• Proceedings of the Korea Contents Association Conference
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• 2008.05a
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• pp.198-202
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• 2008

Manufacturing process of large-scale 3D computer animation is becoming sophistication, ramification because of development of manufacturing technique and extravagant budget. Form of manufacturing pipeline has been variously changed to production type, manufacturing scale, manufacturing form. But it is time that renewed discussion is needed because change and development for the organization is insufficient in small manufacturing company. The project aims to try to help understanding for manufacturing pipeline of internal small-scale 3D animation and to find a plan of organization for internal small-scale production of the real situation. Organization model and methodology of manufacturing pipeline of small manufacturing company is not absolute because it is enough possible to be changed to inclination of the project and its environment. People must fully understand the purpose for organization of manufacturing pipeline of 3D computer animation and it must be organized to the situation for small-scale production so that every worker in production can share the information perfectly.

• Proceedings of the Korea Contents Association Conference
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• 2011.05a
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• pp.567-568
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• 2011

미국 영상제작시장에서는 기획단계에서 충분한 시간, 비용투자와 여러 가지 검증방법을 통해, 아이디어를 거의 완벽하게 검증하고 있다. 최근에 사전시각화-프리비즈(previsualiztion)의 한 종류인 3D 씨네메틱스(cinematics)가 검증방법으로 활용되고 있다. 최신 컴퓨터 그래픽 기술을 이용하는 프리비즈는, 단기간에 저비용으로 제작자와 클라이언트들이 원하는 비주얼을 최종 결과물에 최대한 가깝게 구현하는 것을 목표한다. 고품질 프리비즈는 기획물에 대한 검증, 수정, 시장성타진 뿐만 아니라 프로덕션단계의 시행착오를 줄이는 가이드라인으로 쓰여, 프로덕션의 품질(quality)향상, 제작비 절감하는데 기여하고 있다. 이러한 기획에 대한 확실한 검증과정들이 미국의 영상제작산업을 세계최고 레벨로 올려놨다. 본 연구는 미국 영상제작시장에서 제작되고 있는 프리비즈의 동향과, 프리비즈 국내영상기획시장에서의 필요성, 기대효과를 연구하고자 한다.

• Korea Information Processing Society Review
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• v.21 no.1
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• pp.40-47
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• 2014

• Venture DIGEST
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• s.129
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• pp.22-23
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• 2009

가필드, 파이스토리 등 3D 애니메이션영화를 자체 제작하여 수출하고 있는 회사, 국내에서 보다 해외에서 더 유명한 회사. 국내에서 유일하게 3D장편 애니메이션을 제작할 수 있는 능력을 갖춘 회사. 바로 디지아트가 가지고 있는 타이틀이다. 실제로 전 세계적으로 장편 3D 애니메이션을 제작할 수 있는 곳은 열 손가락 안에 꼽힐 정도로 높은 기술력을 요구한다. 디지아트는 100% 자체 기술로 픽사, 디즈니 등 세계적인 회사와 공동으로 작업하면서 실력을 인정받았다. 불모지나 다름없는 애니메이션 시장에 새지평을 열어가고 있는 디지아트를 찾았다.

• Digital Contents
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• no.8 s.123
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• pp.56-59
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• 2003

인류의 마지막 전쟁이 시작된다.미지의 행성 엘리시움의 침공으로 인해 폐허가 된 2013년 뉴욕. 피자배달부인 반은 여자친구 라디아가 엘리시안군에 죽음을 당하자 복수심에 불타게 되고, 결국 지구를 지켜야 할 운명을 지닌 3명의 선택된 기사들과 함께 전장에 나선다.3D애니메이션 및 특수영상 전문프로덕션인 빅필름이 4년 동안 제작비 45억원을 들여 만든 국내 최초 100% 3D애니메이션 '엘리시움'은 미래에서 이뤄지는 거대한 전쟁과 운명적 사랑을 그린 작품이다. '스타워즈 에피소드1'등의 제작에 참여한 헐리우드 스탭들이 후반작업을 도맡았다고 해 더욱 기대되는 엘리시움을 만나본다.

• Cartoon and Animation Studies
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• s.51
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• pp.293-319
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• 2018

Thanks to the advancement of the related technologies and equipment, today's video contents like movies, animations and soap operas are rapidly expanding their expressible cinematic imagination area. In order to fulfill the elevated visual expectations of audiences and realize exciting storytelling and fantastic world, the fusion of different techniques is actively used, and the reality for visual effects and image synthesis is increasing more and more. Accordingly, recent VFX-oriented movies using CG have a much more complicated production process than before. Therefore, the importance of Pre-visualization, aka Pre-vis is becoming bigger in the planning process for sophisticated design. Pre-vis means that the advance visualization for stories or directing ideas in the planning process before starting production of movies or animations. 3D animated Pre-visualization realizing directors' abstract and ambiguous ideas in 3 dimensional environment in advance is, as a powerful means for visual storytelling, briskly used focusing on the VFX film industry on which the present CG is broadly used, and the role of Pre-vis throughout productions has increased compared to the past. The studies, however, on the role and utility of Pre-vis are not enough. Therefore, this study was conducted on the role of Pre-vis used for present VFX movie productions using the examples of 3D animated Pre-visualization production in which the researcher of this study participated. In this study, the role of the Pre-vis that is subdivided presently, is divided into and 3D animatics and their each role is analyzed with the example images. Through this, the characteristics that Pre-vis should have are clarified and the concept of the advantages and utility led by the use of Pre-vis in productions is strengthened. The goal of this study is to induce active uses of Pre-vis throughout productions after forming consensus about the various roles of Pre-vis and their utility.

• The Proceeding of the Korean Institute of Electromagnetic Engineering and Science
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• v.21 no.6
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• pp.10-19
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• 2010

아바타 영화 이후 영화 시장뿐만 아니라 방송 시장에서도 3D로의 전환이 급속하게 이루어지고 있다. 전 세계적으로 3D 관련 표준화 작업이 활발하게 이루어 있고, 관련 장비 및 솔루션 또한 3D 디스플레이를 선두로 카메라 및 3D 포스트 프로덕션 장비를 포함하여 다양한 장비들이 실제 상용 서비스가 가능한 수준으로 개발이 되고 있다. 시청자 관점에서 보면 셔터링 방식이 주를 이루고 있지만 머지않아 무안경 방식의 3D 솔루션이 선보일 것으로 예상된다. 이러한 움직임에 이어 또 한편으로는 기존 수동형 방송이 아닌 사용자가 직접 참여하고 네트워크 및 소셜 서비스가 가능한 형태의 스마프 TV가 관심을 불러 일으키고 있다. 본 논문에서는 향후 3D가 지향해야 할 하나의 방향이라고 볼 수 있는 스마트 3D에 대해서 개념을 정의하고, 3D가 스마트해지기 위해 필요한 환경 및 요소 기술에 대해서 기술하고자 한다.

• Journal of Digital Contents Society
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• v.16 no.4
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• pp.659-669
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• 2015

Recently, media art is transforming from analogue to 'digital', and from 2D to '3D'. In particular, the range of utilizing 3D Media Art is getting wider through merging with other genres of contents in the digital environments, such as Media façade, Hologram, Virtual reality, App application, and etc. Therefore, by referring to the 3D award-winning works of Pirx Ars Electronica, which are regarded as the most outstanding works of media art of today, factors that affect sensation of visual immersion have been analyzed, through which strategies for maximizing viewers' interests in media arts and heightening their emotions while viewing have been determined. Based on the findings of the study, it has been shown that such works of media arts that involve development of concepts with 'creativity' and 'variability' from the perspective of visual concept, such as 3D modeling and mapping, with 'consistency' through out all concepts, as well as the works with stronger 'restriction' of concept within its animation and postproduction, attracted more interests from the viewer. From the point of view with visual four steps in composition, positioning the change in quality of 3D 'shape' and 'material' following the four-step rule, and gradual increase of change in quantity within the 'number' and 'size', in addition to increased degree of systematization within the change in editing, such as the 'scene change', resulted in more heightened emotions from the viewer. Thus, in order to maximize sensation of visual immersion, strategies for 'developing 3D visual concepts' while 'synchronizing' them, as well as 'strengthening the four steps within 3D visual composition' while 'systematizing' them should be emphasized.

• Cartoon and Animation Studies
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• s.49
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• pp.247-265
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• 2017

With the increasingly diverse, sophisticated and complex character animations that can be represented in 3D animations, the importance of rigging, which can most directly affect animating quality, is becoming more and more important. In addition, rapidity is another crucial aspect of 3D animation production. So, the importance of technical director's role which is accurate and rapid handling of rigging pipeline building and immediate application and, corrections of errors during the longest and manpower consuming animation production is more becoming key. Baek Ji Won and Kim Jae-woong (2014) said, "The technical director is adding new importance to the new job, which is created by 3D animation, in conjunction with the limited production period, manpower, budget and production process." Most major overseas studios are developing in-house software to handle rigging and animation processes. Software development code is used to freely develop and modify production pipelines in accordance with the direction of the work. They are making efforts to build an optimal environment for animators. However, too many efforts and ineffective efforts have been made to develop, adapt, and stabilize the rigging process for small producers, creators, and students who do not have the capacity to develop their own in-house software or hire a technical director. This study suggests the most suitable auto-rigging tool among the many auto-rigging tools released in the market, and suggests the most accurate and quick auto-rigging process setting method for those who have insufficient knowledge about 3D character rigging. The efficiency of use of auto-rigging tool was examined.

• Journal of Digital Contents Society
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• v.19 no.5
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• pp.971-979
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• 2018

Currently, Virtual Reality video content is rapidly increasing in number of users due to the rapid growth of related hardware and software. Accordingly, Virtual Reality animation is also being produced in a new form by rapidly integrating with Virtual Reality technology among video contents. Currently, research on Virtual Reality animation has focused on how films are produced and how they are directed, and no research has been done to organize the pipeline for efficient VR animation production. Therefore, this study drew the characteristics of the pre-render VR animation pipeline by comparing it with the production pipeline of the existing 3D animation to produce the VR animation efficiently. Through this, we presented organic integration of production and post production processes suitable for the production of VR animations and reduced rendering time using Render Pass for efficient production.