• Journal of Korea Multimedia Society
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• v.9 no.11
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• pp.1515-1528
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• 2006

Systems for physically based fluid animation have developed rapidly in the visual special effects industry and can make very high quality images. However, in the real-time application fields such as computer game, the simulation speed is more critical issue than image quality. This paper presents a real-time method for animating fluid using programmable graphics pipeline. We show that once two key-frames are given, the technique can interactively generate a sequence of images changing from the source key-frame to the target.

• Journal of Korea Multimedia Society
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• v.12 no.7
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• pp.903-912
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• 2009

There are still many difficulties in developing techniques for modifying or transforming the flickering of motion capture data or in modifying motion capture data in such a way that suits the animation timing sheet. There is a problem in the existing method of modifying motion capture data. It requires almost same time as in the key frame animation work by a very skilled animator or even more time in modifying. It is believed that this kind of problem can be a basis for a more effective problem-solving method through creating the key animation data node and direct blend layer and replacement layer nodes. This study presents a new method which enables to modify animation data in a nonlinear way without modifying the existing animation data by creating an animation layer node for a direct connection to the animation node. 'Maya' API will be utilized in order to realize this method and the research range will be limited to 'Maya' 3D software which is generally used in motion picture and animation films. According to the results of this study, the new method is much more intuitive than the nonlinear one and does not require the preceding working of making animation clips. In addition, it has enabled to modify flickering and to extract key frames, and due to the compatibility with other programs, it has been possible to modify motion capture data by creating a direct layer node. Finally, in this study, the existing method of modifying animation will be examined, compared and analyzed.

• Proceedings of the Korean Information Science Society Conference
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• 2000.10b
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• pp.523-525
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• 2000

프레임(Key Frame) 애니메이션 방법은 많은 수의 개체들을 동시에 움직여야 하는 애니메이션을 수행 시에 이를 모두 수작업을 통해서 움직여야 하는 단점이 있다. 본 논문에서는 이러한 단점을 보완하기 위해서 행동기반 그룹 애니메이션에 대하여 연구하였다. 이를 위하여 애니메이션되는 각각의 개체에 자신의 내적 상태와 외부의 환경에 의해서 영향을 받아서 다음에 취해야 할 행동을 확장 가능한 구조로 설계된 행동구조(Behavior Architecture)에 이미 프로그램 되어 있는 모듈을 삽입하였다. 그리고 이에 따라서 판단하고 수행될 수 있도록 한 후에, 각각의 개체가 자신의 고유한 행동을 취해서 움직이면서도 그룹의 특성을 가지는 행동을 수행할 수 있도록 구현하였다.

• Journal of KIISE:Computer Systems and Theory
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• v.31 no.12
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• pp.726-734
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• 2004

This paper presents a facial animation method that enables the user to select a sequence of facial frames from the facial expression space, whose level of details the user can select hierarchically Our system creates the facial expression space from about 2400 captured facial frames. To represent the state of each expression, we use the distance matrix that represents the distance between pairs of feature points on the face. The shortest trajectories are found by dynamic programming. The space of facial expressions is multidimensional. To navigate this space, we visualize the space of expressions in 2D space by using the multidimensional scaling(MDS). But because there are too many facial expressions to select from, the user faces difficulty in navigating the space. So, we visualize the space hierarchically. To partition the space into a hierarchy of subspaces, we use fuzzy clustering. In the beginning, the system creates about 10 clusters from the space of 2400 facial expressions. Every tine the level increases, the system doubles the number of clusters. The cluster centers are displayed on 2D screen and are used as candidate key frames for key frame animation. The user selects new key frames along the navigation path of the previous level. At the maximum level, the user completes key frame specification. We let animators use the system to create example animations, and evaluate the system based on the results.

• Journal of Information Processing Systems
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• v.2 no.1
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• pp.18-22
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• 2006

This paper proposes the framework of the scenario-based 3D image synthesizing system that allows common users who envision a scenario in their mind to realize it into the segments of cool animation. We focused on utilization of the existing motions to synthesize new motions for the objects. The framework is useful to build a 3D animation in game programming with a limited set of 3D objects. We also propose a practical algorithm to reuse and expand the objects. This algorithm is based on motion path modification rules. Both linear and nonlinear curve-fitting algorithms were applied to modify an animation by key frame interpolation and to make the motion appear realistic.

• Journal of Korea Game Society
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• v.14 no.3
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• pp.25-34
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• 2014

To provide high quality contents, game companies are introducing a new technology. One of the ways is the game character animation would utilize the motion capture. However, because of the economic burden, small businesses do not have a chance to take advantage of the motion capture. The purpose of this study is to derive benefit from cost and time saving by simplifying the existing production method based on a case of utilize to motion capture system. In addition this study has find ways to apply the key frame animation, so that is will be help to develop game contents.

• The Journal of the Korea Contents Association
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• v.6 no.12
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• pp.269-277
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• 2006

In this paper, we propose an interactive system that generates emotional expressions from arm gestures. By extracting relevant features from key frames, we can infer emotions from arm gestures. The necessary factor for real-time animation is tremendous frame rates. Thus, we propose processing facial emotion expression with 3D application for minimizing animation time. And we propose a method for matching frames and actions. By matching image sequences of exagerrated arm gestures from participants, they feel that they are communicating directly with the portraits.

• Proceedings of the Korea Contents Association Conference
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• 2006.11a
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• pp.278-281
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• 2006

In the Contents industry, especially in the field of game contents the area receiving the most spotlight is 3D. With qualitative and quantitative developments in games continue, interest in 3D is becoming more significant. As a result studies and actual application in the area of 3D in the game industry are being most actively conducted. It is true that 3D game characters do not have the same level of natural movement compared to the previous 2D characters. In order to overcome the limitations of movement control of the Key frame method, the method that is currently being rapidly developed is a movement control method using motion capture system. In this study, the focus is placed in production of natural character animation through movement control through linkage of 3D game characters and motion capture system. Hence, production of natural 3D game character animation through a single central action was established as the purpose of this study.

• Cartoon and Animation Studies
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• s.37
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• pp.221-245
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• 2014

With the success of the world's first 3D computer animated film, "Toy Story" in 1995, industrial development of 3D computer animation gained considerable momentum. Consequently, various 3D animations for TV were produced; in addition, high quality 3D computer animation games became common. To save a large amount of 3D animation production time and cost, technological development has been conducted actively, in accordance with the expansion of industrial demand in this field. Further, compared with the traditional approach of producing animations through hand-drawings, the efficiency of producing 3D computer animations is infinitely greater. In this study, an experiment and a comparative analysis of markerless motion capture systems for facial expression animation has been conducted that aims to improve the efficiency of 3D computer animation production. Faceware system, which is a product of Image Metrics, provides sophisticated production tools despite the complexity of motion capture recognition and application process. Faceshift system, which is a product of same-named Faceshift, though relatively less sophisticated, provides applications for rapid real-time motion recognition. It is hoped that the results of the comparative analysis presented in this paper become baseline data for selecting the appropriate motion capture and key frame animation method for the most efficient production of facial expression animation in accordance with production time and cost, and the degree of sophistication and media in use, when creating animation.

• 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.