• Cartoon and Animation Studies
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• s.13
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• pp.199-210
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• 2008

Nous tentons ici d'une analyse esthetique sur le film d'animation francais "Renaissance". Le film d'animation est un genre du recit d'images. L'on no peut donc le traiter simplement comme les chaines des images sans I'histoire, ni comme I'histoire sans les images. Nous essaions de trouver dans notre etude, un meddle d'analyse sur le film d'animation. L'acces y est commece par expliquer le context du film et son resume de I'histoire. Ensuite, nous travaillons sur les caracteristiques produites par des images(noir et blanc) et des techniques(motion capture). Elles sont considerees comme les traits expressifs, ou les trails formels. Troisiement, on analysr des codes des genres et des sens implicites qui sont presentes dans le film. Apres aborder tous ces prises on comptes, nous les synthetisons dans ie principe d'esthetique. lci, celui-ci est figure comme un accord entre les caractedristiques formelless et les contenus traites. Mais le film n'arrive pas a cette concordance. L'avancee technique et le plaisir visuel que le film nous donne ne sont pourtant pas meprisable memo si I'objectif esthetique du film no s'acheve sur un echec. Notre etude est un peu large afin d'analyser les detailes du film. Nous laisssons cette faiblesss a un autre travail du futur, on etant content sur l'etude qui pout servir a analyser un film d'animation, mame un peu grossierement.

• International journal of advanced smart convergence
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• v.13 no.2
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• pp.148-153
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• 2024

This article embarks on an exploration of how the burgeoning landscape of AI technology is reshaping and augmenting creative expression within the realm of 3D animation. As AI continues to evolve and mature, its integration into the process of 3D animation creation has become an increasingly focal point of investigation and analysis. The article undertakes a comprehensive examination of the myriad applications of AI within the domain of 3D animation, shedding light on its multifaceted contributions to various aspects of the creative process. Furthermore, it delves into the transformative impact that AI technology has on enhancing creative expression within 3D animation, particularly through increased productivity, personalized content creation, and the expansion of creative boundaries. By automating repetitive and time-consuming tasks inherent in traditional production methods, AI liberates artists and animators to unleash their creative ingenuity and push the boundaries of their craft. Through empirical research and case studies, the article elucidates how AI serves as a catalyst for innovation, fostering a conducive environment for the exploration of novel techniques and artistic styles.

• The Journal of Korean Institute of Communications and Information Sciences
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• v.32 no.3C
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• pp.287-296
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• 2007

3D keyframe animation is used widely in 3D graphics for real-time animation. This is a method that registers the animated key values in the important several frames among the entire frames and generates the rest frame by interpolator using the registered key values. This paper proposed the watermarking for 3D keyframe animation using PositionInterpolator. The proposed algorithm selects randomly the embedding meshes, which are transform nodes among the entire hierarchical structure. Then the watermark is embedded into keyValues of PositionInterpolator in selected transform node. Experimental results verified that the proposed algorithm has the robustness against geometrical attacks and timeline attacks.

• Proceedings of the Korean Institute of Information and Commucation Sciences Conference
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• 2011.10a
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• pp.519-523
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• 2011

Today, one of the most important reasons that 3D software becomes a core part of the essential tools in the video contents field like the movies, animation, CF, motion graphic, games and etc. is that they can save budget of contents makings and can produce better effects than conventional methods like miniature, matt painting, extra mobilization and etc. and can save time and have the merit that they are not limited in space. In this paper, I analyzed IK(Inverse kinematics) system characteristics for the efficient education of 3D character animation particularly most used of 3D applications which is now supposed to be nearly necessary elements in game, animation, movie and contents. And by analyzing merits and demerits of each tool on Bone, Character studio and Character Animation Toolkit, systems which are most used practically in the various Inverse kinematics tools, I showed the result of analyses about the fact that educating which of the above three Inverse Kinematics tools is helpful and beneficial for the students for the efficient education in the university where should teach much in the limited time

• Journal of the Korea Computer Graphics Society
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• v.29 no.3
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• pp.59-67
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• 2023

This paper proposes a 3D animated body profile using 3D body scanning and motion capture devices. Users can create their own personalized body profiles with animation by performing 3D scans for a predetermined set of poses. To achieve this, a template animation was obtained through motion capture for a series of poses, and the acquired 3D scan data from users was mapped to the key poses of the animation using Pose-space deformer. The resulting 3D animated body profiles provide users with greater satisfaction compared to traditional static 2D images or 3D scan data.

• Proceedings of the Korea Contents Association Conference
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• 2015.05a
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• pp.327-328
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• 2015

디지털시대에서 미국카툰시장은 3D 디지털 기법을 충분히 활용하여 마치 실사 같은 영화(Photo realistic movie)를 제작하는 한편. 일본의 경우는 그들만의 독특한 전통 셀 애니메이션(cell animation) 형식을 3D CG 기술과 결합하여 새로운 제작방식의 애니메이션을 제시하고 있다. 본 연구는 일본 2D 애니메이션에서 제작 방식을 유지해야 할 당위성을 카툰 렌더링 3D의 제작방식에 도입하여, 융합한 사례 분석을 통해 2D 애니메이션의 필요성과 중요성을 제시하려 한다.

• Proceedings of the IEEK Conference
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• 1998.10a
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• pp.931-934
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• 1998

We have implemented a sign language animation system using 2D and 3D models. From the previous studies, we find out that both models have several limitations based on the linear interpolation and fixed number of frames, and they result in incorrectness of actions and unnatural movements. To solve the problems, in this paper, we propose a sign language animation system using spline interpolation method and variable number of frames. Experimental results show that the proposed method could generate animation more correctly and rapidly than previous methods.

• Cartoon and Animation Studies
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• s.5
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• pp.531-534
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• 2001

창의적인 표현 이전에 무엇을 인식(認識)해야 하는가! 쉽게 생각하는 캐릭터모델링과 셋업(STE-UP) 과정이 몇 가지 옵션(Option)에 의하여 생성되는 것은 아니다. 애니메이션 제작에 따른 캐릭터 설정 배경, 인체구조와 모델링과의 관계, 인체구조와 애니메이션의 연관성 등에 대한 인식의 이해를 통해야 한다. 이러한 인식 속에서 3D 캐릭터애니메이션셋업(SET-UP)을 위한 기초인식과 기술을 통하여 원칙적인 이해에 근거하여 효율적, 효과적인 3D애니메이션 제작을 하기 위한 몇 가지 제안(提案)을 한다.

• The Journal of the Korea Contents Association
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• v.7 no.8
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• pp.102-108
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• 2007

Among culture industry that greet digital generation and is observed 21th century the most representative game industry latest is caught what and more interest degree is rising. 2D and 3D animation accomplish continuous growth and development depending action expression along with development of computer technology, and 2D and 3D animation practical use extent are trend that is widening the area in TV, movie, GAME industry etc. through computer hardware and fast change of software technology. The trend of latest game graphic is trend that the weight is changing from 2D to 3D by 3D game and activation of 3D game character that raise player's immersion stuff and Control in 2D's simplicity manufacturing game balance for one side. This treatise that is reality of 3D game character to classify kind of (Motion Capture) and 3D character animation, form model the sense put. Recognize that is overview and reality of 3D game character first for this about example, and is considered to efficiency is high game industry and digital contents industry hereafter by proposing kind model classification of 3D game character animation, form model classification data and character animation manufacture process that application is possible at fast time and effect in 3D character animation application are big.

• Cartoon and Animation Studies
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• s.5
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• pp.540-544
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• 2001