• Korea Science and Art Forum
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• v.24
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• pp.1-13
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• 2016

The aim of this study is to find the reasons of success and failure of digital animations in terms of 'immersion.' For the purpose, the causes of immersion were analyzed through complex comparison about concepts and stories of two animation films with similar size of budget: 'Shrek 2' which ranked number 1 in the box-office of animation and 'Mars Needs Moms' which ranked number 172 in the same category. The complex results showed that immersion becomes bigger with creativity and popularity of the characters' outer concept, diversity and organic of the characters' inner concept, and diversity and consistency of the background. Moreover, gradual arrangement of characters' appearance in the story and increasing number of the characters, and visual changes around the plot heightening with a well-organized passage increase immersion. After all, immersion of digital animation requires developing creative, diverse, and popular concept and arranging and strengthening strategic well-organized plot of parts and the whole. This is the key to convergence it.

• Cartoon and Animation Studies
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• s.15
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• pp.237-249
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• 2009

Interest in and study on 3 dimensional pictures has been continued since visual media showing moving images was invented. From simple anaglyph wearing glasses to hologram making perfect 3 dimensional objects by recording phase data of reflected light, as well as amplitude and wave, speed and scope of technical development are quicker and wider, respectively. However, despite such development of technology, there is still lack of study on aesthetical, industrial and contents developing area, except for technology of 3 dimensional images. Unlike the interest in 3 dimensional images, even a theoretical frame for the approach to theoretical areas of 3 dimensional images has not been established. Especially, few experiment and study on directing aesthetics have been conducted, with exception of areas in entertainment documentaries for 3 dimensional feeling or some latest 3D animations. As a result, this study will try to find alternatives to directing aesthetics of realistic 3 dimensional movies to be developed in future by studying directing grammar and aesthetics of digital 3 dimensional movies and finding and analyzing difference between 3 dimensional images and 2 dimensional images drawn on the plane.

• Proceedings of the Korea Contents Association Conference
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• 2006.11a
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• pp.257-263
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• 2006

Nowadays, 3-D(Three-dimensions) is used in various field such as Games, Movies, Animations etc. Especially the Role of 3-D computer graphic is being generalized by turnover of Screen from '2-dimensional' to '3-dimensional'. There are not enough data about 'Motion Capture' even though it plays main function in 3-dimensional movement. 'Motion Capture' could be also unfamiliar for people. And as a matter of fact, the use of this equipment is limited due to its high cost. Therefore, I studied the outline of Digital Motion Capture system and its application to 3-D game Character Animation. And I checked the movement of 3-D Character after transplanting the Motion Data to the 3-D Character. I acquired Motion Data by Optical Motion Capture Equipment which we possess and transplanted it into the 3-D Character then Implemented it as walking, running and hitting which are the basic motions of Expression.

• Proceedings of the Korea Contents Association Conference
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• 2007.11a
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• pp.644-646
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• 2007

On-line game industry had accomplished much growths and development. One in pain of the game enterprises according to quality of on-line comes to be short Game production pipeline and it is suitable in quick production schedule and to be easy to the standard research of form by of 3D game character animations which are various the game production at the time of application is possible, operation by and type by in necessity. Element by model classification of the digital base game character which is used in game it set from the research which it sees and research it analyzed and the fundamental data which is necessary to 3D game character animation productions escape it tried. And the digital motioncapture it applies a cap department system and real picture of the character animation which is various at real-time the control research moving and it advances at the time when the effectiveness is short highly in game industry and digital contents industry application the character animation production process which is possible and production pipeline escape the reporter to do it does.

• Journal of Korea Game Society
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• v.8 no.1
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• pp.91-101
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• 2008

Most designers use professional 3D animation tools such as 3DS MAX to manually create animation. This manual method requires a great deal of time and efforts, and does not allow animation characters to interact with one another. In this paper, we design an AI middleware of form as 3DS MAX plug-in to solve these issues. We present an AI expression structure and internal processing method for this middleware, and the method for creating AI character's structure. It creates AI character's structure by drawing figures and lines for representing AI elements. For experiment, we have produced same animations with the traditional method and our method, and measured the task volume in both methods. This result verifies that the task volume is similar or higher than the traditional method in small-scale tasks, but up to 43% of the task volume is reduced in large-scale tasks. Using the method proposed in this paper, we see that characters in an animation interact each other, and task volume in large-scale tasks are reduced.

• Journal of Digital Convergence
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• v.10 no.11
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• pp.627-633
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• 2012

This paper deals with the design and implementation of interactive e-learning contents for OpenCourseWare. OpenCourseWare, also known as OCW began at MIT in October 2002. OCW is a free and open digital contents of high quality college and university level educational materials. In this paper, we have designed and implemented interactive e-learning contents for a regular course of introduction to java programing language and OCW of D University. We have developed a variety of multimedia elements, such as screen videos of practical exercise and animations in order to improve the effectiveness of learning. These e-learning contents are consist of interactive learning components that users can interact directly with. The e-learning contents developed in this study has been effectively applied to OCW and a regular course opened in the first semester of 2012.

• Journal of Internet Computing and Services
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• v.19 no.6
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• pp.53-62
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• 2018

As the performance of computer hardware has been increased in recent years, more realistic computer generated objects can be created and presented in personal computers and portable digital devices as well. For this reason, digital contents, including computer graphics, require virtual objects that are more realistic and representable in real-time on various devices, thus it requires more computational costs. In order to support the production of contents including computer graphics, games, and animations on multi-platform, Unity or unreal engines are mainly used. To represent more realistic behavior of virtual objects in a simulation, a virtual object must collide with other virtual objects and present the plausible interaction, as in the real world. However, such dynamic simulation requires a large amount of computational cost, and most portable devices cannot provide these dynamic simulations in real-time. In this paper, we proposed a GPGPU computation based dynamic cloth simulation to represent collision and response with spherical object in real-time. We believe that the proposed method can be useful for readily producing realistic digital contents.

• Cartoon and Animation Studies
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• s.32
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• pp.1-21
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• 2013

Silhouette Animation has been recognized as a genre of animation since the very beginning of the animation history, and also Its segmental movement and Aesthetic expression has led a variety of semantic interpretations. Especially the French animation director, Michel Ocelot, recently integrated 3-dimensional digital to the silhouettes animation, and it extended the possibility of the silhouettes animation in many aspects. In his latest animation feature, , he showed how he made changes in 3-dimension by creating and evolving his own way and style of silhouette animation. Although mainstream digital animations preferably to show realistic images and motion, Michel Ocelot used very selective movement, subjective digital colors and extended space which couldn't be expressed in the way of creating traditional style of silhouette animation. This alternative slow movement and the unique aesthetics in 3-dimension emphasize the unconscious elements of color, composition, patterns, and it provides digitally enhanced images and pictorial impression. In addition, the acquisition of digital three-dimensional use of space made possible to provides the wider formative imagination to the audience. In this paper, we analyzed aesthetic characteristics of the digital silhouette animation, (2011), specially focusing on the aspects of Movement, Image, Space, which could not be found in the traditional silhouette animation. It is significant to obtain diversity of the future digital animation and its positive development. In addition, this provides opportunity to explore Michel Ocelot's new experiments and animation philosophy.

• Korean Journal of Construction Engineering and Management
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• v.14 no.5
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• pp.35-43
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• 2013

Nowadays the widely used media in architecture include visualizations, animations and three-dimensional models. 3D digital methods using active CAM(Computer Aided Manufacturing) and CNC(Computerized Numerical Control) imaging have been developed for accurate shape and 3D measurements in freeform buildings. In contrast to a conventional building using auto CAD system and others, the proposed digital optimization method is based on a combination of 3D numerical data and parametric 3D model for design and construction. The objective of this paper is therefore to present digital optimization process for constructability of freeform building. The method can be useful in the effective implementation of an error-proofing process of freeform building during design and construction phase. 3D digital coordinate data can be used effectively to identify correct size of structural and finish members and installation location of each members in construction field. In addition, architects, engineers and contractors can evaluate design, materials, constructability and identify error-proofing opportunities. Other project participants can also include representatives from all levels of management, departments as well as workers and key subcontractors' personnel, if necessary. The 3D digital optimization process is therefore appropriate to serious variations in freeform shape. For future study, the developed digital optimization method is necessary to be carried out to verify the robustness and accuracy for constructability in construction field.

• Archives of design research
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• v.19 no.2 s.64
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• pp.73-80
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• 2006

The main purpose of this study is to help develop the productional system of the three dimensional digital animation domestically. Many 30 digital animation projects are being developed and finished with foreign computer graphics technology. However, the 3D animation market in Korea is not as good as the ones in other countries. One of the most significant problems is the lack of a program of study in Korea concerning productional systems used to create 3D animation. We previously imported an advanced productional system from the U.S., which was adaptable to big projects, and consequently, expanded the international digital animation market. Now, we need to develop a new production system which is fully adaptable to the Korean market. A non-sequential system of 3D digital animation tailored for small projects is more adaptable to domestic industry than the sequential system known as the 'Pipeline system.' A non-sequential system is good for small productions that are trying to create animation on a limited budget. The workers in this system can learn to make animation fast and effectively. They can also learn how to discuss with the others in order to avoid duplication of action. In contrast, in the Pipeline System, many workers repeat confirmation steps during the process for the same animations. The benefit of the non-sequential system is that the worker's interest and education can speed up production, because he/she can quickly learn every step of the animation process instead of just doing a particular job which does not allow him/her to observe the other steps involved. The 'animatic' step is the most important in the non-sequential system. The final animation is produced from the animatic. It is developed from scratch through to the final product but only after the agreement of all the workers, including a director.