• Journal of KIISE:Computing Practices and Letters
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• v.14 no.5
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• pp.522-526
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• 2008

In this paper, we propose a system to convert a video motion into cartoon-style animation automatically. Our system is a new video cartoon stylization method that can apply natural transformation with satisfying physical constraints. It applies physically reasonable transformation to a selected video object with considering physical information such as momentum, movement direction and force. We construct several deformation scenarios which correspond with traditional animation techniques, then a scenario can be easily selected to apply the effects. Finally, this system gene-rates a dynamic cartoon-style video by timing control and a cartoon rendering technique.

• Cartoon and Animation Studies
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• s.37
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• pp.509-537
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• 2014

This paper proposes 'postfilimc metamorphosis' and 'reanimation' as two concepts that aim at giving account to the aesthtetic tendencies and genealogies of what Suzanne Buchan calls 'pervasive animation', a category that refers to the unprecedented expansion of animation's formal, technological and experiential boundaries. Buchan's term calls for an interdisciplinary approach to animation by highlighting a range of phenomena that signal the growing embracement of the images and media that transcend the traditional definition of animation, including the lens-based live-action image as the longstanding counterpart of the animation image, and the increasing uses of computer-generated imagery, and the ubiquity of various animated images dispersed across other media and platforms outside the movie theatre. While Buchan's view suggests the impacts of digital technology as a determining factor for opening this interdisciplinary, hybrid fields of 'pervasive animation', I elaborate upon the two concepts in order to argue that the various forms of metamorphorsis and motion found in these fields have their historical roots. That is, 'postfilmic metamorphosis' means that the transformative image in postfimic media such as video and the computer differs from that in traditional celluloid-based animation materially and technically, which demands a refashioned investigation into the history of the 'image-processing' video art which was categorized as experimental animation but largely marginalized. Likewise, 'reanimation' cne be defined as animating the still images (the photographic and the painterly images) or suspending the originally inscribed movement in the moving image and endowing it with a neewly created movement, and both technical procedues, developed in experimental filmmaking and now enabled by a variety of moving image installations in contemporary art, aim at reconsidering the borders between stillness and movement, and between film and photography. By discussing a group of contemporary moving image artworks (including those by Takeshi Murata, David Claerbout, and Ken Jacobs) that present the aesthetic features of 'postfilmic metamorphosis' and 'reanimation' in relation to their precursors, this paper argues that the aesthetic implications of the works that pertain to 'pervasive animation' lie in their challenging the tradition dichotomies of the graphic/the live-action images and stillness/movement. The two concepts, then, respond to a revisionist approach to reconfigure the history and ontology of other media images outside the traditional boundaries of animation as a way of offering a refasioned understanding of 'pervasive animation'.

• Educational Technology International
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• v.8 no.2
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• pp.53-71
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• 2007

This study identified the effectiveness of e-learning by comparing learning outcome in conventional face-to-face lecture with the selected e-learning methods. Two e-learning contents (animation based and video based) were developed based on the rapid prototyping model and loaded onto the learning management system (LMS), which is http://www.enaged.co.kr. Fifty-four Korean agricultural high school students were randomly assigned into three groups (face-to-face lecture, animation based e-learning, and video based e-learning group). The students of the e-learning group logged on the LMS in school computer lab and completed each e-learning. All students were required to take a pretest and posttest before and after learning under the direction of the subject teacher. A one-way analysis of covariance was administered to verify whether there was any difference between face-to-face lecture and e-learning in terms of students' learning outcomes after controlling the covariate variable, pretest score. According to the results, no differences between animation based and video based e-learning as well as between face-to-face learning and e-learning were identified. Findings suggest that the use of well designed e-learning could be worthy even in agricultural education, which stresses hands-on experience and lab activities if e-learning was used appropriately in combination with conventional learning. Further research is also suggested, focusing on a preference of e-learning content type and its relationship with learning outcome.

• 한국HCI학회:학술대회논문집
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• 2007.02c
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• pp.318-321
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• 2007

This paper proposes a GPU-based approach to real-time skinning animation of large crowds, where each character is animated independently of the others. In the first pass of the proposed approach, skinning is done by a pixel shader and the transformed vertex data are written into the render target texture. With the transformed vertices, the second pass renders the large crowds. The proposed approach is attractive for real-time applications such as video games.

• Proceedings of the Korean Information Science Society Conference
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• 2012.06c
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• pp.406-407
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• 2012

Texture transfer is a NPR technique for expressing various styles according to source (reference) image. By late 2000s, there are many texture transfer researches. But video base researchers are not active. Moreover, they didn't use important feature like directional information which need to express detail characteristics of target. So, we propose a new method to generate texture transfer animation (using video) with directional effect for maintaining temporal coherence and controlling coherence direction of texture. For maintaining temporal coherence, we use optical flow and confidence map to adapt for occlusion/disocclusion boundaries. And we control direction of texture for taking structure of input. For expressing various texture effects according to different regions, we calculate gradient based on directional weight. With these techniques, our algorithm can make animation result that maintain temporal coherence and express directional texture effect. It is reflect the characteristics of source and target image well. And our result can express various texture directions automatically.

• The Journal of the Korea Contents Association
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• v.22 no.8
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• pp.211-226
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• 2022

The 3D animation is designed to announce the sacrifices of soldiers who sacrificed their lives to protect the country in the middle of the vast ocean and to commemorate their souls, and contains tense moments during the battle through 3D objects and slow motion. In this paper, I examined the use of slow motion using characters and sculptures in the video and the characteristics of commemorative sculptures commemorating the war, and described in detail the animation process using slow motion and sculpture objects expressed in . I hope this study will be help to animation and video producers who want to produce slow motion animation using sculptures in the future.

• International Journal of Contents
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• v.3 no.1
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• pp.29-33
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• 2007

Anime is very popular in Japan, it has also gained a following in America and is beginning to hit the mainstream. Anime is gaining popularity in the United States as it is shown more on television, most noticeably on the Sci-Fi Channel with shows such as Saturday Anime and during Anime Week and on Cartoon Network with shows such as Sailor Moon and Dragon Ball Z being shown every weekday during the Toonami block. In this paper, I present the key factors behind the success of anime in USA. To find out the factors, I research literature and simple survey. The differences of anime from us animation make anime popular. Anime-related goods such as video games, trading cards, and characters' jewelry aid the anime growing popularity. A booming trend in admiration for Japan is one of the key factors behind anime's success. In spite of disputing about Japanese animation, anime is starting to have some influence on US animation and also young American. Anime's success factors in USA could suggest that Korean Manhwa and Korean animation have to prepare strategies for rising popularity in oversea.

• Cartoon and Animation Studies
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• s.15
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• pp.89-107
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• 2009

As the importance of visual media has been highlighted, the proportion of the animation curriculum is growing in middle school curriculum. However, the analysis of errors in the textbook is very important for the authentic education. The present art textbooks were authorized as 7 kinds-total 21 books of the 7th curriculum and have been used in junior high schools since 2001. As an analysis configuration or errors in the animation section of art textbooks, the problems were as follows. Firstly, the animation section has considerable differences depend on the contents and the authors of the textbooks. Secondly, the most practical contents are at the first stage of the production of video equipment. In addition, ineffective picture process, incorrect concepts and terminology are presented. There were also errors in using them.

• Journal of Digital Convergence
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• v.14 no.8
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• pp.399-406
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• 2016

Drawn-on-film animation technique is one that neither is actively used nor receives attention in any video content area. This paper means to strengthen animation genre's future direction and aesthetic aspect by seeking to newly discover previous experimental techniques through this paper. Taking into account the details of paper, it was intended to systematize and introduce results and experiential information obtained by researcher from applying drawn-on-film animation techniques in actual educational arena and utilizing these in learning and newly created techniques and the like through this. Production processes were comparatively demonstrated after suggesting an alternative digital production system in this process. And ultimately, a study and proposal was made so as to be helpful in developing the techniques of animation genre.

• Journal of Digital Convergence
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• v.10 no.7
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• pp.253-259
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• 2012

In this study, the dialog syntax-based video content production flow for the character set, 'Form Noah' chart using the mouse, lip-sync Animation been making 3D characters were applying. Vertex Animation Morphing techniques by expressing the natural shape of the mouth for the characters engaging and the transmission of visual information for the viewers to be able to get a high intelligibility is considered.