• Proceedings of the Korean Society of Computer Information Conference
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• 2022.07a
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• pp.729-730
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• 2022

급격히 성장해가는 메타버스 시장 속에 메타버스 플랫폼의 증가세와 그에 반해 아직 활성화되지 못한 메타버스의 콘텐츠 크리에이터 생태계로 인하여 다수의 메타버스 플랫폼들의 내부 콘텐츠 확충과 유저 크리에이티브 생태계 활성화의 중요성이 대두되고 있다. 본 논문에서는 보다 체계적이고 효율적으로 메타버스 환경에 맞춘 인터랙티브 콘텐츠 개발 프로세스를 제안한다.

• The Journal of Korean Association of Computer Education
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• v.7 no.5
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• pp.1-8
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• 2004

This study investigated the effect of visual learning preference levels in computer assisted instruction (CAI) using static graphics and animations on students' conceptual understandings, application abilities and learning motivations. Fifty-nine seventh graders were selected from a middle school in seoul, and they were taught about the motion of molecule for 4 class hours. Two-way ANCOVA results revealed that the scores of the conception test of the animations group, regardless of student's visual learning preference levels, were significantly higher than those of the static graphics group. However, there were no differences between the two groups in the scores of application test and learning motivation test.

• Journal of the Korea Computer Graphics Society
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• v.15 no.2
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• pp.9-17
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• 2009

Animating multiple characters to compete with each other is an important problem in computer games and animation films. However, it remains difficult to simulate strategic competition among characters because of its inherent complex decision process that should be able to cope with often unpredictable behavior of opponents. We adopt a reinforcement learning method in Markov games to action models built from captured motion data. This enables two characters to perform globally optimal counter-strategies with respect to each other. We also extend this method to simulate competition between two teams, each of which can consist of an arbitrary number of characters. We demonstrate the usefulness of our approach through various competitive scenarios, including playing-tag, keeping-distance, and shooting.

• Journal of the Korea Computer Graphics Society
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• v.27 no.5
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• pp.73-79
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• 2021

Recently, in the field of computer animation, a method for generating motion using deep learning has been studied away from conventional finite-state machines or graph-based methods. The expressiveness of the network required for learning motions is more influenced by the diversity of motion contained in it than by the simple length of motion to be learned. This study aims to find an efficient network structure when the types of motions to be learned are diverse. In this paper, we train and compare three types of networks: basic fully-connected structure, mixture of experts structure that uses multiple fully-connected layers in parallel, recurrent neural network which is widely used to deal with seq2seq, and transformer structure used for sequence-type data processing in the natural language processing field.

• Proceedings of the Korea Society of Design Studies Conference
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• 2003.05a
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• pp.104-105
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• 2003

• 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.

• Cartoon and Animation Studies
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• s.42
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• pp.53-79
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• 2016

The public interest and popularity of animation has already forecasted the value of animation as the leader of pop culture and cultural industry. The trend in animation changed from 2D to 3D animation, a new genre that appeared in the 1990s with the development of computer technology and innovative changes in media, and 3D animation secured its position in the 2000s. Researches on 3D animation are conducted in various ways. Integrating the area it shares with film and the area it shares with design, it is produced and consumed. This study focused on 'formativeness(design)', the basis of character design, and tried to find out how it is recognized by the audience, who actually watch and feel it. Also, it approached basic theory and tried to deduce logic that is easy to understand and can analyze design or formativeness which keeps changing. Lastly, this study regards the parts that viewers are not satisfied with as problems, and tries to find out a developmental direction. Among the animations for theaters that were big hits in 2015, this study focused on the characters of and . It reviewed errors and what was lacking in the previous studies, collected experts' opinions and made adjustment. Using the frame prepared through this process, it conducted a survey on study participants, the viewers, to see how it is perceived by them. Finally, it tried to find out the reasons why the audience felt that way through theoretical reviews and applications.

• Cartoon and Animation Studies
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• s.16
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• pp.223-243
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• 2009

Computer graphic where the most useful and effective production methods are used for animation or films has expanded into actors' performance beyond object expression, background expression and special effect. Unlike 2D drawing software focusing on user's sense, 3D mainly depends on hardware performance and software functions. Therefore, for 3D users, learning 3D functions is directly related to new expression, and quick learning and effective representation are keys to productivity growth in animation industry. In line with industrial needs, basic 3D animation software training is provided in school. Unfortunately, however, many problems such as lack of professional instructors, time allocation and education environment prevent various 3D animation software from being taught. Moreover, functional use does not live up to industrial rapid trends. In order to improve effects of software functional education in restricted education fields, this research aims to find out what functions of 3D animation software are used in industries, what are those function used for, and how schools provide 3D animation software training.

• Journal of Broadcast Engineering
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• v.26 no.3
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• pp.269-282
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• 2021

As the distribution of 3D content such as augmented reality and virtual reality increases, the importance of real-time computer animation technology is increasing. However, the computer animation process consists mostly of manual or marker-attaching motion capture, which requires a very long time for experienced professionals to obtain realistic images. To solve these problems, animation production systems and algorithms based on deep learning model and sensors have recently emerged. Thus, in this paper, we study four methods of implementing natural human movement in deep learning model and kinect camera-based animation production systems. Each method is chosen considering its environmental characteristics and accuracy. The first method uses a Kinect camera. The second method uses a Kinect camera and a calibration algorithm. The third method uses deep learning model. The fourth method uses deep learning model and kinect. Experiments with the proposed method showed that the fourth method of deep learning model and using the Kinect simultaneously showed the best results compared to other methods.

• Journal of Industrial Convergence
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• v.21 no.9
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• pp.11-21
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• 2023

There have been many studies to improve the efficiency of the CG production process, but it was not easy to overcome the problem that it was difficult to check the result in the middle of work and it took a lot of time for rendering. However, as the possibility of using Unreal Live Link, which can check the result in real-time, is increasing, expectations for improving the efficiency of the production process are rising. This study analyzed the efficiency of the 3D animation production process using Unreal Live Link. To this end, modeling, rigging, animation, and layout work were done in Maya, and the final output image sequence was rendered in Unreal Engine through Unreal Live Link. And the difference between this production process and the existing production process in which the final output image sequence is rendered in the 3D software itself was compared and analyzed. As a result of the analysis, unlike the traditional 3D animation production process, it was possible to check the final work result in real-time by proceeding with the work through a high-quality viewport screen, and it was found that the efficiency of work was maximized by deriving the final result through real-time screen capture. Recently, the use of game engines in the 3D animation and film industry is gradually increasing, and the efficiency of work is expected to be maximized if Unreal Live Link is used.