• Proceedings of the Korean Society of Precision Engineering Conference
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• 2010.11a
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• pp.171-172
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• 2010

• International Journal of Internet, Broadcasting and Communication
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• v.14 no.1
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• pp.129-135
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• 2022

Real human digital models appear more and more frequently in VR/AR application scenarios, in which real-time markerless face capture animation of personalized virtual human faces is an important research topic. The traditional way to achieve personalized real human facial animation requires multiple mature animation staff, and in practice, the complex process and difficult technology may bring obstacles to inexperienced users. This paper proposes a new process to solve this kind of work, which has the advantages of low cost and less time than the traditional production method. For the personalized real human face model obtained by 3D reconstruction technology, first, use R3ds Wrap to topology the model, then use Avatary to make 52 Blend-Shape model files suitable for AR-Kit, and finally realize real-time markerless face capture 3D real human on the UE4 platform facial motion capture, this study makes rational use of the advantages of software and proposes a more efficient workflow for real-time markerless facial motion capture of personalized 3D real human models, The process ideas proposed in this paper can be helpful for other scholars who study this kind of work.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.12 no.3
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• pp.1367-1372
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• 2011

This paper designed 3D animation in consideration of human characteristics to stimulate their interest and to be more understandable to them. It was also confirmed that, using the 3D animation contents, general people came to recognize the problem of environment pollution and developed desirable attitude and behavior for protecting the environment. Furthermore, this paper suggested the ruins original form restoration technique of the residential environment and the natural environment of Hanyang in the Joseon Dynasty period using the 3D virtual reality digital recovery techniques.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.12 no.4
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• pp.1884-1888
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• 2011

This paper designed 3D animation in consideration of young children's characteristics to stimulate their interest and to be more understandable to them. It was also confirmed that, using the 3D animation contents, young children came to recognize the problem of environment pollution and developed desirable attitude and behavior for protecting the environment. Therefore, this paper suggested the proper environment education activity materials with our environment culture centered to enable teachers to do efficient and practical environment conservation education activities by forming close relationship between teachers and children's family.

• The Journal of the Korea Contents Association
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• v.9 no.4
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• pp.162-171
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• 2009

In directing a film, aesthetics are use for visual manifestation of narratives to audiences. Especially, colors have important roles in that process to express emotions and to convey the story. For 3D animation, they may play even more important roles due to the nature of colors being generated by computers. This paper studies the relationship between narratives and colors by analyzing how colors change by the rise and fall of tensions in narratives, and by investigating how emotional expressions are affected due to color changes.

• Journal of Digital Contents Society
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• v.13 no.3
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• pp.459-467
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• 2012

In this work, we develop an instructional method in which students create 3D animations based on problem-solving techniques and computational thinking. The educational, easy-to-learn programming environment/language called "Alice 2.3", which supports story-telling, is used for the delivery of the instructional method. Unlike typical 3D animation instructional methods using command-based demonstrations and/or 3D animation tools, learners engage in a group project in which they develop a story and solve problems by creativity, computational thinking and reasoning skills. Then they develop animations based on the story by programming with Alice. The analysis based on the collected data showed that learners had to put much effort while working on the project, but their critical-thinking skills were improved. It also showed they were more involved and their interests were heightened in developing animation through programming.

• Cartoon and Animation Studies
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• s.36
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• pp.349-374
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• 2014

The light is the language. Directors have to describe the scene component effectively his intention to configure the scene as an appropriately. After this act of the character, the layout of the props and scene lights will enter to the scene components. Those things help to audiences can understand narrative of work and emotion that producer want to send. Expressing their emotions especially using the lights by adjusting the colors and contrast makes audience to concentrate on work and understand naturally. This lighting technique clearly appears on early year theaters stage of England and Rembrandt's paintings. Properly dividing and controlling the lights dramatically increases the beauty of the work elements to express a variety of emotions such as worries and fear. Therefore, it can be evolve depending on director's intent of using lights on his work. Lights can increase involvement of human emotion through basic features that cognition of object, visualization of space-time and by artistic method in the product. This study will examine the role and how to use lighting to express the proper sentiment based on the narrative of the work. Making research named "Lighting Research of 3D animated film which applying light features to express emotion" previous study and have to combine emotional vocabulary and emotion-based theory for classifying the emotional language that can be applied on 3D animation. And choosing most emotional scene from 3D animation for analyze how they used lighting to expressing emotions. Directors trying to show up about the light role through light method that matched perfectly with an emotional language. Expecting this research work of directing 3D animations light for expressing emotional feelings will be continue successfully.

• Cartoon and Animation Studies
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• s.36
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• pp.45-74
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• 2014

We can anticipate that animations will form one of the axes and lead popular culture in our future visual age. Recently, research has been actively conducted, but it mainly focuses on their value in culture industry or technologies and methods of producing animations. Of course, research that deals with animation characters has constantly come out. This study focuses on the 'formative elements' of 3D animation characters and attempts differentiation from other research by inducing new logic theoretically. Being freed from the research on characters that has been merely focused on theoretical grounds, this study intends to figure out how audience that is consumers who actually get to watch and feel animations recognizes them and find out related problems and also solutions for them. In particular, this study intends to examine the formative characteristics of 3D animation characters with the characters appearing in , one of the animations that have achieved artistic value as well as commercial success. And for that, the study conducted not only literature review but various surveys and Delphi method as well. Also, the researcher devised an analysis frame to evaluate the formative elements through in-depth discussion with experts. And with this, the study created the forms such as the Elements of Form, Formation Methods of Form and Visual Recognition Elements of Form, examined how audience recognized 3D characters. The process of recognizing an image is influenced by socio-cultural environment or sex, age, and the level of knowledge differently. This was meant to investigate current visual culture and the public's perspective through characters in that represent the visual mode.

• Journal of information and communication convergence engineering
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• v.9 no.3
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• pp.266-270
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• 2011

The advancement of technology enables smart phones or handheld devices to render complex 3D graphics. However, the processing power and memory of smart phones remain very limited to render high polygon and details 3D models especially on games which requires animation, physic engine, or augmented reality. In this paper, several techniques will be introduced to speed up the computation and reducing the number of vertices of the 3D meshes without losing much detail.

• Journal of Information Technology Applications and Management
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• v.27 no.1
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• pp.187-198
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• 2020

With the development of technology and the creation of an entertainment environment for leisure, various marketing strategies are being used in the film industry. Among them, the use of the credit cookie of ending credits was very effective in producing the series. The ending credit is the time it takes to show the names of the people who made the movie, which is meaningless to the audience. There is a cost to produce a ending credit but It wasn't made because no revenue was generated. The credit cookie was inserted into this ending credit area, which brought new pleasure to the audience. Most of them were epilogue images showing the story behind the movie, NG images showing the NG situation during film production, and In videos mentioned in the movie but not shown in the movie itself. As various ideas about credit cookie were connected with marketing, a series movie and a spin-off foretelling the derivative works after the screening work were produced and have a new meaning. As a result, the time of ending credits, which had no commercial value, became the methodology of the most powerful promotional strategy. Looking at the difference between live-action film and animation in producing such credit cookie, unlike live-action films that edit the remaining parts after shooting, the NG video of the animation has a lot of time and money to produce. So, it hasn't try very well, and it seems to have been actively produced when moving from 2D animation to 3D animation. This is because 3D animation, which has already been modeled, can create new NG scenes by simply adding animating based on the layout of the created scene. Since it is possible to produce an episode movie at a low cost and time, and to use the scenes of the movie after the production, it will be necessary to strategically produce credit cookie for promotion in animation.