• Cartoon and Animation Studies
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• s.15
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• pp.221-235
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• 2009

Most of the sounds used in animated films are artificially made. A large number of the sounds used are either actual sound recordings or diversely processed artificial sounds made with professional sound equipments such as synthesizers. One animation episode contains numerous amounts of sounds, resulting in significant sound production costs. These sounds have full potential to be reused in different films or animations, but in reality we fail to do so. This thesis discusses ways these sound sources can be acknowledged as added new values to the present market situation as a usable 'digital content'. The iTunes Music Store is an American Apple company product that is acknowledged as the most successful digital content distribution model at the time being. Its system's sound library has potential for application in the Korean sound industry. In result, this system allows the sound creator to connect directly to the online store and become the initiative content supplier. At the same time, the user can receive a needed content easily at a low price. The most important part in the construction of this system is the search engine, which allows users to search for data in short periods of time. The search engine will have to be made in a new manner that takes into consideration the characteristics of the Korean language. This thesis presents a device incorporating the Wiki System to allow users to search and build their own data bases to share with other users. Using this system as a base, the Korean animation sound library will provide development and growth in the sound source industry as a new digital sound content.

• Cartoon and Animation Studies
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• s.37
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• pp.143-158
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• 2014

In the modeling processes of 3D computer animation, methods to build optimal work conditions to realize real forms for more efficient works have been advanced. Digital sculpting software, published in 1999, ZBrush has been positioned as an essential factor in character model work requiring of realistic descriptions through different manufacturing methods from previous modeling work processes and easy shape realization. Their functional areas are expanding. So, in this production case paper, as a method to product more optimized animation character models, the efficiency of production method linking digital sculpting software (Z-Brush) and animation production software (Maya) was deliberated and its consequences and implications are suggested. To this end, first the technical features of polygon modeling and Retopology were reviewed. Second, based on it, the efficiency of animation character modeling work processes through step linking ZBrush and Maya suggested in this paper was analyzed. Third, based on the features drawn before, in order to prove the hypothesis on modeling optimization method suggested in this paper, the production process of character Dumvee from a short animation film, 'Cula & Mina' was analyzed as an example. Through this study, it was found that technical approach easiness and high level of completion could be realized through two software linked work processes. This study is considered to be a reference for optimizing production process of related industries or modeling-related classes by deliberating different modeling process linked systems.

• The Journal of the Korea Contents Association
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• v.7 no.2
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• pp.132-141
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• 2007

Traditional music education for infants is the most important step of forming human knowledge. Since their rapid development of intelligence and emotion has an educational value not only it improves the human knowledge but also it makes infants understand the unique emotion of Korean people. Under the several circumstances, however, we have no enough contents for traditional music education. Thus, by researching and analyzing the existing educational contents and complementing them properly for multimedia environment as a form of animation, we perform a series of experiments to infants who are attending to the kindergarten with interactive animations which are familiar with infants. Infants become interested in the contents and after the lesson of the short bamboo flute content, they show the clear improvements for the playing on a musical instrument. This proves that the Korean music educational content realized with animation can be an alternative plan to improve the educational effect by causing enjoyment and interest of infants.

• The Journal of the Korea Contents Association
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• v.7 no.11
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• pp.258-269
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• 2007

Stop-motion is a technique that should be in the basic stage of the animation education, as it gives a chance for students to learn a three-dimensional sense about the movement, just to name a few, as this technique can give movements to actual objects in real life. As the old animation education is consist of forms to make a short animation. most students got a situation that they should be reeducated about 'movement' at their work after graduation from the school. It is necessary to have a systematic education about basic movement for 16 weeks to solve the problem under these circumstances. Therefore this researcher came to seek a more effective way for students who aim to major in stop-motion as well as students who try to nurture their basic capability of animation. This study aimed to present the optimized education model for the basic stage of the stop-motion technique specifically around expressions such as 'walking/ free-movement/ facial expression'.

• Cartoon and Animation Studies
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• s.47
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• pp.1-29
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• 2017

360-degree virtual reality has been a technology that has been available for a long time and has been actively promoted worldwide in recent years due to development of devices such as HMD (Head Mounted Display) and development of hardware for controlling and executing images of virtual reality. The production of the 360 degree VR requires a different mode of production than the traditional video production, and the matters to be considered for the user have begun to appear. Since the virtual reality image is aimed at a platform that requires enthusiasm, presence and interaction, it is necessary to have a suitable cinematography. In VR, users can freely enjoy the world created by the director and have the advantage of being able to concentrate on his interests during playing the image. However, the director had to develope and install the device what the observer could concentrate on the narrative progression and images to be delivered. Among the various methods of transmitting images, the director can use the composition of the short. In this paper, we will study how to effectively apply the technique of directing through the composition of this shot to 360 degrees virtual reality. Currently, there are no killer contents that are still dominant in the world, including inside and outside the country. In this situation, the potential of virtual reality is recognized and various images are produced. So the way of production follows the traditional image production method, and the shot composition is the same. However, in the 360 degree virtual reality, the use of the long take or blocking technique of the conventional third person view point is used as the main production configuration, and the limit of the short configuration is felt. In addition, while the viewer can interactively view the 360-degree screen using the HMD tracking, the configuration of the shot and the connection of the shot are absolutely dependent on the director like the existing cinematography. In this study, I tried to study whether the viewer can freely change the cinematography such as the composition of the shot at a user's desired time using the feature of interaction of the VR image. To do this, 3D animation was created using a game tool called Unreal Engine to construct an interactive image. Using visual scripting of Unreal Engine called blueprint, we create a device that distinguishes the true and false condition of a condition with a trigger node, which makes a variety of shorts. Through this, various direction techniques are developed and related research is expected, and it is expected to help the development of 360 degree VR image.

• Cartoon and Animation Studies
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• s.24
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• pp.223-246
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• 2011

Today, cultural content industry could be defined to service business rather than manufacturing business because of its own trait. Also, it has the realistic restriction that it can't hold the dominant position in the market competition when it can't provide consumers satisfaction regardless of its quality or degree of completion. In other word, it can only expect great success when the business plan and the activities get the perfect balance with its best quality and perfect of completion. As the result, it emphasizes the importance of business competition in the global market. In briefly, there is no doubt that the creativeness of content is very important in the cultural content industry but in the future, making system to maintain the distribution process and share the profits fairly will be taken more important role. Especially, animation genre has the feature, which compares to other genres, such as film or TV drama, would be free from cultural barriers, and it is a great advantage. So to speak, animation can get little influence from cultural discount. However, Korean animation can't use the advantage properly for the foreign distribution because of its poor infrastructure and short of professional human resources. For those reasons, it has been needed to set up the realistic and specific action plan to overcome the situation. Therefore, considering those needs and the situations of Korean animation facing, making B2B online marketplace could be a great solution. The online marketplace stands for taking more efficient and broad distribution channel instead of the passive way, which we have now. If we have the B2B online marketplace, we can share all the information about the Korean animation with the potential customers whom live outside of Korea at real time. It also could be use to the windows of multiple distribution, which can make additional profits and activate the optional markets for the Korean animation. Through the method, Korean animation would be expected to get the higher international competitiveness, and it would be developed in quality and quantity of the business. Finally, it would be a great chance to Korean animation, which can get the unique brand power by improving the backward distribution circumstances.

• Cartoon and Animation Studies
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• s.43
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• pp.185-209
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• 2016

Pattern refers to singular or repetitive decorative form in a blank surface, Also pattern is not just something to simply fill in the blanks, and has more meanings. Pattern reflects the specific culture or regional feature. So Depending on which pattern to use, creator can give particular of identity. which is generally utilized in visual arts such as painting, architecture, craft, as well as animation. Pattern in animation plays a role of decorating background or surfaces of characters' outfits or props. And Parttern is effective way to describe the story of the times and space environment of the background. Tomm Moore, an animation director in in Ireland mainly produces animations based on traditional folk stories or myths. He usually utilizes cultural and artistic factors related to the themes in his work production. One example is the insertion of pattern closely associated with the narratives and backgrounds of animations to create profound scenes. Tomm Moore used the Irish Celt pattern in Secret of Kells (2009) and Song of Sea (2014) and Islam geometric pattern and plant pattern in a short nimation named On Love from Kahlil Gibran's The Prophe (2014). This study attempts to examine the historical and cultural foundation and the narratives of these two animations, Song of Sea(2014) and Kahlil Gibran's The Prophet: On Love (2014) in which Tomm Moore participated as the director and producer, exploring their relevant traditional patterns. Moreover, it also attempts to analyze how these traditional patterns are utilized in the animations.

• Cartoon and Animation Studies
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• s.49
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• pp.697-712
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• 2017

In recent years, film and animation for cinematic release have embraced stereoscopic vision and the three-dimensional depth it creates for the viewer. The maturation of consumer-level virtual reality (VR) technology simultaneously spurred a wave of media productions set within 3D space, ranging from computer games to pornographic videos, to Academy Award-nominated animated VR short film Pearl. All of these works rely on stereoscopic fusion through stereopsis, that is, the perception of depth produced by the brain from left and right images with the amount of binocular parallax that corresponds to our eyes. They aim to emulate normal human vision. Within more experimental practices however, a fully rendered 3D space might not always be desirable. In my own abstract animation work, I tend to favour 2D flatness and the relative obfuscation of spatial relations it affords, as this underlines the visual abstraction I am pursuing. Not being able to immediately understand what is in front and what is behind can strengthen the desired effects. In 2015, Jeffrey Shaw challenged me to create a stereoscopic work for Animamix Biennale 2015-16, which he co-curated. This prompted me to question how stereoscopy, rather than hyper-defining space within three dimensions, might itself be used to achieve a confusion of spatial perception. And in turn, how abstract and experimental moving image practices can benefit from stereoscopy to open up new visual and narrative opportunities, if used in ways that break with, or go beyond stereoscopic fusion. Noteworthy works which exemplify a range of non-traditional, expanded approaches to binocular vision will be discussed below, followed by a brief introduction of the stereoscopic animation loop III=III which I created for Animamix Biennale. The techniques employed in these works might serve as a toolkit for artists interested in exploring a more experimental, expanded engagement with stereoscopy.

• Cartoon and Animation Studies
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• s.25
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• pp.41-63
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• 2011

Many educational facilities have been formed due to the nation's revival policy in the animation industry since about 1995. Owed to the active financial support of the nation, the production industry rapidly vitalized, production technology rapidly advanced, and a large workforce is being passed on into society through educational institutions. The reality of many developing countries appearing to be putting emphasis on the industrialization of animation, similar to our country, is becoming a great pressure on us industrially. It is never easy to develop a certain field into a globally competitive industry in a short period of time. Our countermeasure, pursuant to these international circumstances, lies in innovation and creativity that has broken away from the existing methods of production, and mass production of high quality animation specialists. This paper is a new educational proposition for the consolidation of national competitiveness. Animating, the core of producing an animation, completely depends on the animator's artistic and technical ability. In order to supplement the existing methods of studying by theory and make up for the biggest weak point, which is the lack of "on the scene" learning contents, I propose incorporating movements based on frequently appearing characters in popular animations and acting them out slowly and including the "Slow Motion" kinetic effect, a way of enabling someone to learn and sense astrodynamic fundamental principles by oneself. It is a new method of learning movement, a plan made to achieve sensual performance gestures, and an improvement in direction for students who wish to become animators in the future.

• Proceedings of the IEEK Conference
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• 2003.07d
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• pp.1673-1676
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• 2003

As a means of overcoming the linguistic barrier in the Internet cyberspace, recently a couple of studies on intelligent avatar communications between avatars of different languages such as Japanese-Korean have been performed. In this paper we measure the generation time of facial expressions on different avatar models in order to consider avatar models to be available in real-time system. We also provide a short overview about DTD (Document Type Definition) to deliver the facial and gesture animation parameters between avatars as an XML data.