• The Journal of the Korea Contents Association
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• v.6 no.5
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• pp.66-75
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• 2006

Korea animation industry has a face with many difficulties even if the worldwide animation industry is booming stage. The funding of korea animation industry has been getting decreased from the outside which are ordinary investors and government since 'Wonderful Days' showed on the screen in 2003 didn't has enough box-office profits. In this kinds of circumstance, Animation producers should check out the current production system very closely and restructure improvement factors resolutely. It is very important issue that the serious problems that have been repeated in the past like the absence of planning skill and saving time and money through the improvement of production system. Therefore, the purpose of this thesis is to check out the whole production process used in the current 30 animation industry and analyzes problems, show the necessity of the production management program that makes a given condition of the effective production system in 3d animation.

• Journal of the Institute of Electronics Engineers of Korea CI
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• v.37 no.5
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• pp.54-63
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• 2000

In this paper, we implemented cyber character that can do speech recognition, speech synthesis, Motion tracking and 3D animation. For speech recognition, we used Discrete-HMM algorithm with K-means 128 level vector quantization and MFCC feature vector. For speech synthesis, we used demi-syllables TD-PSOLA algorithm. For PC based Motion tracking, we present Fast Optical Flow like Method. And for animating 3D model, we used vertex interpolation with DirectSD retained mode. Finally, we implemented cyber character integrated above systems, which game calculating by the multiplication table with user and the cyber character always look at user using of Motion tracking system.

• Proceedings of the Korea Contents Association Conference
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• 2005.11a
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• pp.153-160
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• 2005

It is within bounds to say that the mood expressed in the Scenes of 3D Animation influences by mostly setting up of 3D CG lighting. Tn the context of CG, lighting is the process of illuminating digital scenes in an artistic and technical manner so the audience can perceive what the director intends to display on the screen with the appropriate clarity and mood. The lighting has the role of making the scenes beautiful and harmonious as an aesthetics of light and color created and controlled by people. It can be also stylized in symbolic and metaphorical methods environmental mood which we pursue to expose and story which we want to express. It thus appears that the concept of lighting style is intimately related to the particular context and art direction of animation film. But unfortunately, there are no foolproof formulas to the process of lighting a scene. In short, the lighting contributes to define the style of the scene as a conditional lighting setups' elements including position, color, intensity, shadow's area and scope. But at the same time, we must not overlook the artistic aspects that the lighting might suggest over all moods the animation genre and the style of scene like tranquility, suspense, and high-drama.

• Cartoon and Animation Studies
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• s.20
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• pp.1-14
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• 2010

The success of a three-dimensional blockbuster movie, AVARTA, brought an public attention on the expansion of three-dimensional computer applications, and it allows experts predict further hardware technology developments to support the such applications. Futhermore, an internet based infra structure and three-dimensional structure, third generation network community, advanced computer networks have influenced advancement in computer technology within the 3D game industry and the spread of 2D computer animation technologies. This advancement of computer technologies allow the industry to overcome a limitation of generating cultural design contexts existed within 2D network community. However, despite of the expansion of 2D and 3D computer technologies, a limitation of analysing designers' intentions on morphology of digital contents and user interface still exists. Therefore, the purpose of this study is to analyze (1) present conditions of the 3D industry and (2) protocols of designers' cognitive design processes based on their design communication, contents, and tools. Analysis was conducted based on literature reviews and case precedent analyses. For the analysis, a 2D Avarta sketch character was designed and then applied into a 3D game system. Observations how designers solve cultural problem within the structure via Avarta were conducted. Outcomes were then coded for further analysis.

• Journal of Korea Multimedia Society
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• v.10 no.6
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• pp.716-725
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• 2007

In this paper we describe a motion tracking algorithm for 3D human animation using stereo vision system. This allows us to extract the motion data of the end effectors of human body by following the movement through segmentation process in HIS or RGB color model, and then blob analysis is used to detect robust shape. When two hands or two foots are crossed at any position and become disjointed, an adaptive algorithm is presented to recognize whether it is left or right one. And the real motion is the 3-D coordinate motion. A mono image data is a data of 2D coordinate. This data doesn't acquire distance from a camera. By stereo vision like human vision, we can acquire a data of 3D motion such as left, right motion from bottom and distance of objects from camera. This requests a depth value including x axis and y axis coordinate in mono image for transforming 3D coordinate. This depth value(z axis) is calculated by disparity of stereo vision by using only end-effectors of images. The position of the inner joints is calculated and 3D character can be visualized using inverse kinematics.

• Cartoon and Animation Studies
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• s.35
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• pp.155-180
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• 2014

The roles of the characters of 3D animation Toystory3, which was released in 2010 and achieved worldwide success, can be classified into typical, simple and easy-to-understand roles such as hero, villain, princess, and assistant. However, the process, in which each character's role is finally recognized by the audience, is embodied in a very colorful and exquisite manner and makes the curiosity of the audience continue effectively. The stream of the diverse role changes of the characters of Toystory3 is represented through "visual rhythm of the lighting design" and such rhythm can be confirmed most clearly in the digital colorscript stage. This researcher analyzed the characters' role changes in the work based on Propp's folktale character analysis theory, and extracted the core scenes that lead to inference, doubt, performance, reinforcement by character in order to grasp how the audience gasps major characters' role changes. The visual differences of the lighting design, which the four core scenes of each character show, were represented in graph and analyzed, and the results showed that the changes that one character has constituted rhythmical, visual contrast gradually and the rhythms of each independent character achieve visual contrast and harmony each other like the voice part of polyphony. This researcher calls this "the visual counterpoint of character's changing" and derives the conclusion that a dual visual counterpoint is hidden in the character production of the full-length animation Toystory3. Along with this, this researcher proposes the production of full-length animation that actively utilizes constructive aesthetics.

• Journal of the Korean Society of Manufacturing Technology Engineers
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• v.18 no.4
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• pp.423-429
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• 2009

The motion base to a film used in 4D cinema theaters or theme parks is different depending on the operator's control or hardware system and this causes inefficiency in management of the theater. There are several different simulation software on the present market, but these are difficult for an animation producer to use them. This study introduces the idea in which a film producer simulates the movement of the motion base by using computer graphic animation tools mostly adopted by production for creating 3D animation and motion control data. Maya and 3D Cross were used to show the path of a motion camera visually. Attitude and axis control data were extracted from the movement of the virtual motion base and were used to control a prototype of the motion base. As a result, the motion control data from computer graphic animation tools can be created so that a film producer can create standard motion control data independently regardless of the hardware and operator's skill.

• Proceedings of the Korea Society of Design Studies Conference
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• 2005.10a
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• pp.152-153
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• 2005