• Cartoon and Animation Studies
• /
• s.37
• /
• pp.509-537
• /
• 2014

This paper proposes 'postfilimc metamorphosis' and 'reanimation' as two concepts that aim at giving account to the aesthtetic tendencies and genealogies of what Suzanne Buchan calls 'pervasive animation', a category that refers to the unprecedented expansion of animation's formal, technological and experiential boundaries. Buchan's term calls for an interdisciplinary approach to animation by highlighting a range of phenomena that signal the growing embracement of the images and media that transcend the traditional definition of animation, including the lens-based live-action image as the longstanding counterpart of the animation image, and the increasing uses of computer-generated imagery, and the ubiquity of various animated images dispersed across other media and platforms outside the movie theatre. While Buchan's view suggests the impacts of digital technology as a determining factor for opening this interdisciplinary, hybrid fields of 'pervasive animation', I elaborate upon the two concepts in order to argue that the various forms of metamorphorsis and motion found in these fields have their historical roots. That is, 'postfilmic metamorphosis' means that the transformative image in postfimic media such as video and the computer differs from that in traditional celluloid-based animation materially and technically, which demands a refashioned investigation into the history of the 'image-processing' video art which was categorized as experimental animation but largely marginalized. Likewise, 'reanimation' cne be defined as animating the still images (the photographic and the painterly images) or suspending the originally inscribed movement in the moving image and endowing it with a neewly created movement, and both technical procedues, developed in experimental filmmaking and now enabled by a variety of moving image installations in contemporary art, aim at reconsidering the borders between stillness and movement, and between film and photography. By discussing a group of contemporary moving image artworks (including those by Takeshi Murata, David Claerbout, and Ken Jacobs) that present the aesthetic features of 'postfilmic metamorphosis' and 'reanimation' in relation to their precursors, this paper argues that the aesthetic implications of the works that pertain to 'pervasive animation' lie in their challenging the tradition dichotomies of the graphic/the live-action images and stillness/movement. The two concepts, then, respond to a revisionist approach to reconfigure the history and ontology of other media images outside the traditional boundaries of animation as a way of offering a refasioned understanding of 'pervasive animation'.

• Cartoon and Animation Studies
• /
• s.37
• /
• pp.221-245
• /
• 2014

With the success of the world's first 3D computer animated film, "Toy Story" in 1995, industrial development of 3D computer animation gained considerable momentum. Consequently, various 3D animations for TV were produced; in addition, high quality 3D computer animation games became common. To save a large amount of 3D animation production time and cost, technological development has been conducted actively, in accordance with the expansion of industrial demand in this field. Further, compared with the traditional approach of producing animations through hand-drawings, the efficiency of producing 3D computer animations is infinitely greater. In this study, an experiment and a comparative analysis of markerless motion capture systems for facial expression animation has been conducted that aims to improve the efficiency of 3D computer animation production. Faceware system, which is a product of Image Metrics, provides sophisticated production tools despite the complexity of motion capture recognition and application process. Faceshift system, which is a product of same-named Faceshift, though relatively less sophisticated, provides applications for rapid real-time motion recognition. It is hoped that the results of the comparative analysis presented in this paper become baseline data for selecting the appropriate motion capture and key frame animation method for the most efficient production of facial expression animation in accordance with production time and cost, and the degree of sophistication and media in use, when creating animation.

• Journal of Internet Computing and Services
• /
• v.17 no.3
• /
• pp.33-43
• /
• 2016

In this study, 3D-image based course material has been suggested as a potential pedagogical tool for laboratory courses for aviational maintenance in vocational high schools. With a special focus on assembly/disassembly of the combustion chamber, 3D contents described here are created by Soildworks 2014 based on the textbook widely used in aviational high schools. By analyzing several textbooks currently adopted at various schools, we have clearly shown that the current text-based teaching method is far from being effective regarding providing adequate learning environment for high school students who study aviational maintenance. From the analysis of the conventional textbooks, it is seen that it is urgent that we should come up with more effective and efficient way of teaching methods for these topics at vocational high schools. Using Solidworks, we have developed very vivid 3D image-based course material for topics related to a combustion chamber in the airplane. Newly developed 3D material is seen to clearly show step by step procedures of assembly and disassembly of the combustion chamber which has crucial importance in the aviational laboratory courses. Especially the transparent feature in Solidworks could make it possible to observe the parts covered by outer casing, which can not be seen even in any laboratory class with real objects. 3D animated views could provided unprecedented learning environment for students to acquire core knowledge with ease for the maintenance of a combustion chamber. In order to provide easy access for students to this 3D-based course material, the exclusive viewer is also developed using MS office powerpoint 2007. An example of a learning plan using 3d course material is suggested as well.

• Korea Science and Art Forum
• /
• v.35
• /
• pp.145-155
• /
• 2018

The goal of the study is to provide a new type of audio-visualization method through case analysis and work production based on Polysomnography(PSG) data that is difficult to interpret or not familiar to the public. Most art works are produced with conscious actions during waking hours. On the other hand, during sleep, we get into the world of unconsciousness. Therefore, through the experiment, want to discover if could get something new when we were in the subconscious state, and if so, wondered what kind of art could be made through it. The study method is to consider definition of sleep and sleep data first. The sleep data were classified into normal group and Narcolepsy, Insomnia, and sleep apnea by focusing on sleep disorder graphs that is measured by sleep polygraph. After that, I refined and converted the acquired biometric data into a text-based script. The degree of sleep in the text form of the script was rendered as a 3D animated image using Maya. In addition, the heart rate data script was transformed into a midi format, and the audition was implemented in the garage band. After Effects combines the image and sound to create four single channel images of 3 minutes and 20 seconds each. As a result of the research, I made an opportunity for anyone easy to understand the results, having difference with the normal data, through art instead of using difficult medical term. It also showed the possibility of artistic expression even when conscious actions did not occur. Through the results of this research, I expect the expansion and diversity of artistic audiovisual expression of biometric data.

• Cartoon and Animation Studies
• /
• s.49
• /
• pp.465-491
• /
• 2017

This paper analyzes the short animation film which faithfully follows the external dimension of cartoons, and studies the hidden subject and the way of narrative in the back of the figure. In this process, we analyze the theme of using the analysis method of mosaic image. The narrative of cartoons is usually the majority in discussing the differences in the aspectual part. However, this animation uses cartoons to reach the linear narrative of ordinary narrative movies. As Janet Murray explains, if a 'mosaic image' approaches a theme through a mosaic approach, we can limit the 'mosaic film' that are introduced in the film format among them. First of all, conceptually uses the characteristics of 'mosaic image', at the same time, it utilizes a work utilizing the narrative features of 'mosaic film'. By analyzing this animation film by bifurcation, the first half reveals the characteristics of open-minded mosaic video platform, and the second half introduces the linear narrative method of film narrative. This paper divides the narrative method of 'multi plot Film' into three types: mosaic narrative film, network narrative film, and multi-draft film. Thus, we can analyze the ending of as a narrative method of 'network narrative film' which is composed of parallel or juxtaposed stories. In other words, if the early part of the animation follows the 'mosaic narrative' as an 'extension of ensemble film', the latter part faithfully follows 'network narrative'. Even in the way of talking about the subject, this animated film uses the way of speaking the mosaic image. Considering the aspectual tendency of cartoons, it can be said that this film derives the meaning of 'humor' or 'satire' in an open way. If the first half refers to 'the ambiguous routine of modern man', the latter half draws a profound theme called 'the reality of human selfishness in modern society'. is a film for a wide range of social criticism designed for adults who can interpret meaning.

• Journal of Astronomy and Space Sciences
• /
• v.22 no.4
• /
• pp.393-408
• /
• 2005

We developed and compared two automatic algorithms for moving object detections in the YSTAR-NEOPAT sky survey program. One method, called starlist comparison method, is to identify moving object candidates by comparing the photometry data tables from successive images. Another method, called image subtraction method, is to identify the candidates by subtracting one image from another which isolates sources moving against background stars. The efficiency and accuracy of these algorithms have been tested using actual survey data from the YSTAR-NEOPAT telescope system. For the detected candidates, we performed eyeball inspection of animated images to confirm validity of asteroid detections. Main conclusions include followings. First, the optical distortion in the YSTAR-NEOPAT wide-field images can be properly corrected by comparison with USNO-B1.0 catalog and the astrometric accuracy can be preserved at around 1.5 arcsec. Secondly, image subtraction provides more robust and accurate detection of moving objects. For two different thresholds of 2.0 and $4.0\sigma$, image subtraction method uncovered 34 and 12 candidates and most of them are confirmed to be real. Starlist comparison method detected many more candidates, 60 and 6 for each threshold level, but nearly half of them turned out to be false detections.

• Cartoon and Animation Studies
• /
• s.48
• /
• pp.249-269
• /
• 2017

Promotion and marketing, which are essential to lower the investment risk and maximize commercial profit in the video game market. Game developers and publishers set up public relations strategies to encourage potential consumers' needs. Considering characteristics of video game, the trailer, which is the animated image advertisement material, could occupy a key position in its promotion and marketing plan. Cinematic spectacles and attractive narratives are essential ingredients for game trailers, which are usually produced in 3D animation. Dead Island is an open world first person shooters (FPS) game released in 2011. When launched, it grabbed a great attention with a trailer, awarded the Golden Lion Prize for the best internet film at the Cannes Lions International Festival of Creativity. The game was a commercial success and several spin-offs were producted. In 2014, its publisher, Deep Silver showed the official trailer of Dead Island 2 at Electronic Entertainment Expo, the world's largest game show. Dead Island 2 was scheduled to be released in 2016, but has been now delayed until 2018. This study compares and analyzes two trailers of Dead Island 1 and Dead Island 2. We examine the narrative structure of the trailer for the sequel promotion of a successful game. The differences between the two could be useful for building a promotion strategy of other game series.

• Cartoon and Animation Studies
• /
• s.45
• /
• pp.27-50
• /
• 2016

The present study argues that documentary-animation films, which are based on actual human voices, on the level of representation, constitute a new expansion for the medium of animation films, which serve as testimonies to the real world. Animation films are produced using very diverse techniques so that they are complex to the degree of being indefinable, and documentary films, though based on objective representation, increase in complexity in that there exist various types of artificial interventions such as direction and digital image processing. Having emerged as a hybrid genre of the two media, documentary-animation films draw into themselves actual events and elements so that they conceptually share reality-based narratives and are visually characterized by the trappings of animation films. Generally classified as 'animated documentaries', this genre triggered discussions following the release of , a work that is mistaken as having used rotoscoping transforming live action in terms of the technique. When analyzed in detail, however, this work is presented as an ambiguous medium where the characteristics of animation films, which are virtual simulacra without reality, and of documentaries, which are based on the objective indexicality of the referents, coexist because of its mixed use of typical animation techniques, 3D programs, and live-action images. Discussed in the present study, , , and share the characteristics of the medium of documentaries in that the narratives develop as testimonies of historical figures but, at the same time, are connected to animation films because of their production techniques and direction characteristics. Consequently, this medium must be discussed as a new expansion rather than being included in the existing classification system, and such a presupposition is an indispensable process for directly facing the reality of the works and for developing discussions. Through works that directly use the interviewees' voices yet do not transcend the characteristics of animation films, the present study seeks to define documentary-animation films and to discuss the possibility of the medium, which has expanded as a testimony to the real world.

• Cartoon and Animation Studies
• /
• s.49
• /
• pp.697-712
• /
• 2017

In recent years, film and animation for cinematic release have embraced stereoscopic vision and the three-dimensional depth it creates for the viewer. The maturation of consumer-level virtual reality (VR) technology simultaneously spurred a wave of media productions set within 3D space, ranging from computer games to pornographic videos, to Academy Award-nominated animated VR short film Pearl. All of these works rely on stereoscopic fusion through stereopsis, that is, the perception of depth produced by the brain from left and right images with the amount of binocular parallax that corresponds to our eyes. They aim to emulate normal human vision. Within more experimental practices however, a fully rendered 3D space might not always be desirable. In my own abstract animation work, I tend to favour 2D flatness and the relative obfuscation of spatial relations it affords, as this underlines the visual abstraction I am pursuing. Not being able to immediately understand what is in front and what is behind can strengthen the desired effects. In 2015, Jeffrey Shaw challenged me to create a stereoscopic work for Animamix Biennale 2015-16, which he co-curated. This prompted me to question how stereoscopy, rather than hyper-defining space within three dimensions, might itself be used to achieve a confusion of spatial perception. And in turn, how abstract and experimental moving image practices can benefit from stereoscopy to open up new visual and narrative opportunities, if used in ways that break with, or go beyond stereoscopic fusion. Noteworthy works which exemplify a range of non-traditional, expanded approaches to binocular vision will be discussed below, followed by a brief introduction of the stereoscopic animation loop III=III which I created for Animamix Biennale. The techniques employed in these works might serve as a toolkit for artists interested in exploring a more experimental, expanded engagement with stereoscopy.

• Cartoon and Animation Studies
• /
• s.9
• /
• pp.127-142
• /
• 2005

Not only in Korea but throughout the entire world millions of people are in contact with images. Images have become a medium through which to transmit anything from simple visualizations of moving images to knowledge and information. The age of the internet has arisen thanks to scientific development, and the internet generation's acquisition of information is continuously becoming faster. The spectators, ufo must choose amongst the excessive amount of available information, are changing along with it just as quickly. The method of visual transmission has changed to match the demands of the fast-changing pace of the new generation. In order to receive an instantaneous selection amongst much information, the primary requisite is attracting one's attention, and then presenting a corresponding feeling of satisfaction. The early stages of film arose from the desire to capture one's actual situation as it realty is. Unsatisfied with the still picture, people developed the motion picture. Research has succeeded in reproducing 3-dimensional images more realistic than the actual image we perceive as a result of the difference in visual perspective of both eyes and their response to rays of light From color film to 3-dimensional pictures, people enjoy the magnificent results of this. All fields within the category of film are continuously studying the human desire to pursue their visual side, namely the pursuit of visual images with a maximum sense of reality. The images that millions of people around the world see now are flat. The screen's depth and optical illusions effectively give a sense of reality while conveying information. However, although the flat screen is able to create a sense of depth using the different visual perspective of each eye for the realization of a cubic effect, there are limitations. Entering the 21s1 century, there is a quickly-arising branch within the field of image media which seeks to overcome these limitations Although 3-dimensional images began in films, entering the latter half of the 20th century, due to development of 3-dimensional images using the mediums of the animation field, cellular phones, advertisement screens, television etc., without restriction is designated as 'image.'. With research having started around 1900 and continuing for over 100 years, we are now able to witness the popularization of 3-dimensional films happening before our very eyes. Within our own country, we can frequently see them at amusement parks and museums. In the future, through the popularization of HDTV etc., there is a good outlook for practical use of 3-dimensional images in televisions with advanced picture qualify as well as in other areas. Together with the international current, research on 3-dimensional films has been activated in Korea and is rising as a main current in the film industry. Within this context, the contents and understanding of 3-dimensional images must keep in step with the pace of technical advancements. In order to accelerate of development of film contents to keep in pace with technical developments, this dissertation presents the techniques and technical aspects of future developments, and shows the need to prepare in advance to make the field grow- and thereby avoid having a lack of experts and being conquered by other nations in the field - rather than only advancing the technical aspects and importing the contents. This dissertation aims to stimulate interest and continual research by progressive-thinking people related to the film industry. Part II looks into the definition and types of 3-dimensional motion pictures, the terminology, the fundamentals of image formation, current market fluctuations, and looks into 3-dimensional techniques which can be borrowed and introduced in 3-dimensional animations. Part III concerns 3-dimensional animated films. It analyzes 3-dimensional production techniques while using the introduction of specific animation techniques in the 2004 production Lee Sun Shin and Nelson - Naval Heroes 3-dimensional animation produced in 2004 by Clay & Puppet Stop-Motion Animation & Computer Graphic. Original Korean title: 해전영웅 이순신과 넬슨. as an example, and it also looks into how current film techniques used in animations can be applied in 3-dimensional films. Additionally, the actual stages of the various fields of 3-dimensional animations are presented. Given the current direction and advancement of 3-dimensional films making use of animations and the possible realization of this field, the author plans to weigh the development of this yet unexploited new market Not looking at the current progress of the field, but rather the direction of the hypothetical types of animation techniques, the author predicts the marketability and possibility of development of each area.