technique and system which provide the robust 3D head pose estimation and real-time facial expression control. Many researches of 3D face animation have been done for the facial expression control itself rather than focusing on 3D head motion tracking. However, the head motion tracking is one of critical issues to be solved for developing realistic facial animation. In this research, we developed an integrated animation system that includes 3D head motion tracking and facial expression control at the same time. The proposed system consists of three major phases: face detection, 3D head motion tracking, and facial expression control. For face detection, with the non-parametric HT skin color model and template matching, we can detect the facial region efficiently from video frame. For 3D head motion tracking, we exploit the cylindrical head model that is projected to the initial head motion template. Given an initial reference template of the face image and the corresponding head motion, the cylindrical head model is created and the foil head motion is traced based on the optical flow method. For the facial expression cloning we utilize the feature-based method, The major facial feature points are detected by the geometry of information of the face with template matching and traced by optical flow. Since the locations of varying feature points are composed of head motion and facial expression information, the animation parameters which describe the variation of the facial features are acquired from geometrically transformed frontal head pose image. Finally, the facial expression cloning is done by two fitting process. The control points of the 3D model are varied applying the animation parameters to the face model, and the non-feature points around the control points are changed by use of Radial Basis Function(RBF). From the experiment, we can prove that the developed vision-based animation system can create realistic facial animation with robust head pose estimation and facial variation from input video image.

• Journal of the Korea Computer Graphics Society
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• v.12 no.1
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• pp.21-25
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• 2006

This paper proposes a real-time simulation technique for thin shells undergoing large deformation. Thin shells are almost two-dimensional structures visually well approximated as surfaces, such as leaves, paper sheets, hats, aluminum cans. Unfortunately accurate simulation of these structures requires one of the most complex formulations in continuum mechanics, shell theory [4]. Moreover, there has not yet been any work reported to produce visually convincing animation of them while achieving real-time performance. Motivated by discrete shells [5] and modal warping [3], we formulate dynamics of thin shells using mass-spring models instead of finite element models, and then apply the modal warping technique to cope with large rotational deformation of thin shells. Experiments show that the proposed technique runs in real-time, and that it can simulate large bending and/or twisting deformations with acceptable realism.

• The Journal of the Korea institute of electronic communication sciences
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• v.5 no.5
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• pp.415-420
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• 2010

Due to the improvement in PC performance and the development of computer graphics technology, high quality computer animation in various industrials is on the rise. This study suggests pivot interpolation to realize the process of expressing dynamic and natural motion of fish, the key of expressing the ocean landscape through the morphing technique. By applying fish tail motion, this study solves unnatural speed of the previous morphing technique and realizes the realistic swimming way without simple motion.

• International Journal of Naval Architecture and Ocean Engineering
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• v.4 no.3
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• pp.228-240
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• 2012

Morphing is a geometric interpolation technique that is often used by the animation industry to transform one form into another seemingly seamlessly. It does this by producing a large number of 'intermediate' forms between the two 'extreme' or 'parent' forms. It has already been shown that morphing technique can be a powerful tool for form design and as such can be a useful addition to the armoury of product designers. Morphing procedure itself is simple and consists of straightforward linear interpolation. However, establishing the correspondence between vertices of the parent models is one of the most difficult and important tasks during a morphing process. This paper discusses the mesh-merging method employed for this process as against the already established mesh-regularising method. It has been found that the merging method minimises the need for manual manipulation, allowing automation to a large extent.

• Journal of the Korean Society for Nondestructive Testing
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• v.24 no.2
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• pp.125-135
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• 2004

This paper describes the calculation technique for guided wave propagation with a semi-analytical finite element method (SAFEM) and shows some results of numerical calculation and guided wave simulation for plates, pipes and railway rails. The SAFEM calculation gives dispersion curves and wave structures for bar-like structures. Dispersion curve software for a pipe is introduced, and also dispersion corves for a rail are given and experimentally verified. The mode conversions in a plate with a defect and in a pipe with an elbow or a defect are shown as examples of our guided wave simulations.

• Proceedings of the Korea Contents Association Conference
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• 2011.05a
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• pp.51-52
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• 2011

We introduce a novel complete framework for contructing realistic facial animations given just one facial photo as an input in this paper. Our approach is carried on in 2D photo spacem not 3D space. Moreover, we utilize computer vision-based technique (digital matting) as well as conventional image processing methods (image warping and texture synthesis) for expressing more realistic facial animations. Simulated results show that our scheme produces high quality facial animations very efficiently.

• Proceedings of the Korea Contents Association Conference
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• 2015.05a
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• pp.425-426
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• 2015

With the progress of science and technology, animation is no longer about simply describing the nature. People's imagination is elevated to new stage, which not only improve the image in the reality, but also create the absent image in the reality. To analyze according to the existence, these characters have two basic elements. The one is the character existing in the reality, we process and design it according to the artistic technique, so as to make it service for the plot and film (hereafter called documentary character). The other is the character not existing in the reality (hereafter called conceptual character), which is called simulation image by Baudrillard.

• Journal of Biomedical Engineering Research
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• v.8 no.2
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• pp.255-270
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• 1987

A medical image workstation was developed using multimedia technique. The system based on PC-486DX was designed to acquire medical images produced by medical imaging instruments and related audio information, that is, doctors' reporting results. Input information was processed and analyzed, then the results were presented in the form of graph and animation. All the informations of the system were hierarchically related with the image as the apex. Processing and analysis algorithms were implemented so that the diagnostic accuracy could be improved. The diagnosed information can be transferred for patient diagnosis through LAN(local area network).