• Journal of Broadcast Engineering
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• v.16 no.1
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• pp.33-43
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• 2011

Recently, 3D displays are supplied in the 3D markets so that the demand for 3D stereoscopic contents increases. In general, a simple method is to use a stereoscopic camera. As well, the production of 3D from 2D materials is regarded as an important technology. Such conversion works have gained much interest in the field of 3D converting. However, the stereoscopic image generation from a single 2D image is limited to simple 2D to 3D conversion so that the better realistic perception is difficult to deliver to the users. This paper presents a new stereoscopic content production method where foreground objects undergo alive action events. Further stereoscopic animation is viewed on 3D displays. Given a 2D image, the production is composed of background image generation, foreground object extraction, object/background depth maps and stereoscopic image generation The alive objects are made using the geometric transformation (e.g., translation, rotation, scaling, etc). The proposed method is performed on a Korean traditional painting, Danopungjung as well as Pixar's Up. The animated video showed that through the utilization of simple object transformations, more realistic perception can be delivered to the viewers.

• Cartoon and Animation Studies
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• s.36
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• pp.325-347
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• 2014

"The art challenges the technology, and the technology inspires the art." By this word John Lasseter expressed Pixar animations main soul of story. Media technology has a close relation with the animation. As media developed more and more, an animation has been widen a lot and have given new visions to the audiences. We can see such this figure from the history of the Disney animation. They had tried to make all the kind of animations such a silent animation, planetary animation, black and white animation and the multi colored animation. Lately Disney had made animation that has traditional style. But the method of making traditional animation stable side story's holdup the audience. So Disney animation decided to change this method. For the result of Disney animation studio effort Frozen had produced after a computer graphics work following Rapunzel. What was the reason for entertain well of Frozen? Not only changing the method of producing traditional to computer graphic is could not make entertain well. We can see from the Frozen concordance of the original idea and modern scenario, OST the perfection of computer graphics work. In this paper work Disney animation has worked from the silent animation to computer graphic works result of "The Frozen". For the contribution of technology development makes able to analyze animations expression and relation. There is a lot shots that hard to analyze in the Frozen. But I will study it with the method named "Expansion in space" to making main analyzing expressive extension that appears on the scene.

• Journal of the Korean Society for Computer Game
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• v.31 no.4
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• pp.175-184
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• 2018

The commercial success of the game has also led to animation of the original game, especially the live version of The Street Fighter II in 1994 and a variety of videos of the game-based version, 2D Animation and 3D Animaion until now. But animations are not always successful because they are based on popular and commercially successful games. That's because when the original game was remade into an animation, the difference between the narrative structure of the original game story and the setting of the game and animation is striking. Nevertheless, a feature-length animation based on the Angry Birds game, which was released on May 19, 2016, has also been a huge commercial success, with this paper analyzing the case applied to the 12th stage of Christopher Vogler's hero's journey, Aengibird the Movie, and discussing the way in which the animation developed based on the game compared with other animations. Christopher Vogler, a Hollywood playwright, analyzed the structure of popular-loved movies based on the common narrative of the myth as the main motif of the mythologist Joseph Campbell. His narrative style is a hero's journey, using a total of 12 stages of epic narrative structure to help the protagonist find himself and achieve what he wants. Foreign heroes, adventure films as well as animations from big studios like Disney, Pixar, and Ghibli are using the story-development method of this Christopher Vogler.

• Cartoon and Animation Studies
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• s.49
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• pp.325-357
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• 2017

It can be assumed that the reasons why the animation characters, 'Olaf (in Frozen Kingdom)' and 'Minions (in Super Bad)', etc., which were very successful in the merchandising market while having won the popularity better than the main characters are very popular even though such characters appeared only by playing a funny role while assisting the adventures of the main characters are not only because of their cute appearances but also because such characters have their own core features in their inner world as the transitional object-characters. Simply expressing, a 'Transitional Object' as a concept suggested by a child psychologist, 'Donald Winnicott', means a lovey doll or an imaginary friend which temporarily replaces an infant's mother during the procedure when the infant is mentally separated from its mother. However, in case that the theory of transitional objects was applied directly to many narrative content characters for doing a study, there must have been done some studies in advance for establishing some new criteria and indexes related to the transitional object-characters of such narrative contents. Accordingly, while thinking that the 'emotional relationship' between a growth-subject and a growth mediator must be dealt with as the most important content in order to define a transitional object-character in a narration clearly, this researcher established some emotional index for judging the propensities of a transitional object-character on the basis of such way of thinking. The index is composed of 4 kinds of emotional roles (quasi-family member, growth mediator, lovey doll, an imaginary friend), 6 kinds of emotional supports (hugging, protecting, accepting, giving the initiative, improving the relationship and mutual supervising) and 4 kinds of emotional impressions (impression by contacting, impression to protect and impression accepting an attack). In case that some main characters of a family feature animation, 'Inside Out', are analyzed while the index mentioned above is applied, it was found that 'Bing Bong' and 'Sadness' have a high propensity as a transitional object-character. Especially, it could be inversely inferred in which ways some good transitional object-characters can help the narrations on growth of a family feature animation by taking a look at the character, 'Sadness' that has the highest propensity as a transitional object-character. The transitional object-character, 'Sadness' assists the narration on growth internally and externally by helping the internal maturity of a growth-subject in a way of projecting the tasks for the internal maturity of a growth-subject while helping the growth-subject to be successfully externally in a way of providing the growth-subject with some kinds of facilitating emotion. As the results from this Study, since such kinds of emotional experiences provided by such transitional object-characters are displaced to not only the relevant growth-subjects but also the audience who are emphasized with such growth-subjects as they are, such transitional object-characters play a role of hidden benefactors who induce some immersion into the narrations and provide child and adult audience with various layers of emotional satisfaction.

• Cartoon and Animation Studies
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• s.36
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• pp.147-165
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• 2014

Around the turn of 21st century, there has been a major technological shift in the animation industry. With development of reality-based computer graphics, major American animation studios replaced hand-drawn method with the new 3D computer graphics. Traditional animation was known for its simplified shapes such as circles and triangle that makes characters' movements distinctive from non-animated feature films. Computer-generated animation has largely replaced it, but is under continuous criticism that automated movements and reality-like graphics devaluate the aesthetics of animation. Although hand-drawn animation is still produced, 3D computer graphics have taken commercial lead and there has been many changes to acting of animated characters, which calls for detailed investigation. Firstly, the changes in acting of 3D characters can be traced from looking at human-like rigging method that mimics humanistic moving mechanism. Also, if hair and clothing was part of hand-drawn characters' acting, it has now been hidden inside mathematical simulation of 3D graphics, leaving only the body to be used in acting. Secondly, looking at "Stretch and Squash" method, which represents the distinctive movements of animation, through the lens of media, a paradox arises. Hand-drawn animation are produced frame-by-frame, and a subtle change would make animated frames shiver. This slight shivering acts as an aesthetic distinction of animated feature films, but can also require exaggerated movements to hide the shivering. On the contrary, acting of 3D animation make use of calculated movements that may seem exaggerated compared to human acting, but seem much more moderate and static compared to hand-drawn acting. Moreover, 3D computer graphics add the third dimension that allows more intuitive movements - maybe animators no longer need fine drawing skills; what they now need is directing skills to animate characters in 3D space intuitively. On the assumption that technological advancement and change of artistic expressionism are inseparable, this paper compares acting of 3D animation studio Pixar and classical drawing studio Disney to investigate character acting style and movements.