• Cartoon and Animation Studies
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• s.33
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• pp.363-382
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• 2013

Up until about ten years ago, the use of typography played only an auxiliary role on broadcast television programs, primarily by transmitting information in order to facilitate a basic understanding of content. Recently, however, kinetic typography has become an important component in broadcast production. In fact, kinetic typography has developed into a visual language and a means of artistic expression, one that is increasingly used in the production of entertainment programs on television. This paper analyzes six aspects of kinetic typography: manner of development, location, intent, expressive techniques, color and font selection. Particular attention is placed on their use in three highly rated television entertainment programs: "2 Days & 1 Night", "Running Man", and "Infinite Challenge". The development way consists of the technique : starts off with cut and ends with cut. While, other techniques show conversation and situation representation using Z axis : zoom-in, zoom-out in , X axis : pan in <2 Days & 1 Night>. and Y axis : tilt in . Typographic design elements, expression technique, color, font are shown up according to the feature of each program. The resulting analysis suggests new ways for motion arts designers and the broadcast media to use kinetic typography in the development of television programs.

• Proceedings of the IEEK Conference
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• 2000.11d
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• pp.33-36
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• 2000

To create a more realistic soccer game derived from TV images, we are developing an image synthesis system that generates 3D image sequence from TV images. We propose the method for the team and the pose recognition of players in TV images. The representation includes camera calibration method, team recognition method and pose recognition method. To find the location of a player on the field, a field model is constructed and a player's field position is transformed by 4-feature points. To recognize the team information of players, we compute RGB mean values and standard deviations of a player in TV images. Finally, to recognize pose of a player, this system computes the velocity and the ratio of player(height/width). Experimental results are included to evaluate the performance of the team and the pose recognition.

• The Journal of the Korea Contents Association
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• v.7 no.8
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• pp.102-108
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• 2007

Among culture industry that greet digital generation and is observed 21th century the most representative game industry latest is caught what and more interest degree is rising. 2D and 3D animation accomplish continuous growth and development depending action expression along with development of computer technology, and 2D and 3D animation practical use extent are trend that is widening the area in TV, movie, GAME industry etc. through computer hardware and fast change of software technology. The trend of latest game graphic is trend that the weight is changing from 2D to 3D by 3D game and activation of 3D game character that raise player's immersion stuff and Control in 2D's simplicity manufacturing game balance for one side. This treatise that is reality of 3D game character to classify kind of (Motion Capture) and 3D character animation, form model the sense put. Recognize that is overview and reality of 3D game character first for this about example, and is considered to efficiency is high game industry and digital contents industry hereafter by proposing kind model classification of 3D game character animation, form model classification data and character animation manufacture process that application is possible at fast time and effect in 3D character animation application are big.

• The Journal of the Convergence on Culture Technology
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• v.10 no.3
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• pp.413-420
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• 2024

After Friedrich Nietzsche's advocacy of nihilism, many literary works, dramas, and films have depicted aspects of human psychology associated with nihilism. Animation, too, has been used to convey nihilism, with narratives infused with nihilistic themes produced as both TV series and theatrical animations. Particularly, animation, as a visual medium capable of realizing any imaginative image unlike other media, possesses distinctive characteristics from live-action cinematography and differs from comics in its temporal properties. Hence, this study aims to analyze how Nietzsche's defined three stages of nihilism are represented within animation characters and how they construct various scenarios, using the anime "Attack on Titan" as a case study. The research unfolds by first examining Nietzsche's types of nihilism and the three stages through a review of literature, while also investigating the portrayal of nihilism in mass media and considering the unique attributes of animation. Secondly, building upon the literature review, the analysis interprets the narrative and constructed world of the chosen case study from a nihilistic perspective, examining four major characters through the stages of passive nihilism, active nihilism, and eternal recurrence. The findings demonstrate that the anime conveys two messages regarding negation and affirmation of one's life and existence, thereby offering viewers an opportunity to deeply contemplate human existence. This study is considered significant as it examines how Nietzschean nihilism is portrayed within the popular entertainment medium of animation.

• Proceedings of the Korea Society of Design Studies Conference
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• 2004.05a
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• pp.156-157
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• 2004

• Cartoon and Animation Studies
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• s.17
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• pp.53-67
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• 2009

According to the changes of current regulation of media, the broadcasting environment has been loosened by market power, and came into competitive era for broadcasting industry with new technology of combined broadcasting and communication. To resolve these issues, the broadcasting provides are trying process of new channel brand identity to introduce their channels. The purpose of the research is to analyze Spot animation that has fast access to viewers among channel brand identity factors, review expandability and usage of Spot animation character to plan, manage character that can improve awareness and loyalty. Therefore it will study creation background and production, activities of each character representing KBS and MBC, compare the structure, color, material, expression of Spot animation character and summarize properties. To conclusion, three characters of KBS and MBC failed to apply structured and professional plan and management, only expressed image that each channel pursue on Station ID Spot animation and had issues of not deeply sighting expandability and usefulness as a character. The important factor to improve channel brand value of broadcasting provider is to have differentiated identity, and the core of it is to make image-responsible Station ID to be effective. Therefore, Spot animation and character of Station ID is a very important factor so there must be professional research and structural management from the early planning and production for character that represents the providers.

• Cartoon and Animation Studies
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• s.39
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• pp.133-156
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• 2015

With development of media and technology animation are seeking a variety of a genre fusion. I would like to propose a new animation screening method using a projection mapping and a popup book. I redesigned the existing method of watching the animation to a new experience by projecting the image on a three-dimensional structure instead a flat screen. This screening method was inspired by preceded works which were made by the fusion of a projection mapping and a popup book. Through analysis of them, I found the merits, shortcomings and clarified the difference of each works. I called this method "Hybrid Animation Theater" because it is fused the various areas - Theater, Projection mapping, Pop-up book, Animation, and Installations, etc. also studied for its architectural features and design. After I designed a prototype to demonstrate the possibilities, the limitations and shortcomings, I could suggest next research directions.

• Proceedings of the Korea Contents Association Conference
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• 2009.05a
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• pp.737-742
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• 2009

As increasing emphasis is being placed on user experience design, the RIA technology is widely deployed for user interface and software operation on embedded devices including cell phones and TVs. In particular, RIA-based IPTV enables creation of various interactive contents via sophisticated animation and various input devices. This paper proposes a service framework for emotional contents on broadcast and communication-converged IPTV systems. We design a programming interface extension for IPTV-based flash contents and develop a prototype of flash runtime with the extended programming support. Since the proposed runtime was carefully designed to fully utilize the built-in graphic acceleration hardware in media processor, it supports high resolution graphic animation in resource-constrained IPTV environments.

• The Journal of the Korea Contents Association
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• v.10 no.12
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• pp.51-58
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• 2010

In the environment of instant messengers, the recognition of human emotions and its automated representation with personalized 3D character animations facilitate the use of affectivity in the machine-based communication, which will contribute to enhanced communication. This paper describes an emotional messenger system developed for the automated recognition and expression of emotions for IPTVs (Internet Protocol televisions). Aiming for efficient delivery of users' emotions, we propose emotion estimation that assesses the affective contents of given textual messages, character animation that supports both 3D rendering and video playback, and smart phone-based input method. Demonstration and experiments validate the usefulness and performance of the proposed system.

• International Journal of Advanced Culture Technology
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• v.12 no.3
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• pp.278-283
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• 2024

As the introductory content of televison series, the opening titles are crucial for helping the audience quickly grasp the tone of the narrative. With the continuous integration of the televison production industry and digital computer technology, motion graphics, featuring its unique dynamic graphic design, offers new avenues for title sequence creation. This paper dives into the application of motion graphics in the title sequences of noir genre television series, analyzing aspects such as visual style, content presentation, and narrative expression. By comparing early static text title sequences with motion graphics ones, this paper reveals the advantages of motion graphics in designing opening titles for noir genre television series and examines how it enhances visual impact and improves audience experience. This study not only enriches the creative techniques for title sequence design, but also provides valuable insights for future creations.