• Cartoon and Animation Studies
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• s.5
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• pp.322-364
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• 2001

• Journal of KIISE:Computing Practices and Letters
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• v.14 no.5
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• pp.522-526
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• 2008

In this paper, we propose a system to convert a video motion into cartoon-style animation automatically. Our system is a new video cartoon stylization method that can apply natural transformation with satisfying physical constraints. It applies physically reasonable transformation to a selected video object with considering physical information such as momentum, movement direction and force. We construct several deformation scenarios which correspond with traditional animation techniques, then a scenario can be easily selected to apply the effects. Finally, this system gene-rates a dynamic cartoon-style video by timing control and a cartoon rendering technique.

• Science of Emotion and Sensibility
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• v.12 no.4
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• pp.519-530
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• 2009

Today various interfaces are created with the advancement of technology. The flat 2D and static interfaces are general in the past but 3D and motion factors are imported in user interfaces today. It is important to use the motion factors adequately appropriate timing, situation and so on. This study focuses on the motion factor, especially the squash & stretch principle which affects the style of movement. This study investigates the effect of cartoon style(squash & stretch principle) for motion on attraction, emotion and attention. In experiment 1, participants evaluated attraction and emotion words relating to movement after they saw spheres applied to squash & stretch principle and spheres not applied to. The results indicate the squash & stretch principle can make motion not only more attractive but also brighter and more active than the general motion. In experiment 2, a sphere applied to squash & stretch principle and a sphere not applied to were presented at the same time and we measured the reaction time when participants detected change in one of the two spheres. As a result, the reaction time was faster when a sphere applied to squash & stretch principle changed. This suggests that the squash & stretch principle can make motion attract the attention of users.

• Journal of Korea Multimedia Society
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• v.5 no.4
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• pp.434-440
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• 2002

This paper proposes a digital storytelling system that employs a method of making users simple online sketch being animated in 3D. To help users focus on their story development, our proposed system gives sketch guidelines providing 3D scene structure, and publishes final results as animated scenes with story text across time. This system is based on the web and the authoring process can also be shared with others.

• 한국HCI학회:학술대회논문집
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• 2008.02a
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• pp.409-413
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• 2008

최근, 3차원 그래픽스 기술은 애니메이션 필름 제작에 있어서 자주 사용된다. 그러나 많은 애니메이션 필름들은 3차원 그래픽스 기술을 사용하여 제작되더라도, 2차원 셀 애니메이션 효과를 내려고 한다. 3차원 그래픽스 기술을 이용하여 2차원 셀 애니메이션의 효과를 내기 위해서는 렌더링에는 카툰 렌더링이 사용 된다. 그러나 이를 제외하고도 몇 가기 기술이 더 필요한데, 그중 하나가 만화 캐릭터(character)의 만화스러운 움직임이다. 기존의 연구 중에는 기존의 모션을 만화적 모션으로 변형하려는 시도가 있었으나, 셀 애니메이션의 캐릭터 움직임과 차이가 있었다. 또 생성된 모션이 만화적 모션인가 하는 의문에 대한 평가 기준이 없기 때문에, 만화적 모션의 모호성 문제가 발생하였다. 본 논문에서는 직접 애니메이션에서 모션을 얻어내는 시스템을 제안한다. 2차원 애니메이션 동영상에서 2차원 캐릭터의 자세를 보고 3차원 캐릭터의 자세로 반자동 맵핑하여, 3차원 캐릭터의 애니메이션 키 프레임을 생성하고, 이 키 프레임간의 보간을 통해 3차원 캐릭터 애니메이션을 생성한다. 생성된 3차원 캐릭터 애니메이션은 만화적 움직임을 갖게 되며, 2차원 캐릭터의 자세와 움직임을 기준으로 만들었기 때문에, 만화적 모호성을 극복할 수 있다.

• Journal of KIISE:Computing Practices and Letters
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• v.16 no.5
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• pp.611-615
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• 2010

In this paper, we propose a method that exaggerate a character motion using quadratic deformation. While the previous methods tend to exaggerate a rotational motion of an individual joint angle, our method attempt to model the poses of a whole body at each frame and exaggerate those, so that the whole-pose action of the character can be exaggerated. Our method can be computed in real-time, and prevents a joint motion that rotates unexpected direction.

• Cartoon and Animation Studies
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• s.35
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• pp.89-106
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• 2014

According to Norman McLaren, a Canadian animator, "Animation is not art of moving pictures but art of drawn motions". As he puts it, animation performs the role of magic that turns static to dynamic. Particularly, the space of animation, which is generated through merger of several layers, creates distinctive space that is not to be found in other art genres. Also, the motion of animation, which, unlike live action in film, can be limitlessly created according to a director's subjective domain, has a more autonomous existence. In this paper, I study the space and motion in animation grounded in a director's subjective domain, based on the works by Tabaimo, the Japanese animator director and modern artist. She made an independent use of color sense and perspective that maximized a flat surface, which contributed to creating a new world that doesn't exist in reality. Motion created in such a space is more relative than universal. Therefore, Tabaimo's animation has made aggressive use of a device that gives more originality to the director's themed world, while audience can participate in the strange but new world.

• International Journal of Internet, Broadcasting and Communication
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• v.16 no.1
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• pp.106-123
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• 2024

This article takes the talk show "Beast Town" as an example to introduce the overall technical solution, technical difficulties and countermeasures for the combination of cartoon virtual characters and virtual studio technology, providing reference and experience for the multi-scenario application of digital humans. Compared with the live broadcast that combines reality and reality, we have further upgraded our virtual production technology and digital human-driven technology, adopted industry-leading real-time virtual production technology and monocular camera driving technology, and launched a virtual cartoon character talk show - "Beast Town" to achieve real Perfectly combined with virtuality, it further enhances program immersion and audio-visual experience, and expands infinite boundaries for virtual manufacturing. In the talk show, motion capture shooting technology is used for final picture synthesis. The virtual scene needs to present dynamic effects, and at the same time realize the driving of the digital human and the movement with the push, pull and pan of the overall picture. This puts forward very high requirements for multi-party data synchronization, real-time driving of digital people, and synthetic picture rendering. We focus on issues such as virtual and real data docking and monocular camera motion capture effects. We combine camera outward tracking, multi-scene picture perspective, multi-machine rendering and other solutions to effectively solve picture linkage and rendering quality problems in a deeply immersive space environment. , presenting users with visual effects of linkage between digital people and live guests.

• Cartoon and Animation Studies
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• s.15
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• pp.251-265
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• 2009

Motion Graphics are a great effective vehicle for precise communication between customers in various media and formats. The important thing in the expression of Motion Graphics is to deliver messages clearly. Some current Motion Graphics which are focused on only attracting attention or sensational expressions more than narrative are evaluated lower. This study aims to utilize easy and positive Motion Graphics to deliver messages by applying their utility to production of Motion Graphics, omitting time spent on delivering effective messages and analyzing their suggestive expression methods because of the nature of producing Motion Graphics. This thesis is to study several theoretical backgrounds of omission and implicated expressions mentioned in the similar studies from the view of Motion Graphics, and to search applied examples and functional things using the expression methods in some film title sequence. Excellent Motion Graphics use planned omission and implicated methods rather than to use entire narratives or complicated descriptions. Especially, a film title sequence should focus on symbolic visual expressions. They are necessary to attract the audience's interest. To overcome the limitation of time and space deliver a huge amount of information quickly and powerfully, Motion Graphics should properly use omission of image and time and suggestive expressions through symbols and metaphors. Then they will have a role to level up their current values and discussions.

• Cartoon and Animation Studies
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• s.28
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• pp.125-153
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• 2012

This study is regarding what motion modality has influences on aspects of genre and media. Nowadays, motion modality becomes an element which is actively manipulated in live actions as well as animations. And, it has been generally accepted that a strategy on manipulation of motion depends on matters of genre or medium. As respected, can we say the premise is correct? if it is, can we refine the premise more theoretically, without using the words, 'genre' or 'media' which have not been are not been defined on an academic aspect. I intend to discuss on this issue. I will speculate the issue of manipulation of motion modality on theoretical bases. According to McLuhan's hot/cool media theory and Bolter's oscillation theory, the effect of it turns out to be same as manipulation of sentience ratio of media readers, and the ideal result will be examined by an example analysis. In the analysis, I will explore what effects manipulation of motion has on several examples. Then, by examining what kind of correlation these effects has with media/genre positioning, I ultimately will evaluate the genre/medium-based determinism of motion modality, which is represented by a typical premise like "Animation is most realistic when it has the most animation-like movement." Conclusively I suggest a refined premise like the following. Modality of motion is a strategy depending on issues of genre, with no regard to issues of medium, and the issue of genre is a category which is positioned considering mixture ratio of sentience. With this reason, A strategy of modality of motion depends to sentience a certain sequence needs. So, motion modality becomes a strategy which has to be approached in functionality of genre rather than economic values which spring from technical devices like a motion capture.