• Journal of Korea Multimedia Society
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• v.7 no.7
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• pp.956-966
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• 2004

The Korean animation has enjoyed the brisk formation and establishment of its world-class infra for the last several years without unified titles or concepts, under the name of a national strategic project in the age of digital image. It also enjoys its new evaluation as digital animation that it's one of the greatest money making business in the non-education and frivolous culture and has the closest relations with the modern time. A great portion of popular image media has been taken by animation for the last 30 years. In this paper we propose a motion algorithm using an animation technology. It was developed for education purposed and accessible through the internet. For instance, in Cyber Clam Museum, 1000 gesture contents, the visual processes were used to design a screen with a realistic image and create an animation that makes possible show at 360 and every such transformation as translation, rotation, and scaling can be applied in the image interactively for the convenient and effective viewing.

• The Journal of the Korea Contents Association
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• v.17 no.7
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• pp.22-30
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• 2017

CGI not only performed a crucial role to make cinema and animation evolved into digital cinema and digital animation but also CGI, an important visual format, settled realism-centric spectacle image culture in public commercial cinema and animation. The fact that CGI visual format could be structuralized in three different view points is discovered through Iconicity, photorealism, verisimilitude, uncanny valley, hyperrealism, and spectacular realism discourse research which explain image culture. First, a formative viewpoint that comes up in an iconic difference between drawing and photograph. Secondly, a cognitive viewpoint that sees visually perceived naturalness and abnormality as a realistic probability issue. Lastly, a customary viewpoint which is rooted in aesthetic tradition of cinema and animation. After that, the features of CGI which is used in the movie 'jungle book'(2016) were analyzed using the structured visual format. Consequently, this movie has hyper-realistic photographic iconicity on the base of realistic probability. Also, by following image-aesthetic convention which uses overstated and amplified narrative as a visual format, at the same time, the movie also has sufficient image-aesthetic convention in animation by personified animal character.

• Cartoon and Animation Studies
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• s.11
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• pp.105-120
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• 2007

This treatise has defined afresh the stage setting(image) device with use of animation which is known as virtual studio, cyber studio and all that sort of things as a word 'Ani-Stage' and has also adjusted it's generative background. It will be suggest that the established stage setting device with some confined techniques need to be grafted other various animation techniques together in order to make room for 'Ani-Stage-oriented' and will be offer a device able to make free use of composition angles, simplification of composite process free from limited factors. The purpose of this treatise is that raise up the recognition on ani-stage of the specialistic competent person who playing a role in the sphere of animation and that give a new definition about the stage setting device based on animation.

• The Journal of Korean Institute of Communications and Information Sciences
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• v.30 no.8C
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• pp.783-792
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• 2005

This paper proposes a feature extraction method for sketch-based image retrieval of animation character. We extract the specific regions using the detection of scene change and correlation points between two frames, and the property of animation production. We detect the area of focused similar colors in extracted specific region. And it is used as feature descriptor for image retrieval that focused color(FC) of regions, size, relation between FCs. Finally, an user can retrieve the similar character using property of animation production and user's sketch as a query Image.

• 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'.

• Journal of Families and Better Life
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• v.14 no.4
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• pp.163-174
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• 1996

The purpose of this study was to examine the effects of children's role play by animatino on self-concept formation, The subjects of this study were 20 children of a kindergarten located in Gunpo City. the mean age were 5.5 years. Children were assigned to the study group and the control group. The children in the study group had role play of which the main themes were positive self-comcept formation but the children in control group did not have any role play by animation. The result showed 1. Role play by animation influenced on children's positive self-concept. 2. There was a difference in self-concept test score: The self-image attitude to the kindergatrten and attitude to the group of peer. Role play by animation influenced on the self-image and attitude to the group of peer. But attitude to the Kindergarten score was not increased significantly. 3. Role play by animation influenced on chikren's catharsis of emotion.

• Journal of the Korea Institute of Information and Communication Engineering
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• v.7 no.2
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• pp.328-333
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• 2003

This paper did to do with 18 muscle pairs that do fetters in anatomy that influence in facial expression change and mix motion of muscle for face facial animation. After set and change mash and make standard model in individual's image, did mapping to mash using individual facial front side and side image to raise truth stuff. Muscle model who become motive power that can do animation used facial expression creation correcting Waters' muscle model. Created deformed face that texture is dressed using these method. Also, 6 facial expression that Ekman proposes did animation.

• The Research Journal of the Costume Culture
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• v.18 no.6
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• pp.1318-1330
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• 2010

The 21st century is the age when a sensational image has more explanatory power and can deliver a more powerful message than a message consisting of logical thinking. Powerful visual images create a big impact on many people throughout the world, overcoming linguistic barriers and even replacing language as a means of communication. In the fashion field, the concept and power of visual images within the new multimedia of the 21st century are becoming increasingly important. In recent years, other than the above methods, videos, movies and animation features have been produced directly to enhance visual effects and attempts are increasing to use these new tools as communication methods. This study focuses on animation contents that have been used in the fashion industry to overcome prejudice of luxury international brands that feature images that emphasize value, quality and heritage. The purpose of this study is to focus on the specific character of fashion animation in order to overview the concept of 21st video fashion communication and to show how the collection concept that includes color and detail places an emphasis on visual images. Analysis of previous research, theoretical research through literature and case study on Prada fashion animation led to the following conclusion. The common features of two different Prada fashion animation show that both animation have the following features in common : realism, dramatic impact and convergence for expression methods, and creativeness, hybrid and a happy ending for contents. Beginning with this study, I believe that various angles of interest and concern about communication in the fashion world, which is a social and cultural phenomenon that changes rapidly, can be will be looked at and learned from.

• Journal of Korea Game Society
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• v.13 no.3
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• pp.131-140
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• 2013

The study analyzes how to create stereoscopic image in 3-dimension animation 'Yggdrasil', produced in Autodesk Maya(3D animation software), using Anaglyph method that is the oldest in 3-dimension stereoscopic video production. The anaglyph method help to produce stereoscopic images easily and to give effective 3D effect encoding each eye's image using filters of different colors. In addition, space direction applied visual perception theory expresses necessary distance, depth and speed effectively in 'Yggdrasil'

• The KIPS Transactions:PartB
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• v.15B no.2
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• pp.103-112
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• 2008

Image-based motion capture technology is often used in making realistic computer animation. In this paper we try to implement image-based motion rendering by fixing a camera to a PC. Existing image-based rendering algorithms have disadvantages of high computational burden or low accuracy. The former disadvantage causes too long making-time of an animation. The latter disadvantage degrades reality in making realistic animation. To compensate for those disadvantages of the existing approaches, this paper presents an image-based motion rendering algorithm with low computational load and high estimation accuracy. In the proposed approach, an incremental motion rendering algorithm with low computational load is analyzed in the respect of optimal control theory and revised so that its estimation accuracy is enhanced. If we apply this proposed approach to optic motion capture systems, we can obtain additional advantages that motion capture can be performed without any markers, and with low cost in the respect of equipments and spaces.