• The Journal of Korean Institute of Communications and Information Sciences
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• v.27 no.3A
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• pp.211-220
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• 2002

In this paper, we propose an efficient algorithm to compress simple computer cell animation at very low bit rate. The structure of proposed algorithm consists of intra frame coding and inter frame coding. In inter frame coding, animation is encoded by color quantization using a palette, rearrangement of index, ADPCM used in JPEG-LS, mapping, classification, and entropy coding. In interframe coding, classifying the characteristics of motion, animation is encoded by block based motion replenishment. Experimental results show that the proposed methods turns out to outperform conventional methods including Flash, FLC, Motion-JPEG, MPEG-1, and MPEG-4.

• The KIPS Transactions:PartB
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• v.10B no.1
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• pp.111-118
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• 2003

The SMIL specification that is recently approved by the W3C and is meant to help deliver multimedia content to the Web, is widely used in these days and they have continuously emerged tools or softwares related with that. In this paper, I propose an algorithm to convert temporal scripts of RASP that is an experimental toolkit for computer animation that promotes interaction-based programming over time into a SMIL document. For making better use of SMIL documents, we can improve reusability of animation components. And, main contribution of this paper is that it verifies the sequence diagram generated for synchronization of documents by reconverting SMIL from UML sequence diagram.

• Journal of Fisheries and Marine Sciences Education
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• v.27 no.3
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• pp.634-643
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• 2015

The purpose of this study was to evaluate the effect of the invention animations on the invention attitudes of elementary school students. This study was conducted with a pre-and-post test experimental design. The participants were 73 students from J elementary school in Daejeon. Among them, 36 students were the experiment group and 37 students were the comparison group. Watching invention animations were conducted in a classroom everyday for 24 times. Assessments of Invention Attitudes were administered to all the participants during the pre-test and post-test. To analyze the data, the analysis of covariance(ANCOVA) was adopted. The result of this study was as follows: The experimental group who watched invention animations showed significantly higher improvement in Invention Attitudes and sub-factors of Invention Attitudes(Attentional Attitude, Emotional Attitude, Cognitional Attitude) than the comparison group. In conclusion, watching invention animations had positive effect on the invention attitudes of elementary school students.

• Cartoon and Animation Studies
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• s.45
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• pp.367-396
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• 2016

As an animation educator at Mahidol University International College, Bangkok, for eight years I have been in a privileged position to be educating a small section of a new generation of Thai animators. Thailand has had little animation experimentation of their own and pre-internet had limited access to such diversity so I have attempted to bring some of the wealth of animation history, in particular British and European, as this is my background, into the classroom. In particular my teaching aim has been to introduce various possibilities to the choices of medium, styles and textual narratives that early (and current) experimental and independent animators have explored. Since the release of the first commercial feature film, Khun Kluay 2006, the Thai animation industry has gone through various highs and lows in the commercial sector, building a skilled workforce, many of whom trained and worked abroad then returned. Now there is strong evidence of an independent animation starting to emerge. In a continuation to my research on Thai Animation this paper will analyze selected independent works in more detail, exploring the themes, style and technology used. Whilst also acknowledging the possible mis- interpretation as that this is coming from the perspective of an outsider whose cultural language and interpretation may transcend the creators' given experiences and add alternative interpretation. The aim will be to contextualize the content, ideas and cultural perspective and bring more Thai works into the gaze of animation studies academics

• Cartoon and Animation Studies
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• s.44
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• pp.1-31
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• 2016

In this thesis, the movie with mise-en-scene established was compared with the peculiarity of the play that is the etymological source of the term to identify the peculiarity of mise-en-scene which was substituted into animation to find the peculiarity of mise-en-scene in animation. To emphasize the direct connection between the frame's visual peculiarity and the director's opinions, the mise-en-scene of director centered animation created under a restricted environment was reviewed. Mise-en-scene which started from movie critics theory does not simply mean the arrangement of images in a frame. Mise-en-scene emphasizes the exposure of the work's motive by the visual components. The animation's assuming the middle point of environmental share possessed by play and movie when schematizing the genre peculiarity of animation, play and movie was a noteworthy result. It can be said that the cause is that the animation's peculiarity yield different results depending on the making methods; we verified that this is a key factor in the analysis of animation's mise-en-scene. I emphasized that the peculiarity of animation mise-en-scene is in its making method and material and suggested identifying the work's making methods and analyzing the work's aesthetic results derived in this way. The russian animation which was perceived as peripheral arts was relatively free from the burden of censorship while receiving support from the Soviet as a media for propaganda. The russian animation's mise-en-scene which found the material for its works in the country's folklore was metaphorical, focused on new expression forms and achieved experimental elements. Russian animation pursues a unique aesthetic world through space expression based on the forms of opera or ballet and heavy motions formed static inbetweens.

• Journal of the Institute of Electronics Engineers of Korea SP
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• v.37 no.5
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• pp.21-30
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• 2000

As a means of getting over the linguistic barrier between different languages, a sign-language communication system using CG animation techniques has been studied. In order to generate a kind of sign-language animation in the system, the joint angles of the arms and the hands corresponding to the gesture have to be determined Up to date, however, the values of joint angles have been decided by trial-and-error methods based on the animator's experiences To overcome the drawback, m this paper, we design an integrated keyframe editor of the arms and the hands for 3D sign-language animation with which we can easily and quickly generate the keyframes of the sign-language animation required to build up In the Implemented keyframe editor, the values of joint angles are calculated by using mverse kinematics, and the same transformation matrix is applied to the joints of two arms and twenty fingers Experimental results show a possibility that the editor could be used efficiently for making up the sign-language communication dictionaries needed for inter-communication between different languages.

• Journal of Korea Multimedia Society
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• v.12 no.4
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• pp.559-571
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• 2009

This paper presents a concurrent watermarking scheme with both robustness and fragileness for copyright protection and authentication of 3D animation contents. In a 3D animation model, the proposed scheme embeds not only robustly the watermark into geometry node for copyright protection but also fragilely the watermark into position and orientation interpolators for content authentication. This paper names the former as the robust geometry watermarking and the latter as the fragile interpolator watermarking. The proposed scheme performs independently these watermarkings for satisfying at one time the robustness and the fragileness of 3D animation model. From experimental results, we verified that the watermark embedded by the geometry watermarking has the robustness against many attacks from 3D public editing tools and also the watermark embedded by the interpolator watermarking has the fragileness against the same attacks.

• Journal of Korean Elementary Science Education
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• v.19 no.1
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• pp.101-112
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• 2000

The purpose of this study was to develop the modular multimedia instructional materials emphasizing the particulate nature on the realm of matter in elementary science classes. Features of the material are as follows: 1 To be in focus on particulate model named 'phenomenal magnifying glasses' in order to change the student's belief system of continuous matter into the belief system of particulate matter . The 'phenomenal magnifying glasses' is a new instructional strategy designed to change into the view of particulate matter through facilitating the reflective thinking resulted from the simultaneous consideration of experimental phenomena(macroscopic world) and particulate model(microscopic world). 2. To introduce modular system into the instructional materials, which was consisted of 14 subunits according to the sequential instruction unit of 'molecule and molecular motion'. Each subunit was composed of 5 types of modules(module 1: motivation, module 2: experimental result, module 3: discussion, module 4: phenomenal magnifying glasses, module 5: related experiment) 3. The multimedia program was composed of 36 kinds of experimental animation and 59 kinds of computer animation materials combined with text resources, photographic materials and sounds.

• Cartoon and Animation Studies
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• s.43
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• pp.321-342
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• 2016

The "uncanny valley" curve describes the measured results of the negative emotion response which depends on the similarity between the artificially created character and the real human shape. The "uncanny valley" effect that usually appears in the animation character design induces negative response such as fear and hatred feeling, and anxiety, which is not expected by designers. Especially, in the case of the commercial animation which mostly reply on public response, this kind of negative response is directly related to the failure of artificially created character. Accordingly, designers adjust the desirability of the character design by avoiding or utilizing the "uncanny valley" effect, inducing certain character effect that leads to the success in animation work. This manuscript confirmed the "uncanny valley" coefficient of the positive emotion character design which was based on the actual character design and animation analysis. The "uncanny valley" concept was firstly introduced by a medical scientist Ernst Jentsch in 1906. After then, a psychologist Freud applied this concept to psychological phenomenon in 1919 and a Japanese robert expert Professor Masahiro Mori presented the "uncanny valley" theory on the view of the recognition effect. This paper interpreted the "uncanny valley" effect based on these research theory outcomes in two aspects including sensation production and emotion expression. The mickey-mouse character design analysis confirmed the existence basis of the "uncanny valley" effect, which presented how mickey-mouse human shape image imposed the "uncanny valley" effect on audience. The animation work analysis investigated the reason why the produced 3D animation character should not be 100% similar to the real human by comparing the animation baby character produced by Pix company as the experimental subject to the data of the real baby with the same age. Therefore, the examples of avoiding or utilizing the "uncanny valley" effect in animation character design was discussed in detail and the four stages of sensation production and emotional change of audience due to this kind of effect was figured out. This research result can be used as an important reference in deciding the desirability of the animation character.

• Cartoon and Animation Studies
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• s.32
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• pp.43-61
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• 2013

The aberrant movement that Gilles Deleuze wanted to describe represents 'unclosed' or 'unlimited' possibility; it also means that a being has unlimited virtual power until it turns into a thing. In this paper, I analyzed and classified "Dialogue Factual,"one of the animation films by Jan Svankmajer, based on the logical grounds by Gilles Deleuze. First, as a result of analysis according to the seven characteristics in the experimental animation by Paul Wells, 'Dialogue Factual' has all of the features in the experimental animation, and, as I have found, the analysis through a comparison with Carl Dreyer's "The Passion of Joan Of Arc" indicates the works by Jan Svankmajer do not conform to Sensory-motor schemata. Such aberrant properties are involved with the time-image by Gilles Deleuze; by comparison with "Lavender Mist No. 1", one of the artworks by Jackson Pollock, it has been confirmed that "crystal image," the important concept of the time-image, is inherent in "Dialogue Factual". Lastly, the analysis of shots suggests that the movement-image and the time-image coexist in "Dialogue Factual". However, they are not to be classified by a clear-cut dichotomy.