• Cartoon and Animation Studies
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• s.30
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• pp.27-57
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• 2013

Animation which appeared with films in the late 19th century was a medium which came on obtaining nourishment from art historical style of modernism. However, the relation establishment between animation and modernism has been focused mainly on animation shapes, namely painted images. This sprang from explaining the relationship between animation and paintings, and for this reason, discussions of movements in animation were understood in tradition of chromophotograph of Muybridge and Jules Marey, or some characteristics owned by the live-action film. However, movements of animation were essentially different from the indexical sign of films or photogram, and objects of reproduction were different between them. Movements reproduced by animation are not ordinary movements, but expressions of or compressed movements and considerably systematic movements. As a result, these movements are far from reproduction of live-action film photogram. Rather, the logic of movements reproduced by animation comes near to controlling their motion scopes, time, distance etc. after dividing each part of the body. This is concluded in a standpoint of modern mechanism which is represented by Descartes and La Mettrie who tried to understand human body as a exchangeable machine. Design of modern mechanism ranging from modern society to industrial society and the age of modernism came to lead to analysis of physical motions of modern industrial society called composition of efficient movements understanding them as the law of nature rather than movements as nature. In the late 19th century, Taylor, F. W. and Gilbreth, Frank Bunker's studies of workers' working hours and 'motion study' were a way of constituting the frame of machine-human, which indicates that tradition of modern mechanism affected the entire modernism passing through industrial society. Further, we can see that motion studies conducted by them have almost similar characteristics to action analysis to study animation later in the name of 'timing'.

• Journal of Korea Multimedia Society
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• v.12 no.7
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• pp.903-912
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• 2009

There are still many difficulties in developing techniques for modifying or transforming the flickering of motion capture data or in modifying motion capture data in such a way that suits the animation timing sheet. There is a problem in the existing method of modifying motion capture data. It requires almost same time as in the key frame animation work by a very skilled animator or even more time in modifying. It is believed that this kind of problem can be a basis for a more effective problem-solving method through creating the key animation data node and direct blend layer and replacement layer nodes. This study presents a new method which enables to modify animation data in a nonlinear way without modifying the existing animation data by creating an animation layer node for a direct connection to the animation node. 'Maya' API will be utilized in order to realize this method and the research range will be limited to 'Maya' 3D software which is generally used in motion picture and animation films. According to the results of this study, the new method is much more intuitive than the nonlinear one and does not require the preceding working of making animation clips. In addition, it has enabled to modify flickering and to extract key frames, and due to the compatibility with other programs, it has been possible to modify motion capture data by creating a direct layer node. Finally, in this study, the existing method of modifying animation will be examined, compared and analyzed.

• The KIPS Transactions:PartB
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• v.12B no.7 s.103
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• pp.795-802
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• 2005

In this paper, we present a facial expression recognition-synthesis system that recognizes 7 basic emotion information automatically and renders face with non-photorelistic style in PDA For the recognition of the facial expressions, first we need to detect the face area within the image acquired from the camera. Then, a normalization procedure is applied to it for geometrical and illumination corrections. To classify a facial expression, we have found that when Gabor wavelets is combined with enhanced Fisher model the best result comes out. In our case, the out put is the 7 emotional weighting. Such weighting information transmitted to the PDA via a mobile network, is used for non-photorealistic facial expression animation. To render a 3-D avatar which has unique facial character, we adopted the cartoon-like shading method. We found that facial expression animation using emotional curves is more effective in expressing the timing of an expression comparing to the linear interpolation method.

• 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.21
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• pp.71-84
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• 2010

The current distribution structure in Korea film industry is in the multiplex chain. As a result, most small or medium-sized theaters have been excluded from the market, and all the multiplex chain have gradually been formed into the vertical integration structure. The strike by multiplex theaters in Chuncheon who did not screen for one month led to the problem of the vertical integration, which resulted in many effects. Particularly, it caused considerable effect on the cultural desire and instigated movie-goers to turn to illegal content. This study surveys the process in which Korean multiplex theaters in vertical integration structure took over the Korean film market, and consequently, small theaters collapsed, and the theaters in vertical integration structure kick out small theaters in horizontal integration structure, and conducts a survey on the effect of the one-month strike by Chuncheon CGV from September 27 to October 30, 2008 in Chuncheon where said processes had completed so as to determine the effect of and impact of the problem of the vertical integration, monopoly structure. When major consumers of the film industry, i.e., people in their 20s, see their access to newly released films limited due to closing of multiplex theaters, they feel the impulse to access illegal contents. If they miss viewing the newly released films, they prefer to view illegal contents or films on recording media rather than visiting theaters showing those films. They are also influenced by timing of film release. Specifically, methods of illegal access to newly released films, permanent accessibility to them via recording media, and timing of film release influence their viewing patterns.

• Cartoon and Animation Studies
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• s.36
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• pp.237-257
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• 2014

This study is the process of performing the interdisciplinary fusion study between multiple fields by identifying the status on the previous artistic education considering the brain scientific mechanism of image creativity and brain-based learning principles. In recent years, producing the educational methods of each field as the fusion study activities are emerging as the trend and thanks to such, the results of brain-based educational fusion studies are being presented for each field. It includes artistic fields such as music, art and dance. In other words, the perspective is that by understanding the operating principles of the brain while creativity and learning is taking place, when applying various principles that can develop the corresponding functions as a teaching method, it can effectively increase the artistic performance ability and creativity. Since the animation drawing should be able to intuitively recognize the elements of movement and produce the communication with the target beyond the delineative perspective of simply drawing the objects to look the same, it requires the development of systematic educational method including the methods of communication, elements of higher cognitive senses as well as the cognitive perspective of form implementation. Therefore, this study proposes a literature study results on the artistic education applied with brain-based principles in order to design the educational model considering the professional characteristics of animation drawing. Therefore, the overseas and domestic trends of the cases of brain-based artistic education were extracted and analyzed. In addition, the cases of artistic education studies applied with brain-based principles and study results from cases of drawing related education were analyzed. According to the analyzed results, the brain-based learning related to the drawing has shown a common effect of promoting the creativity and changes of positive emotion related to the observation, concentration and image expression through the training of the right brain. In addition, there was a case of overseas educational application through the brain wave training where the timing ability and artistic expression have shown an enhancement effect through the HRV training, SMR, Beta 1 and neuro feedback training that strengthens the alpha/seta wave and it was proposing that slow brain wave neuro feedback training contributes significantly in overcoming the stress and enhancing the creative artistic performance ability. The meaning of this study result is significant in the fact that it was the case that have shown the successful application of neuro feedback training in the environment of artistic live education beyond the range of laboratory but the use of the machine was shown to have limitations for being applied to the teaching methods so its significance can be found in providing the analytical foundation for applying and designing the brain-based learning principles for future animation drawing teaching methods.

• Cartoon and Animation Studies
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• s.46
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• pp.85-106
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• 2017

With the media's shift into the digital era in the 2000s, comic book publishers attempted a transition into the new medium by establishing a distribution structure using internet networks. But that effort shied from escaping the parallel-page reading structure of traditional comics. On the other hand, webtoons are showing divers changes by redesigning the structure of traditional sequential art media; they tend to separate and allot spaces according to the vertical scroll reading method of the internet browser and include animations, sound effects and background music. This trend is also in accordance with the preferences of modern readers. Modern society has complicated social structures with the development of various media; the public is therefore exposed to different stimuli and shows characteristics of differentiated perceptions. In other words, webtoons display more relevant and entertaining characteristics by inserting sounds and using moving texts and characters in specific frames, while traditional comics require an appreciation of withdrawal and immersion like other published media. Motions in webtoons are partially applied for dramatic tension or to create an effective expression of action. For example, hand-drawn animation is adopted to express motions by dividing motion images into many layers. Sounds are also utilized, such as background music with episode-related lyrics, melodies, ambient sounds and motion-related sound effects. In addition, webtoons provide readers with new amusement by giving tactile stimuli via the vibration of a smart phone. As stated above, the vertical direction, time-based nature of animation motions and tactile stimuli used in webtoons are differentiated from published comics. However, webtoons' utilization of innovative techniques hasn't yet reached its full potential. In addition to the fact that the software used for webtoon effects is operationally complex, this is a transitional phenomenon since there is still a lack of technical understanding of animation and sound application amongst the general public. For example, a sound might be programmed to play when a specific frame scrolls into view on the monitor, but the frame may be scrolled faster or slower than the author intended; in this case, sound can end before or after a reader sees the whole image. The motion of each frame is also programmed to start in a similar fashion. Therefore, a reader's scroll speed is related to the motion's speed. For this reason, motions might miss the intended timing and be unnatural because they are played out of context. Also, finished sound effects can disturb the concentration of readers. These problems come from a shortage of continuity; to solve these, naturally activated consecutive sounds or animations, like the simple rotation of joints when a character moves, is required.

• Journal of Korea Game Society
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• v.21 no.5
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• pp.105-114
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• 2021

In this study, we analyzed the motion animation of game characters, which is a visual part of the game elements for 'Hit Impact'. The game selected for analysis focused on the movements of the characters in the arcade game , which is thought to have a weak 'Hit Impact' and looked for the cause. We also analyzed the differences in the motion of the characters in the home transplant version of , which is considered to have improved 'Hit Impact', compared to the arcade version. As a result of the analysis, it was found that the reason for the weak 'Hit Impact' in the arcade version was mainly due to the wrong timing and judgment of hitting and hitting movements, and at the same time, supplemented physical reactions and stun, camera directing, and hitting effects could have a significant impact on improving 'Hit Impact'.

• Journal of Korea Multimedia Society
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• v.7 no.2
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• pp.251-263
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• 2004

The Synchronized Multimedia Integration Language (SMIL), recommended by the World Wide Web Consortium (W3C) in 1998, is an XML-based declarative language to synchronize and present multimedia documents. SMIL can create new multimedia data integrating various types of multimedia objects which exist separately such as text, video, graphics and audio. It can support synchronization of multimedia data which are limited in current HTML-based Web technology. For its popularity, it is required to develop a multimedia server guaranteeing Quality of Service (QoS), authoring tool and player. For developing a SMIL authoring tool and player, the technologies are essentially required to read and analyze a SMIL document and to play synchronized various types of media objects in a timeline. In this paper, we describe a design and implementation of an event processor which supports SMIL 2.0 timing model. Moreover, we also develop a SMIL 2.0 player using the proposed event processor. This will facilitate the play of SMIL contents, so that it can contribute to the prosperity of SMIL technology It is possible to reuse in various language profiles defined in the SMIL standard. This player is expected to be utilized in other standard integrating SMIL such as XHTML＋SMIL and SMIL Animation.

• Journal of the Korea Computer Graphics Society
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• v.24 no.2
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• pp.21-28
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• 2018

We present interactive methods for visualizing the cloud height data and the backscatter data collected from ceilometers in the three-dimensional virtual space. Because ceilometer data is high-dimensional, large-size data associated with both spatial and temporal information, it is highly improbable to exhibit the whole aspects of ceilometer data simply with static, two-dimensional images. Based on the three-dimensional rendering technology, our visualization methods allow the user to observe both the global variations and the local features of the three-dimensional representations of ceilometer data from various angles by interactively manipulating the timing and the view as desired. The cloud height data, coupled with the terrain data, is visualized as a realistic cloud animation in which many clouds are formed and dissipated over the terrain. The backscatter data is visualized as a three-dimensional terrain which effectively represents how the amount of backscatter changes according to the time and the altitude. Our system facilitates the multivariate analysis of ceilometer data by enabling the user to select the date to be examined, the level-of-detail of the terrain, and the additional data such as the planetary boundary layer height. We demonstrate the usefulness of our methods through various experiments with real ceilometer data collected from 93 sites scattered over the country.