• Cartoon and Animation Studies
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• s.49
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• pp.611-631
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• 2017

At first there was practice, then festivals and theory followed. Compared to the animation production, which is older then the medium film itself, festivals and theory in this area started with a delay. While animation programs where shown in film festivals like Cannes since the mid 1940s, the first animation festival in Annecy, France was founded in 1960, followed by several short-lived events in Romania, Italy and Tokyo and finally in 1972 by the second oldest festival up to date, Animafest Zagreb. Animation theory evolved in the late 1980s in the Anglo-American area with associations like the Society for Animation Studies, following its 'big sister' film studies. Expanding ever since as a research area, European animation studies in e.g. France, German speaking countries, Poland or Croatia have been catching up in recent years by organizing theoretical conferences and publications. A vivid synergy between practice, festivals and theory has always been a key factor for establishing a platform for the art form and culture of animation. However, in the past few years a trend could be observed towards a more intense interaction between animation festivals and theory. Animation festivals are hosting theoretical and scientific symposia or conferences, which are open for artist positions and insights into the industry. At the beginning of the lecture a short reflection of the concept of Animafest Scanner itself is followed by an introduction of the Symposium Expanded Animation at the media festival Ars Electronica Linz. The talk will subsequently focus on the multilayered academic symposia at the Festival of Animated Film ITFS and the International Conference on Animation, Effects, VR, Games and Transmedia in Stuttgart. These case studies will reveal the blurring boundaries between art, science, theory and industry as well as the specificities of the interplay between artists, practitioners, scholars, curators and festival visitors in different formats.

• Journal of Digital Contents Society
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• v.18 no.5
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• pp.849-858
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• 2017

With the fast improvement of software and hardware technology of Virtual Reality, VR(Virtual Reality) film get attention for the new possibility of future film. Already, the production of virtual reality film festivals and Hollywood films is highly active, but it is still poorly related to virtual reality films in Korea. Due to this, this research analyze VR film with Realism films and Post-modernism films in four aspects that are film's frame(Mise-en-$Sc{\grave{e}}ne$), shot(montage), vew point and interactivity to deduct characteristics of VR film. Moreover, we also deduct an esthetical characteristic of VR films beyond the Realism films and Post-modern Films through analysing various VR films. This can be said as 'Digital Realism' that is come from the viewers' positive interaction and realization of Realism through Virtual Reality technology. There will be a successful development of VR film based on this research that analyse suitable directing method for Virtual Reality environment. At last, this research focused on characteristics of digital realism aspect for HMD based first person view VR animation .

• Journal of Digital Convergence
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• v.17 no.9
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• pp.391-397
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• 2019

Ink painting is an important art creation method in oriental culture. Although ink painting lacks of sense of reality compared to western painting, it contains its unique drawing skills, which is of great significance to the inheritance and development of Oriental culture. Animation or game utilizing by ink painting technique are derivative contents from ink painting. This paper will through research the brief history of 3D ink contents works and traditional drawing skills to research existing ink works' art characters and the general production method. Also describe the extensibility of 3D ink animation contents. There has extremely high research value of new convergence contents as mobile game, VR / AR etc. And according to those research ink style image contents can be assumed get further development in the future.

• Cartoon and Animation Studies
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• s.49
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• pp.633-649
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• 2017

The purpose of this study is to conceptualize the changing aspects of human freedom of observation and viewing as the visual media evolves from film to 3D stereoscopic film and VR. The purpose of this study is to conceptualize the aspect of freedom and viewing aspect from the viewpoint of genealogy. In addition, I will identify the media aesthetic characteristics of VR and identify the identity and ontology of VR. Media has evolved around the most artificial sense of human being. There is a third visual space called screen at the center of all the reproduction devices centering on visual media such as painting, film, television, and computer. In particular, movies, television, and video screens, which are media that reproduce moving images, pursue perfect fantasy and visual satisfaction while controlling the movement of the audience. A mobilized virtual gaze was secured on the assumption of the floating nature of the so-called viewers. The audience sees a cinematic illusion with a view while seated in a fixed seat in a floating posture. They accept passive, passive, and passively without a doubt the fantasy world beyond the screen. But with the advent of digital paradigm, the evolution of visual media creates a big change in the tradition of reproduction media. 3D stereoscopic film predicted the extinction of the fourth wall, the fourth wall. The audience is no longer sitting in a fixed seat and only staring at the front. The Z-axis appearance of the 3D stereoscopic image reorganizes the space of the story. The viewer's gaze also extends from 'front' to 'top, bottom, left, right' and even 'front and back'. It also transforms the passive audience into an active, interactive, and experiential subject by placing viewers between images. Going one step further, the visual media, which entered the VR era, give freedom to the body of the captive audience. VR secures the possibility of movement of visitors and simultaneously coexists with virtual space and physical space. Therefore, the audience of the VR contents acquires an integrated identity on the premise of participation and movement. It is not a so-called representation but a perfection of the aesthetic system by reconstructing the space of fantasy while inheriting the simulation tradition of the screen.

• Journal of the Korea Convergence Society
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• v.12 no.5
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• pp.139-145
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• 2021

Through this study, we intend to study user satisfaction in order to verify whether there is a need for full-scale research, development and commercialization of document viewers in a VR environment. VR content consists of realistic 3D graphics and 360-degree video, and provides a synesthesia experience and immersion. We developed and tested a VR document viewer prototype that can utilize this concept as a document viewing system. It can act as a viewer that provides an interactive viewing environment according to the user's body interaction and the direction of the field of view, and it can be said that the feature of VR document viewer is that it can draw the user's high level of immersion and concentration when using the viewer. The developed prototype was tested in a test group consisting of 100 VR experiences and device owners for about 1 hour and 3 days a day, and then a questionnaire survey in the form of a fixed selection question was conducted. This study is a prototype study of a document viewer suitable for a virtual reality environment, and can lead to a sense of immersion when reading a document, and suggest a new document viewer direction that is effective for visual fatigue and visual perception of the document.

• Cartoon and Animation Studies
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• s.49
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• pp.677-696
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• 2017

Cartoons and consequently animation are an effective way of visualizing futuristic scenarios. Here we look at how animation is becoming ubiquitous and an integral part of this future today: the cybernetic and mediated society that we are being transformed into. Animation therefore becomes a form of speech between humans and this networked reality, either as an interface or as representation that gives temporal form to objects. Animation or specifically animated films usually are associated with character based short and feature films, fiction or nonfiction. However animation is not constricted to traditional cinematic formats and language, the same way that design and communication have become treated as separate fields, however according to $Vil{\acute{e}}m$ Flusser they aren't. The same premise can be applied to animation in a networked culture: Animation has become an intrinsic to design processes and products - as in motion graphics, interface design and three-dimensional visualization. Video-games, virtual reality, map based apps and social networks constitute layers of an expanded universe that embodies our network based culture. They are products of design and media disciplines that are increasingly relying on animation as a universal language suited to multi-cultural interactions carried in digital ambients. In this sense animation becomes a discourse, the same way as Roland Barthes describes myth as a type of speech. With the objective of exploring the role of animation as a design tool, the proposed research intends to develop transmedia creative visual strategies using animation both as narrative and as an user interface.

• Journal of the Korea Institute of Information and Communication Engineering
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• v.22 no.5
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• pp.709-714
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• 2018

Visual Reality technology is becoming more and more interesting as it attracts people's interest. VR technology is used in various markets such as games, animation, and education. However, there were many people experiencing motion sickness such as dizziness and headache due to the delay time between hardware such as a device for sending a video after experiencing a VR image and an HMD for reproducing an image. The system proposed in this paper focuses on the environment rather than the movement of the attraction and detects the dividing line existing on the path by the proximity sensor and accurately calculates the position on the path according to the user 's motion. Since the position of the user is synchronized with the VR image, the position error of the user is improved to 0.2%.

• Journal of the Korea Computer Graphics Society
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• v.26 no.4
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• pp.9-15
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• 2020

Having a virtual talking face along with a virtual body increases immersion in VR applications. As virtual reality (VR) techniques develop, various applications are increasing including multi-user social networking and education applications that involve talking avatars. Due to a lack of sensory information for full face and body motion capture in consumer-grade VR, most VR applications do not show a synced talking face and body. We propose a novel method, targeted for VR applications, for talking face synced with audio with an upper-body inverse kinematics. Our system presents a mirrored avatar of a user himself in single-user applications. We implement the mirroring in a single user environment and by visualizing a synced conversational partner in multi-user environment. We found that a realistic talking face avatar is more influential than an un-synced talking avatar or an invisible avatar.

• Smart Media Journal
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• v.4 no.4
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• pp.111-119
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• 2015

As a variety of HMD(Head Mounted Display) has come out, the production of 3D images onto which VR(Virtual Reality) technologies are grafted has been contributed to activating the production of image contents depending on a tangible or immersing type. VR-based image contents have enlarged their applicability across the entertainment industry from animation and game to realistic images. At the same time, the solution development for producing VR image contents has also gained elasticity. However, among those production solutions which have been used until now, fixed stereo camera based photographing has a limit that the binocular disparity of a user is fixed. This does not only restrict a way of expression a producer intends to direct, but also may cause the effect of 3D or space not to be sensed enough as view condition is not considered enough in a user's side. This study is aimed at resolving with skills applying in the latter part of 3D image production the problem that convergence points may be adjusted with restriction, which tends to happen at the time of the production of VR image contents. The later stage of the 3D imaging work analyzes and applies to game engines the significance of adjusting convergence points through the visualization of binocular disparity so that it is available to implement a function that the points could be controlled at random by a user.

• The Journal of the Convergence on Culture Technology
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• v.8 no.2
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• pp.367-372
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• 2022

With the recent advent of the New Normal era, realistic technologies and non-contact technologies are receiving social attention. However, the hair styling field focuses on the direction of the hair itself, individual movements, and modeling, focusing on hair simulation. In order to create an improved practice environment and demand of the times, this study proposed a non-contact hair styling VR system. In the theoretical review, we studied the existing cases of hair cut research. Existing haircut-related research tend to be mainly focused on force-based feedback. Research on the interactive haircut work in the virtual environment as addressed in this paper has not been done yet. VR controllers capable of finger tracking the movements necessary for beauty enable selection, cutting, and rotation of beauty tools, and built a non-contact collaboration environment. As a result, we conducted two experiments for interactive hair cutting in VR. First, it is a haircut operation for synchronization using finger tracking and holding hook animation. We made position correction for accurate motion. Second, it is a real-time interactive cutting operation in a multi-user virtual collaboration environment. This made it possible for instructors and learners to communicate with each other through VR HMD built-in microphones and Photon Voice in non-contact situations.