• The Journal of the Korea Contents Association
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• v.7 no.4
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• pp.160-169
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• 2007

Main problem in the domestic motion capture type production is that motion data are used even in the case when the human sensibility is needed. In other words it fails to give human images to the work, and production method only use motion capture data unconditionally and impetuously. Even though motion capture is effective and are various and applicable to various areas, it would cause enormous lose of capital and manual labor if these problems are not solved. In the present study, we compare motion capture with key animation production and analyze the merits and short comings of them. Also, we analyze them through the actual production and present the efficient method of key animation production when the expensive motion capturing devices are not available.

• Journal of Digital Convergence
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• v.14 no.11
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• pp.489-494
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• 2016

Stop-Motion Animation is the work that gives lives to the objects. In order to give lives to objects and to form story line to persuade the audience, it is important that the reason of choice of color, material, and texture has something to do with the narratives. For this study, among the Garri Bardin's animation, the ones with good representation of the objects have been chosen: Conflict (1983), Fioritures (1987), and Adagio (2000). With these animations, I would like to look for the meaning of existence of the objects, and to consider the importance of the relationship between the types of objects that are represented and the narratives.

• Journal of information and communication convergence engineering
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• v.10 no.2
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• pp.168-174
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• 2012

Flash is the most popular 2D animation and game development software, supporting vector and media technology at the core, which enables the development of small and pithy games. It is widely used in Web animation, courseware, TV commercials, game development, and other works of design. In this paper, we propose a control movement function and auxiliary functions for an alpine skiing game based on ActionScript 3.0. The control movement function is designed with moving phases (i.e., free fall, sliding, projectile, and landing). The auxiliary functions include drawing path, start/restart movement, and saving the highest score. In addition, for the visual design of our game, we designed animations in connection with a character and background. In order to facilitate testing the friction, users can input a chosen friction value. Without user input, the friction default is set at 0.97.

• 한국정보컨버전스학회:학술대회논문집
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• 2008.06a
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• pp.185-188
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• 2008

The developments of digital and multimedia have been increasing the demand of humans desiring the acquisition of real and intuitive information and diversified expressions and the use of animation characters are continually increasing in mass media. With the development of graphic techniques, these expressions of animation characters have become enabled of real and smooth representations. Although, in general, even fine movements of the hair of characters can be expressed using diverse data input devices, the studies on the multimedia technologies for disabled persons are quite insufficient. In this paper, Directness it extracts the data which it move sign language and It propose the method which creates a realty 3D sign language gesture.

• Proceedings of the Korea Information Processing Society Conference
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• 2002.04a
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• pp.225-228
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• 2002

인터넷 기술의 눈부신 발전으로 더 이상 VRML이 브라우저 상에서 3차원 오브젝트만을 보여 주는 시기는 지났다. 온라인 가상 환경에서 3차원 캐릭터를 통해서 가상의 공간에서 현실로 넘나들고자 하는 욕구 역시 증대되고 있다. 다시 말해서, 사용자들은 3차원 웹 상에서 자신의 움직임과 같은 Humanoid를 만들어 현실감을 느끼고 싶어한다. 본 논문에서는 웹 브라우저로 쉽게 접근 할 수 있는, VRML(Virtual Reality Modeling Language)구조를 통해 Humanoid를 생성한다. 그리고 컴퓨터가 만들어낸 가상에서 인간의 움직임에 대한 체험을 하도록 하는 Humanoid를 생성하여 사용자와 상호 작용할 수 있는 방법을 제안하고 이를 구현하였다.

• Proceedings of the Korean Society of Computer Information Conference
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• 2016.01a
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• pp.231-232
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• 2016

본 논문에서는 모션 그래픽을 이용한 컴퓨터애니메이션으로 실감 있는 영상 콘텐츠를 제공한다. 본 연구에서는 합성기법을 적용하여 원본 소스 영상과 목표 영상을 합성하여 새로운 영상을 생성하는 합성 기법을 적용하고 합성한 영상을 애니메이션 기법을 적용하여 동영상으로 콘텐츠를 제작한다. 이렇게 합성 기법과 애니메이션 기법을 적용한 영상을 고전적 표현 기법을 적용하여 마치 고대 유물이나 조각상이나 동상 같은 무형의 조형물에 생명력을 적용해 마치 벽화 속에 있던 사물이 살아서 움직이는 신기한 광경을 연출한다. 이러한 연출은 다양한 효과를 적용하여 연출한다. 또한 현재의 사물에도 같은 방법으로 합성 기법과 애니메이션 기법, 그리고 다양한 효과를 적용하여 현대적인 표현으로 다양한 상황에서 다양한 효과를 적용하여 현대적인 사물 표현이 가능하다. 따라서 이러한 합성기법과 애니메이션 기법과 효과들로 시대를 초월하는 시공간 연출이 가능하여 다양한 광고, 홍보 등에서 효과적이다.

• Proceedings of the Korean Information Science Society Conference
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• 2012.06c
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• pp.406-407
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• 2012

Texture transfer is a NPR technique for expressing various styles according to source (reference) image. By late 2000s, there are many texture transfer researches. But video base researchers are not active. Moreover, they didn't use important feature like directional information which need to express detail characteristics of target. So, we propose a new method to generate texture transfer animation (using video) with directional effect for maintaining temporal coherence and controlling coherence direction of texture. For maintaining temporal coherence, we use optical flow and confidence map to adapt for occlusion/disocclusion boundaries. And we control direction of texture for taking structure of input. For expressing various texture effects according to different regions, we calculate gradient based on directional weight. With these techniques, our algorithm can make animation result that maintain temporal coherence and express directional texture effect. It is reflect the characteristics of source and target image well. And our result can express various texture directions automatically.

• Proceedings of the Korea Information Processing Society Conference
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• 2009.04a
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• pp.706-709
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• 2009

The informatization of Korea is accompanied by the great growth of new strategic export industry, as of mobile phone or semiconductor LCD. Speaking to the situation of mobile phone, Motorola swept over the American domestic market in the beginning of 1990s, digital mobile communication as CDMA developed swiftly in Korea. In 1996, the first year's CDMA users of Samsung were merely one million, nevertheless, the world's sales in the first half of this year is up to 92 million. In this p aper I design 3D application based on J2ME and implement a freely removable 3D object which happened in a 3D scen e by receiving the keyboard response of mobile device with WTK (Wireless ToolKit) simulator. It contains benefits of improvement of relative speed and high-level functionality such as scene graph, keyframe animation, etc.

• Cartoon and Animation Studies
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• s.37
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• pp.509-537
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• 2014

This paper proposes 'postfilimc metamorphosis' and 'reanimation' as two concepts that aim at giving account to the aesthtetic tendencies and genealogies of what Suzanne Buchan calls 'pervasive animation', a category that refers to the unprecedented expansion of animation's formal, technological and experiential boundaries. Buchan's term calls for an interdisciplinary approach to animation by highlighting a range of phenomena that signal the growing embracement of the images and media that transcend the traditional definition of animation, including the lens-based live-action image as the longstanding counterpart of the animation image, and the increasing uses of computer-generated imagery, and the ubiquity of various animated images dispersed across other media and platforms outside the movie theatre. While Buchan's view suggests the impacts of digital technology as a determining factor for opening this interdisciplinary, hybrid fields of 'pervasive animation', I elaborate upon the two concepts in order to argue that the various forms of metamorphorsis and motion found in these fields have their historical roots. That is, 'postfilmic metamorphosis' means that the transformative image in postfimic media such as video and the computer differs from that in traditional celluloid-based animation materially and technically, which demands a refashioned investigation into the history of the 'image-processing' video art which was categorized as experimental animation but largely marginalized. Likewise, 'reanimation' cne be defined as animating the still images (the photographic and the painterly images) or suspending the originally inscribed movement in the moving image and endowing it with a neewly created movement, and both technical procedues, developed in experimental filmmaking and now enabled by a variety of moving image installations in contemporary art, aim at reconsidering the borders between stillness and movement, and between film and photography. By discussing a group of contemporary moving image artworks (including those by Takeshi Murata, David Claerbout, and Ken Jacobs) that present the aesthetic features of 'postfilmic metamorphosis' and 'reanimation' in relation to their precursors, this paper argues that the aesthetic implications of the works that pertain to 'pervasive animation' lie in their challenging the tradition dichotomies of the graphic/the live-action images and stillness/movement. The two concepts, then, respond to a revisionist approach to reconfigure the history and ontology of other media images outside the traditional boundaries of animation as a way of offering a refasioned understanding of 'pervasive animation'.

• Proceedings of the Korean Information Science Society Conference
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• 2007.06a
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• pp.206-207
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• 2007