• Proceedings of the Acoustical Society of Korea Conference
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• autumn
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• pp.259-262
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• 2001

인간이 실제 생활에서 느끼는 입체음향을 녹음해서 재생기를 통해 듣고자하는 시도는 역사적으로 이미 한 세기가 지났으나 아직도 실감 있는 입체음향 녹음 및 재생기법 연구는 계속진행 중에 있다. 스피커 혹은 헤드폰으로 전후, 좌우, 상하의 모든 방향 및 거리감까지도 재생시킬 수 있는 있어야 진정한 입체음향이라 말할 수 있겠지만 많은 오디오 기기 제조업체들이 홍보효과를 위해 입체음향을 부적절하게 사용함으로써 일반 사용자들은 입체음향에 대해 많이 혼돈하고 있는 실정이다. 정확한 의미로 오늘날 대부분의 오디오 기기를 차지하고 있는 스테레오 사운드는 1차원(좌우 축)사운드라고 말할 수 있으며, 극장 사운드는 2차원(좌우, 전후 축)사운드이며 상용화된 3차원 사운드 제품은 아직 존재하지 않는다고 말할 수 있다 본 논문에서는 현재 연구 중인 "방송을 위한 입체음향 생성 및 재생 기법" 중 대표적인 바이노럴 기법과 Ambisonic 기법 및 문제점에 대해 알아보았다

• Journal of Industrial Convergence
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• v.19 no.6
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• pp.49-57
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• 2021

Digital Signage and multi-view image system are used as the 4th media to deliver stories and information due to their strong immersion. A content image displayed on large Digital Signage is produced with the use of computer graphics, rather than reality image. That is because the images shot for content making have an extremely limited range of production and their limitation to high resolution, and thereby have difficulty being displayed in a large and wide Digital Signage screen. In case of Screen X and Escape that employ the left and right walls of in the center a movie theater as a screen, images are shot with three cameras for Digital Cinema, and are screened in a cinema with multi-view image system after stitching work is applied. Such realistic images help viewers experience real-life content. This research will be able to display high-resolution images on Digital Signage without quality degradation by using the multi-view image making technique of Screen X and Chroma key technique are showed the high-resolution Digital Signage content making method.

• Cartoon and Animation Studies
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• s.37
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• pp.221-245
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• 2014

With the success of the world's first 3D computer animated film, "Toy Story" in 1995, industrial development of 3D computer animation gained considerable momentum. Consequently, various 3D animations for TV were produced; in addition, high quality 3D computer animation games became common. To save a large amount of 3D animation production time and cost, technological development has been conducted actively, in accordance with the expansion of industrial demand in this field. Further, compared with the traditional approach of producing animations through hand-drawings, the efficiency of producing 3D computer animations is infinitely greater. In this study, an experiment and a comparative analysis of markerless motion capture systems for facial expression animation has been conducted that aims to improve the efficiency of 3D computer animation production. Faceware system, which is a product of Image Metrics, provides sophisticated production tools despite the complexity of motion capture recognition and application process. Faceshift system, which is a product of same-named Faceshift, though relatively less sophisticated, provides applications for rapid real-time motion recognition. It is hoped that the results of the comparative analysis presented in this paper become baseline data for selecting the appropriate motion capture and key frame animation method for the most efficient production of facial expression animation in accordance with production time and cost, and the degree of sophistication and media in use, when creating animation.

• Cartoon and Animation Studies
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• s.15
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• pp.165-178
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• 2009

Everybody recognizes importance of characters in theater animation that directly influence audiences through narrative structure. However, it is very difficult to make one. This study is about this process that creates characters. This study derived what common points were involved in analysis data of major/supporting characters' formative characteristics in various studies related to animation characters. Then, based on the data, this study analyzed how major/supporting characters were transformed to animation characters in the scenes that were animated at the beginning and end of film that were released in 2007. Finally, this study investigated the process of character creation using portrait based on the analyzed data. Although this study tried to approach to character creation objectively using objective data rather than subjective judgment of the researcher, the researcher recognizes that subjective thoughts could not be completely excluded since it is done by man's hands. However, this author sincerely hopes that this research can be a great help in producing animation characters through understanding form factors of images that makes character for short film producers who suffered from slow work process due to difficulty in creating characters or authors who failed to complete satisfactory work as they could not find slight difference in character modification.

• Cartoon and Animation Studies
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• s.40
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• pp.1-31
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• 2015

The Korean animation that has relatively short history compared to the Western Europe and Japan's animation started out from the non-commercial short-piece animation produced as part of advertisement animation and culture movie in the later part of 1950s. In 1960s, the culture movie animation reflecting for the Movie Act and cultural policies has hardly been mentioned in the history of Korean animation, but they are the precious cultural work produced prior to the theatrical long-piece animation. In particular, compared to the 15-second short CF animation, the short-piece animations are ranging for 4 minutes to 10 minutes as the work pieces with the historic value to measure the level of the Korean animation at that time. in 1960s, approximately 20 short-piece animation works were produced and they contained the educational contents to enlighten general public in the process of modernization policy. Those short-piece animations produced in cultural movie at the National Film Production Center of Korea had been produced not only in cell-facilitating cartoon animation, but also in paper animation and puppet animation. In this background, this thesis takes a close look to the short-piece animation works produced in the National Film Production Center of Korea in 1960s. While there was almost no studies of early short-piece animation other than CF works, it is meaningful to discover and analyze the works, and, Director Park Young-il, Director Han Sung-hak, Director Jung Do-bin, Director Shin Dong-hyun, Director Nelson Shin and others participated in the creative work process have worked as the animation directors for theater that the analysis on the works would be considered as important fundamental studies to understand the Korean animation. Under this thesis, it is intended to study the historic implication and formative characteristics around some 10 work pieces to affirm participating personnel, including directors, for the short-piece animation created by the National Film Production Center of Korea as well as the situation of time to launch the National Film Production Center of Korea in 1960s. Through this effort, it is intended to come up with the starting point to process enriched researches on non-commercial short-piece animation as well as contemplation on the Korean animation history that have been neglected in the study of the Korean animation history through such effort.

• Cartoon and Animation Studies
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• s.48
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• pp.45-67
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• 2017

Many of the modern animations have 3D technology, and as time goes by, their production technology becomes more diverse and sophisticated. When John Alan Lasseter insisted on studying CG animation technology, he might have taken our jobs to the computer in the near future, as many people were worried about. It may be premature to worry that an unstable future may become a reality at this point, but I do not think there will be any difference in the fact that many animations are being produced using 3D technology. Since the Toy Story was screened in 1995, the 3D animation production technology has started to develop rapidly and now it has been elaborately developed so that it can not distinguish the part where computer graphics technology is applied from the live film. On the other hand, Disney's 2D animation part falls into the decline path because the appearance of 3D animation was perceived as a new expression technique at that time, and the efficiency of the work process was superior to the 2D animation in addition to receiving the attention from the audience. Is it necessary to accept the retrogression of 2D animation technology, reflecting the environment of the animation industry that 3D animation production technology has become mainstream in the first 20 years since the first theatrical works appeared? Since 2D animation technology has a long history and is still attractive to the audience, it is not hard to find an attempt to combine 2D and 3D animation technology. In this paper, I want to study 2D hand - drawn character in 3D animation. Through this, it is hoped that animation convergence technology will be applied more actively in the future.

• Journal of Korea Multimedia Society
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• v.14 no.6
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• pp.813-823
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• 2011

This study is to suggest the facial animation methodology for that 3D character animators can use CGS system effectively during on their stage which they create ideas and use repeating a process of facial animation, it has suggested the CGS(Character Generation System) that is a creative idea generation methodology identified and complemented the problem of the existing computerized idea generation, in addition, this research being extended on the article vol.13, no.7, "CGS System based on Three-Dimensional Character Modeling II (Part2: About Digital Process)," on Korea Multimedia Society in July 2010 issue, Through the preceding study on 3D character facial expression according to character's feelings as an anatomical structure and the case study on character expressions of theatrical animation, this study is expected to have effectives as one method for maximization of facial animation and idea generation ability.

• The Journal of the Korea Contents Association
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• v.18 no.8
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• pp.227-239
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• 2018

The style of a film is the element that makes audience realize director's purpose directly. As the film's spectacular background have became important it's hard to find non-wide screen film, and audience and theaters are very familiar to 1.85:1 film ratio and even wider. Nevertheless, did not follow this trend but to chose narrow film ratio and shallow focus. This film, of which the background is Nazi's concentration camp, does not allow audience to catch more information than main character Saul. It's because the director aims to make audience Saul's position in the film. This paper discuss how the style of reflects the director's intention.

• Cartoon and Animation Studies
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• s.9
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• pp.161-183
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• 2005

In the main current 3D animations which are put on the screens, the characters in the animations have a directly effect on the audiences by being closely connected with their descriptive constructions. In this research i am going to recognize the importance of characters and trace the points of sameness in the characters that appear in the 3D animations by analysing them. For this, 1 divided the characters that made lots of box-office profits all over the world and were made at Pixar which focused on characters and stories into 7 types according to written by Vladimir Propp and grasped the characters with MBTI system. 1 found out the points of sameness between the characters with this system. That will be able to be made use of referring the streams of stories and fixing the characters at the planning and producing stages. If we should make a study of figures, expressions, motions of the characters in connection with this research, it could help us to create the characters which are suitable for animations not only formative elements but also acting.

• Journal of Digital Contents Society
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• v.18 no.1
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• pp.79-85
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• 2017

Since Korea started producing original animations targeting children, market of character for children has been led by TV animation with continuous broadcasting and OSMU. With a successful fondation in animation toy industry, its market is expanding to film industry, at the same time, brings positive effect for benefit of domestic animation. Therefore, this study researched viewing rate of children's TV animation and analyzed character storytelling to help foster and grow the direction of future animation characters. For the analysis, I selected 20 animations with high viewing rate and analyzed the storytelling of 95 characters based on their roles. The results of this study are as follows: in children's animation appeared various types of characters helping each other to make the viewer learn socializing. In addition, character's external setting varied depending on its role. Moreover, in the characters' internal setting, the most frequently appeared keyword was leadership, however, their personality keyword varied depending on the role.