• Journal of Digital Convergence
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• v.20 no.2
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• pp.361-366
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• 2022

Recently, with the development of convergent media, the digital animation industry has developed a variety of content centered on the role of Intellectal Property. The excellent IP role image has created huge economic benefits in business. This paper selects three representative Intellectual Property animation cases from Japan, the United States and China. Analyzed of the reuse of IP animation character images and combined with the era technology and the style of culture and art, the traditional cultural IP roles are reconstituted into modern character design two aspects. Through the research of this paper, can understand the expansion possibility of IP animation according to the use of character image. It is expected that when making digital animation, can recognize the importance of intellectual property and use it as a reference for role development.

• International Journal of Internet, Broadcasting and Communication
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• v.13 no.1
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• pp.168-179
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• 2021

With the introduction of China's new policies, the Chinese animation industry has gradually formed a sustainable industrial structure chain, and the output value of the animation market is also in a state of continuous growth. Since 2013, domestic animation has been developing from "lower age" to "ageing" and "adults". At the same time, with the popularization of China's pan-entertainment industry model, the multi-domain symbiosis of the Internet and mobile Internet has been realized, creating a fan economy of star IP (Intellectual Property), and promoting the linkage of various industries under the same IP. This paper mainly analyzes the development of the animation IP market in China's pan-entertainment mode in recent years, and analyzes the cross-media operation mode of the animation industry. At the same time, it studies the application of self-media in animation.

• The Journal of Korean Institute of Communications and Information Sciences
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• v.30 no.8C
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• pp.783-792
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• 2005

This paper proposes a feature extraction method for sketch-based image retrieval of animation character. We extract the specific regions using the detection of scene change and correlation points between two frames, and the property of animation production. We detect the area of focused similar colors in extracted specific region. And it is used as feature descriptor for image retrieval that focused color(FC) of regions, size, relation between FCs. Finally, an user can retrieve the similar character using property of animation production and user's sketch as a query Image.

• Cartoon and Animation Studies
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• s.13
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• pp.153-162
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• 2008

This paper show that we analyze the mise en scene of animation based on the theory of mise en scene in film. The mise en scene of animation has a large range of utilization in contrast to film. This affects the development of film synthesized with an actuality film. The theory of mise en scene of early realistic film director is extended by the animation techniques. And the theory of mise en scene in digital film is raised newly. The mise en scene in animation has the property that ail elements Is represented in one frame. And then this has a success in different aesthetics. The problems of in-country animation - the absence of production in the present condition - is to be achieved by the production using mise en scene.

• The Journal of the Korea Contents Association
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• v.7 no.8
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• pp.152-162
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• 2007

Subject of this Study is focused on set design for short animation, GHOST, made and presented by animation studio, BEYOND PROSCENIUM. Sets in animation have several functions. First, sets are a playground that character can play to lead a story. Second, sets explain background, which is time and space. Third, sets can visualize metaphorical meaning or symbolic system in animation. To obtain final design that is sufficient to those functions, this study analyzes the case that metaphorical and symbolic meaning from scenario is how to apply into set design also, mentions the method that designer multiply considers character, property and composition from the camera and movement from those elements. Set designers for animation should have ability that simultaneously considers so many elements and they need design skills to create it.

• The Journal of the Korea Contents Association
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• v.7 no.2
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• pp.255-264
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• 2007

This study considers the use of licensing for One source-Multi use revitalization for high profitability in domestic animation industry. To grasp the controversial point in domestic licensing case and establish success point through the study for expansion success case in USA and Japan. Workers in domestic animation industry vaguely think 'Licensing will be succeed naturally, when animation product gets the fame.' However, it is very important to consider licensing in making plan to reflect creating animation product. And also licensing property in included in animation product should have competitiveness, premise understanding of consumption type in relation industry market. Finally, it is necessary to expand by stage better than synchronistical way and management in marketing way, it should be accomplished to manage through technical know-how management system and relation the strategy systematic.

• Cartoon and Animation Studies
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• s.40
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• pp.157-176
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• 2015

This research describes render pass synthetic techniques required to use for the effectiveness of them in 3D animation synthetic technology. As the render pass is divided by property and synthesized after rendering, elaborate, rapid synthesis can be achieved. In particular, occlusion pass creates a screen as if it had a soft, light shading, expressing a sense of depth and boundary softness. It is converted into 2D image through a process of pass rendering of animation projects created in 3D space, then completed in synthetic software. Namely, 3D animation realizes the completeness of work originally planned through compositing, a synthetic process in the last half. To complete in-depth image, a scene manufactured in 3D software can be sent as a synthetic program by rendering the scene by layer and property. As recently the occlusion pass can express depth notwithstanding conducting GI rendering of 3D graphic outputs, it is an important synthetic map not omitted in the post-production process. Nonetheless, for the importance of it, currently the occlusion pass leaves much to be desired for research support and books summarizing and analyzing the characteristics of properties, and the principles and usages of them. Hence, this research was aimed to summarize the principles and usages of occlusion map, and analyze differences in the results of synthesis. Furthermore, it also summarized a process designating renderers and the map utilizing the properties, and synthetic software usages. For the future, it is hoped that effective and diverse latter expression techniques will be studied beyond the limitation of graphic expression based on trends diversifying technique development.

• Journal of the Korea Computer Industry Society
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• v.9 no.4
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• pp.149-156
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• 2008

There is the temporal correlation of a animation sequence between the motion vector of current block and the motion vector of previous block. In this paper, we propose the scene change detection algorithm for block matching using the temporal correlation of the animation sequence and the center-biased property of motion vectors. The proposed algorithm determines the location of a better starting point for the search of an exact motion vector using the point of the smallest SAD(sum of absolute difference) value by the predicted motion vector from the same block of the previous frame and the predictor candidate point on each search region. Simulation results show that the proposed algorithm has better detection performance, such as recall rate, then the existing method. The algorithm has the advantage of speed, simplicity and accuracy. In addition, it requires less amount of storage.

• Proceedings of the Korean Society of Broadcast Engineers Conference
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• 1998.06b
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• pp.165-170
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• 1998

This paper presents a new prediction method RBP region-based prediction model where the context used for prediction contains regions instead of individual pixels. There is a meaningful property that RBP can partition a cartoon image into two distinctive types of regions, one containing full-color backgrounds and the other containing boundaries, edges and home-chromatic areas. With the development of computer techniques, synthetic images created with CG (computer graphics) becomes attactive. Like the demand on data compression, it is imperative to efficiently compress synthetic images such as cartoon animation generated with CG for storage of finite capacity and transmission of narrow bandwidth. This paper a lossy compression method to full-color regions and a lossless compression method to homo-chromatic and boundaries regions. Two criteria for partitioning are described, constant criterion and variable criterion. The latter criterion, in form of a linear function, gives the different threshold for classification in terms of contents of the image of interest. We carry out experiments by applying our method to a sequence of cartoon animation. We carry out experiments by applying our method to a sequence of cartoon animation. Compared with the available image compression standard MPEG-1, our method gives the superior results in both compression ratio and complexity.

• Journal of Korea Game Society
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• v.7 no.4
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• pp.33-42
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• 2007

Advanced technologies and techniques make it possible to express digital animation with higher quality. Characters in the virtual animation space are playing an important role in emphasizing the human audiences or interacting directly with them. The movement of characters gives them vital power, and shows their intentions and emotions. To analyze the emotion of character movements, the study develops basic movement sources based on Laban's property elements of movement such as time, space, and flow, and tries to find the relationship between their movements and the emotions they arouse by positioning them on Plutchik's emotional circle. We find that each element of 9 movements represent its own emotion consistently, and has influence on the intensity of emotions clearly.