• Cartoon and Animation Studies
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• s.37
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• pp.1-24
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• 2014

The advancement of computer technology has blurred the border in image expression between live-action films and 3D animation to an indistinguishable extent. Despite the ever-evolving image expression, it has been found that animation properly incorporating abstractive expression receives more positive responses from the audience than the animation closely akin to live-action films. This indicates that animation-specific abstractive expression can exert more significant effects than that of live-action expression as proved in Dr. Mori Masahiro's 'Uncanny Valley.' Also, such effects apply only to characters, whilst the technology capable of live-action expression is acknowledged only for the background of 3D animation. Without doubt, animation has its own infinite world of expression, and thus more effective methods for its expression can no longer be considered a matter of technology. The present study analyzes the abstractive expression of 3D animation in terms of characters and backgrounds and explores a more effective method to apply the current technology of image expression to 3D animation with a view to proposing a direction for more appropriate application of 3D animation technology to future animation.

• Cartoon and Animation Studies
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• s.48
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• pp.45-67
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• 2017

Many of the modern animations have 3D technology, and as time goes by, their production technology becomes more diverse and sophisticated. When John Alan Lasseter insisted on studying CG animation technology, he might have taken our jobs to the computer in the near future, as many people were worried about. It may be premature to worry that an unstable future may become a reality at this point, but I do not think there will be any difference in the fact that many animations are being produced using 3D technology. Since the Toy Story was screened in 1995, the 3D animation production technology has started to develop rapidly and now it has been elaborately developed so that it can not distinguish the part where computer graphics technology is applied from the live film. On the other hand, Disney's 2D animation part falls into the decline path because the appearance of 3D animation was perceived as a new expression technique at that time, and the efficiency of the work process was superior to the 2D animation in addition to receiving the attention from the audience. Is it necessary to accept the retrogression of 2D animation technology, reflecting the environment of the animation industry that 3D animation production technology has become mainstream in the first 20 years since the first theatrical works appeared? Since 2D animation technology has a long history and is still attractive to the audience, it is not hard to find an attempt to combine 2D and 3D animation technology. In this paper, I want to study 2D hand - drawn character in 3D animation. Through this, it is hoped that animation convergence technology will be applied more actively in the future.

• Cartoon and Animation Studies
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• s.37
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• pp.491-508
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• 2014

As number of making 3D feature animation films is increasing, 3D production pipeline become more complicated and more artists are needed than before. Major studios in foreign countries, in burden of producing high quality films with limited amount of budget and time, have been handling such difficulties by hiring technical directors in each department such as animation, rigging, cloth hair, and effect. Technical director is new occupation which appears after trend of producing animation is changed from 2D to 3D. Importance of technical director is increasing in respect to studios' needs which are related to complication in production time, manpower, budget, and production pipeline. This research is based on the researcher's work experience as an animation TD at Walt Diseny Animation Studio and Sony Pictures Imageworks, interview with working professionals, and related books and thesis. It focuses on the role of animation technical director in Disney's 3D feature animation film from two perspectives, 'Designing Production Pipeline' and 'Analyzing Problem of Shot'. Animation technical directors design and test production pipeline so that they can detect and solve problems that may arise in production process as early as possible. They not only analyze numerous problems of characters or shots limited to animation department but also in other departments such as modeling, mapping, character rigging, cloth, hair, lighting, rendering, software development in order to support artists to complete their shots according to the production schedule. In accordance with recent trend of increasing number of 3D feature animation film production in South Korea and collaboration with foreign studios outside of South Korea, it is vital to train animation technical directors who can develop production pipeline, analyze various problems of shots and characters to escalate efficiency in production.

• Archives of design research
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• v.16 no.1
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• pp.83-92
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• 2003

Recently 3D animation can produce animation dose to real picture owing to rapid technical development of hardware and software and is used as entertainment factors for movie, ads, game and digital pictures. The process of making 3D animation needs the various making techniques and expression factors unlike traditional animation. Production technique and expression factors in making 3D animation are not acted as individual factor, but they can achieve an animation with high perfection when they should be combined. Therefore this study analyzes the technical expression methods based on hardware and software for operation by computer process and the artistic expression factors based on aesthetic, figurative, design and pictorial factors and then seeks a method of making animation with technical perfection.

• Cartoon and Animation Studies
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• s.16
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• pp.165-178
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• 2009

It seems like that the main stream of animation for theaters transferred from cells to 30 animations. It can be easily seen if current situation is compared to the time when al! works were Cell animations. Although earlier papers were mostly about studies on Cell animation works, future studies will publish papers related to 30. Accordingly, this study studied the association of the researcher's paper with 30 works while It had been applied to 20. Then, based on the data, this study analyzed how major/supporting characters were transformed to animation characters in the scenes that were animated at the beginning and end of film that were reieased in 2007. This result was compared with the character made using a voice actor in the Pixar's long piece of animation for theater that had been already screened. The data were made into values to some extent in an attempt to increase satisfaction in the result of analysis comparing the character with the voice actor. When making characters using actual persons, it is hoped that grasping the modeling factors of the images making 20/30 characters as indicated in this study will be helpful in producing animation characters.

• Archives of design research
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• v.15 no.1
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• pp.49-58
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• 2002

Advances in computer technology have made it possible for educators to design and develop their own multimedia instructional materials using visuals such as animation. Although, it generally believed that the Mew attribute of computer animation facilitates student's foaming, there is still relatively little research regarding the way in which student benefit from multimedia instruction using 3-D animation. The purpose of this research was to examine and determine whether the use of 3-D computer generated images is an effective teaching device for hoping children to understand color theory, and enhancing the tractional methods. In this study, a 3-D computer generated presentation was creative and it demonstrated the mixing of primary color to obtain secondary color. Three research hypotheses were developed in this research. The first hypothesis stated that 3-D computer generated presentation will be an effective device for teaching color theory. The second was that the presentation will be eye-catching and it will hold the children's attention. The third was presentation would enhance the children's memory of color. Results of this study show that visualization technology and the use of 3-D graphics ends can be employed in the field of art education to increases a chi1d's understanding of color theory. Also, it was proved that teaching children through 3-D graphic is an highly effective teaching tool. Thus this research is a oontribution to both children's au education and the relatively new field of computer animation.

• Cartoon and Animation Studies
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• s.34
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• pp.45-79
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• 2014

The purpose of this study is to propose divergence from standardization of animation acting through working on investigating gestures comprising most principal exaggeration acting elements in animation acting. For this purpose, this study utilizes animation 12 principles and Laban's effort theory. This study respectively analyzes 2D and 3D animation gesture expressions that are standards for comedy silent film and derive commonness and difference from them. In the next, this study explores the possibility of how animation can utilize acting of comedy silent film. Charles Chaplin and Buster Keaton used to be important elements referring to early animation acting, but as the recent animation technology gets advanced, they are not treated significantly any more. However, as 3D animation turns out to be chief concerns and the roles that acting, dynamics and performance play become gradually important, the necessity is on the rise that Charles Chaplin and Buster Keaton's gesture performances should more prudently be reinterpreted.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.10 no.1
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• pp.104-109
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• 2009

This paper designed 3D animation in consideration of young children's characteristics to stimulate their interest and to be more understandable to them. It was also confirmed that, using the 3D animation software, young children came to recognize the problem of environment pollution and developed desirable attitude and behavior fur protecting the environment. Furthermore, this paper suggested the derection of systematic environmental education at kindergartens and other early childhood education institutions using the developed 3D animation software as a leaching material.

• The Journal of the Korea Contents Association
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• v.7 no.10
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• pp.105-114
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• 2007

The purpose of this study is to investigate how to express Surrealism techniques in Chris Landreth who is very famous for 3D short such as Ryan. The case works are focused on 'the end', Chris Landreth's early work. He set up situation of the absurd and describes human being's alienation in animation. A phase of social life is not only revealed with vivid colors and his own surrealism techniques but communication capacity of 3D animation is also shown. Digital Technology, reproducing impossible images is not all about 3D animation. As well as this, it is not far away the way of creating arts. 3D animation will be shown the new possibilities with extension and harmony of all kinds of arts expression.

• 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.