• 제어로봇시스템학회:학술대회논문집
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• 2000.10a
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• pp.383-383
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• 2000

In this paper, a motion adaptation control is applied for animation of 3-D human character. The method includes parameterization of joint motion data, motion adaptation based on body ratio of character, dynamic adaptation using genetic algorithm, etc. The feasibility of motion adaptation technique is verified by applying to motion control and adaptation of a 3-D human character.

• Journal of the Korea Computer Graphics Society
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• v.14 no.2
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• pp.35-41
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• 2008

H-Anim is an international standard that Humanoid Animation Working Group in Web3D Consortium defined the data structure necessary for human animation. Various libraries and tools have been generated according to the structure, but they still have restrictions to represent realistic humanoid motions. This paper presents the method of generating realistic human motion using motion capture data in order to define motion for humanoid animation based on H-Anim standard. In order to implement this, we have defined a data structure capable of receiving motion capture data and implemented a motion browser. The human motion data structure defined in this paper is based on X3D and intended to have compatibility through networks and various browsers.

• Proceedings of the Korean Society of Broadcast Engineers Conference
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• 1999.06a
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• pp.141-144
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• 1999

MPEG-4 SNHC FBA(face and body animation) group is going to standardize the MPEG-4 system for low-bit rate communication with the implementation and animation of human body and face on virtual environment. In the first version of MPEG-4 standard, only the face object will be implemented and animated by using FDP (face definition parameter) and FAP(facial animation parameter), which are the abstract parameters of human face for low-bit rate coding. In this paper, MPEG-4 SNHC face object and it's animation were implemented based on the computer graphics tools such as VRML and OpenGL.

• Cartoon and Animation Studies
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• s.28
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• pp.101-124
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• 2012

Success of brought a large revolution in the world of cinema and the media market. They have predicted new industrial possibility for 3D Stereoscopic image and trends started to support for producing in the field of various media platform. We can see our domestic technology creates higher added value in the sphere of hard-wear for the market of worldwide home TV electronics. But in reality we are short of effective and organized pipeline of producing and we should analyse cases more for Stereoscopic 3D animations. Therefore in this paper, we present case study on animation made into Stereoscopic 3D animation to build up suitable Stereoscopic 3D TV animations pipeline. We differentiate from any other Stereoscopic content by applying artistic elements and technological elements, especially human factor and 3D Sweetening to elevate the level of 3D Stereoscopic effect for main audience, children. We propose how to strengthen the competitiveness of Korean animation for world animation market.

• Korean Journal of Cognitive Science
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• v.11 no.2
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• pp.1-10
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• 2000

Realistic facial animation research field which communicates with human and computer using face has increased recently. The human face is the part of the body we use to recognize individuals and the important communication channel that understand the inner states like emotion. To provide the intelligent interface. computer facial animation looks like human in talking and expressing himself. Facial modeling and animation research is focused on realistic facial animation recently. In this article, we suggest the method of facial modeling and animation for realistic facial synthesis. We can make a 3D facial model for arbitrary face by using generic facial model. For more correct and real face, we make the Korean Generic Facial Model. We can also manipulate facial synthesis based on the physical characteristics of real facial muscle and skin. Many application will be developed such as teleconferencing, education, movies etc.

• Cartoon and Animation Studies
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• s.6
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• pp.116-131
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• 2002

Character plays an important role not merely in animation but also in the modern image industry. From this perspective a new academic approach to and an analysis of character seems of much significance. With this in view this study carried out an elucidation of the basic factors and concept of plasticity for the creation of animation character on the basis of animation structural elements. Furthermore, an inquiry was conducted into fundamental requirements and factors of animation characters, human anatomy serving as the basis of forms for animation character modelling, the characteristics and techniques for creating animation cubic character, and then suggested a method of creation. In this process it was revealed that integral cubic character was applied to diverse animations, that character of high density was prerequisite for the creation of creative and effective animations, and that cubic character plasticity played a catalytic role in activation popular sympathy and the character industry.

• Cartoon and Animation Studies
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• s.43
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• pp.47-75
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• 2016

This study has analyzed the history of the subcontract animation in Korea that began with Golden Bat of TBC Animation Division in 1966 to 1980s and shed the light on the history of subcontract animation that has been processed over 30 years in Korean animation. For this purpose, through the outlined status of subcontract animation, such as, production company, production status, scale of industry and so forth, the status of the OEM industry then has been checked and it links the solidified background of animation into subcontract production industry with the situation in time for analysis. In addition, on the basis of the foregoing, it is intended to broaden the horizon of the history of animation through the analysis on new search for facilitating the creative animation by overcoming the issues and limits generated by the subcontract animation industry. 1970s was the time that the national objective is to advance heavy-chemical industry and export-led economic growth. From the late 1970s, the animation has been spot lighted as the main-stream export industry through the overseas subcontract orders for animation. Expansion of the subcontract animation production has been influenced from the national policies on public culture, dispersion of color TV, facilitation of video production market and other media changes of the time that led the decline of animation audiences in theaters, and another cause would be in lack of platform of broadcasting companies that avoided the independent animation production for its economic theory. The subcontract animation industry may have the positive evaluation in the aspect of expanding the animation environment, such as, structuring of animation infra, development of new human resources and etc. However, the technology-incentive 'production'-oriented advancement has created distorted structure in advancing the professional human resources due to the absence of 'pre-production' of planning and others as well as the insufficient perception on 'post production (post work)', and it was unable to formulate domestic market by re-investing the capital accumulated for OEM industry into the production of creative animation and it has been assessed as negative aspect. Animation is a cultural and spiritual product of a country. Therefore, the systematic support policy for the facilitation of the creative animation, such as, development of professional human resources, creation of outstanding work, formation of market to make the pre-circulation structure and so forth has to be sought. However, animation is an industry, but there is no perception that it is a cultural industry based on the creativeness, not hardware-oriented manufacturing business. Such a lack of recognition, there was no policies to make the market and facilitate the creative animation by the animation of Korea for this period through the long-term plan and investment for independent work production. Such an attempt is newly begun through diverse searches for protection and advancement of creative animation in Korea after 1990s.

• Journal of Korea Society of Industrial Information Systems
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• v.24 no.5
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• pp.17-25
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• 2019

In this paper, we introduce the technology to convert a single human image into a fashion show animation video clip. The technology can help the customers confirm the dynamic fitting result when combined with the virtual try on technique as well as the interesting experience to a normal person of being a fashion model. We developed an extended technique of full human 2D to 3D inverse modeling based on SMPLify human body inverse modeling technique, and a rigged model animation method. The 3D shape deformation of the full human from the body model was performed by 2 part deformation in the image domain and reconstruction using the estimated depth information. The quality of resultant animation videos are made to be publically available for evaluation. We consider it is a promising approach for commercial application when supplemented with the post - processing technology such as image segmentation technique, mapping technique and restoration technique of obscured area.

• The Journal of the Korea Contents Association
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• v.6 no.3
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• pp.125-134
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• 2006

The purpose of this paper is constructed a HEEAAS(Human Emotional Expression Animaion System), which is an animation system to show both the face and the body motion from the inputted voice about just 4 types of emotions such as fear, dislike, surprise and normal. To implement our paper, we chose the korean young man in his twenties who was to show appropriate emotions the most correctly. Also, we have focused on reducing the processing time about making the real animation in making both face and body codes of emotions from the inputted voice signal. That is, we can reduce the search time to use the binary search technique from the face and body motion databases, Throughout the experiment, we have a 99.9% accuracy of the real emotional expression in the cartoon animation.

• Cartoon and Animation Studies
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• s.16
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• pp.113-124
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• 2009

This study shows that there is an essential difference between colors of animation and live action film through the expressive colors of 2D animation as distinct from three dimension space. While live action film has an obvious object of representation, the image of 2D animation is a creature made by human without the process of mechanical representation. And this is revealed sharply in the expressive colors of 2D animation. Therefore the expressive colors of 2D animation are the important points in which the autonomous meaning of animation image is revealed.