• Cartoon and Animation Studies
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• s.51
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• pp.129-158
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• 2018

China has had many excellent Chinese-style animation since the 1950s. These animations are of distinctive Chinese national characteristics. They have won many awards both at home and abroad, such as "Feelings of Mountains and Waters", "Uproar In Heaven", "Why is the Crow Black-Coated" and so on. But nowadays, Chinese animations that mimics Japanese and American animation are very often, and there are few animation works with rich traditional Chinese culture. There are some works in the name of Chinese style, but they have not been fully accepted by the audiences. If one wants to create animated works of Chinese style, the author must have an in-depth understanding of Chinese traditional and folk art. Animation can not be designed only on the surface. This paper mainly studies the traditional five color concept in China and its application in animation. The purpose is to provide some references to differentiate Chinese animation from other countries in terms of style and color. The main content of this paper is to understand the concept and history of Chinese traditional five color views, and to know that this color system has reflected the ancestors' concept of nature and society. On the basis of five monochromatic colors, red, yellow, green, white and black, it is a kind of complex color concept that has been developed and perfected continuously after a long period of accumulation and precipitation in the practice of life. It is the theoretical basis of Chinese traditional color system and a complete set of historical, cultural, philosophical and religious theories. Finally, this paper analyzes the colors and their symbolic meanings of the main roles in "Uproar In Heaven", a color long animation produced by Shanghai Animation Film Studio, including Sun Wukong, the Jade Emperor and Na Zha. Color is the first visual language. The use of color symbols to express the inner feelings, status, good and evil of the characters will affect the audience's emotions, behaviors and opinions imperceptibly. The traditional Chinese five color concept has gone through such a long history, and its symbolic meaning has a more profound impact on Chinese people. Applying the color concept and symbolic meaning of Chinese traditional five color concept will further highlight the personalities and emotions of the roles in Chinese style animations. This paper takes the five-color view as the theoretical basis, and through the analysis of cartoons with traditional Chinese color, the author finds ways to flexibly use traditional Chinese culture.

• The Journal of the Korea Contents Association
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• v.14 no.9
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• pp.76-84
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• 2014

Despite the fact that culture and the industrial market is growing rapidly and becoming competitive, Disney animation studio has kept its reputation. They have their own know-how accumulated for a long time to stimulate the audience's sensibilities beyond time and space. This study is looking for the strategy of Disney animation using effects and forms of Hero's narrative. As a result, the original works have been adapted by 3 spaces of hero's narrative and songs was prepared according to the journey. Characters was constructed by combining original and it made an antithetical Antagonist and the triangle of helpmates. These strategies satisfy contemporary needs, as well as Disney's ideology using transformational resilience. Research will be needed to utilize the elements of culture through the analysis of the common strategy for success in spite of the time change.

• The Journal of Korean Institute of Communications and Information Sciences
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• v.25 no.12B
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• pp.2120-2130
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• 2000

최근 들어 예술 영상컨텐츠 유통시스템의 구축이 영상컨텐츠 산업에서 매우 중요한 이슈로 등장하고 있다. 선진 외국에서는 예술감성 기반 영상컨텐츠의 유통에 관련된 사업을 이미 애니메이션, 게임, 캐릭터, 광고, 방송, 영화, 비디오 등의 분야에서 진행하고 있다. 국내에서는 관련된 연구가 거의 없는 실정이며, 본 논문에서 사이버 코리우드의 실현에 관련된 정책방안 제시를 목적으로 예술감성 기반 영상컨텐츠의 유통시스템 구축에 관련된 연구를 수행하였다. 연구결과는 예술감성 기반 영상컨텐츠의 제작·처리·편집·배급·유통에 관련된 기술의 국내 고유모델 개발, 수입 절감, 한국형 예술영상컨텐츠의 개발, 가상스튜디오 구축, 예술영상산업의 발전 등에 크게 기여할 것으로 판단된다.

• Journal of the Korea Computer Graphics Society
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• v.25 no.3
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• pp.85-92
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• 2019

A 3D virtual character playing a role in a digital story-telling has a unique style in its appearance and motion. Because the style reflects the unique personality of the character, it is very important to preserve the style and keep its consistency. However, when the character's motion is directly controlled by a user's motion who is wearing motion sensors, the unique style can be discarded. We present a novel character motion control method that uses only a small amount of animation data created only for the character to preserve the style of the character motion. Instead of machine learning approaches requiring a large amount of training data, we suggest a search-based method, which directly searches the most similar character pose from the animation data to the current user's pose. To show the usability of our method, we conducted our experiments with a character model and its animation data created by an expert designer for a virtual reality game. To prove that our method preserves well the original motion style of the character, we compared our result with the result obtained by using general human motion capture data. In addition, to show the scalability of our method, we presented experimental results with different numbers of motion sensors.

• Cartoon and Animation Studies
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• s.35
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• pp.107-128
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• 2014

Cultural Content industries based on imagination and creativity are attracting attention and the animation high value-added industry is still spotlighted. Among them, Disney Studios make money through using their professional skills. There are the know-how has developed for a long time, and there are timeless strategy. This study is analyzing by fantasy elements for knowing the messages of Disney animation. Fantasy defined as genre of literature by Todorov and Jackson emphasized its social role and significance. Hume expanded the area of fantasy and Tolkein Jahoriski and Boyer classified the fantasy according to the purpose. Through the analyzing Disney animation , Disney's fantasy show the specific expression depending on the target. Disney is based on the three types of fantasy depending on the growth of the journey. The first area is composed of the main character's growth and satisfy the desire and escapism, The second is the word of antagonist who opposed to reality and break the rules of the dominant ideology. The last area is the utopia provided after hero beat the antagonist. Disney characters give the messages by using the fantasy like the transformation or alter ego. That show the subject of the main character's growth and the supporting characters as the expression of the multiple personality of main. These emphasize the hero's growth and give the fun. Also, in the subject of the otherness, the hero always destroy the evil who broke the rules of reality. In this way, the fantasy offered by Disney give the messages of sacrifice and family from true love. Disney has the support of their target audiences continue to be able to convey ideology.

• Cartoon and Animation Studies
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• s.44
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• pp.183-209
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• 2016

Hayao Miyazaki's product, , is evaluated that his work until present that product point of view and commercial point of view are highly filled at the same time. Miyazaki's showed new public entertainment possibility in genre that is animation inventing highest-grossing domestic film in Japan's history until it was taken over by another Miyazaki work. Also, it can high evaluate that not that see for interest simply beam about environment and human who writer has to spectator deep self-examination and way of problem pulling comprehension without burden through resected reflex which is not exigent delivery sympathy form. Analyzing his product, , ,, , , , this research allowed purpose to recognize that he present the alternative after arranges intent subject how and institute problem. And do to study whether his though and ideology met with viewpoints of ecologism and environment(environmentalism) in work how. There are his countenance have theme that is certain in Miyazaki director's works. If summarize had handled subject meantime, it is , , , etc. This subjects are that go first at importance order among problems which we face, it is that human desires essentially. If balance of society system that regulate various economical, moral value system and desire to our society is set, our society is that can become little more near in nature mode of life.

• Journal of the Korea Computer Graphics Society
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• v.8 no.3
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• pp.17-23
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• 2002

Motion capture system is widely used nowadays in the entertainment industry like movies, computer games and broadcasting. This system consist of several high resolution and high speed CCD cameras and expensive frame grabbing hardware for image acquisition. KAIST VR laboratory focused on low cost system for a few years and have been developed a LAN based optical motion capture system. But, by using low cost system some problems like occlusion, noise and swapping of markers' trajectory can be occurred. And more labor intensive work is needed for post-processing process. In this thesis, we propose a trajectory rectification algorithm by confidence model of markers attached on actor. Confidence model is based on graph structure and consist of linkage, marker and frame confidence. To reduce the manual work in post-processing, we have to reconstruct the marker graph by maximizing the frame confidence.

• Journal of Digital Convergence
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• v.18 no.11
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• pp.485-491
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• 2020

The objective of this study was to explore the humorous scenes shown in animation such as types of humor, frequency of humor, hours of humor, and correlation between subject of humor and supporting role. As the subjects of research, this study selected and that recorded the ten-times different number of audiences even though both works were produced by the same studio called 'Odolttogi'. In the results of analyzing those two works, there were differences. Drawing the characteristics of humor, the frequency of humor should be a lot more shown in the early to mid part than the latter part, and there should be diverse types of humor. And the frequency of humor by main characters should be increased. When the types of supporting roles were more diverse, the tendency of humor was also shown diversely. Also, the humor that was formed within relationships of characters was more effective than the humor formed alone. Through the slapstick or linguistic comedy in which such interactions are shown into actions, more diverse verbal plays could be shown. These elements could make it possible for animated works to diversely express more creative and funnier scenes of humor.

• Journal of the Korea Computer Graphics Society
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• v.26 no.4
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• pp.1-8
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• 2020

Motion synthesis using physics-based controllers can generate a character animation that interacts naturally with the given environment and other characters. Recently, various methods using deep neural networks have improved the quality of motions generated by physics-based controllers. In this paper, we present a control policy learned by deep reinforcement learning (DRL) that enables Luxo, the mascot character of Pixar animation studio, to run towards a random goal location while imitating a reference motion and maintaining its balance. Instead of directly training our DRL network to make Luxo reach a goal location, we use a reference motion that is generated to keep Luxo animation's jumping style. The reference motion is generated by linearly interpolating predetermined poses, which are defined with Luxo character's each joint angle. By applying our method, we could confirm a better Luxo policy compared to the one without any reference motions.

• The Journal of the Korea Contents Association
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• v.20 no.1
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• pp.392-402
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• 2020

Many modern movies and animations rely heavily on CG (computer graphics). The use of CG has made it possible to produce beyond the limits of visual expression. There has also been an increase in technical and artistic efforts to create new and high quality CGs. Look development is the process of modifying and creating shaders and renderings in 3D to produce CGI (computer-generated imagery) that meets the director's intentions. However, small production or projects may have relatively little or no awareness of look development in the production pipeline. The problems that can occur when look development is not preceded are classified into three categories. first, the shader may react differently under the same lighting conditions. Second, there can be a problem in communication between workers. Third, there is a waste of not promising a look for a given situation. As a way to avoid these problems I studied by creating consistency by the look development system. In the limitation that make it difficult for small studios to do look development because of small workers, time and cost, it is meaningful to study and present a simple look development process that can be carried out by individual or small production.