• Cartoon and Animation Studies
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• s.34
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• pp.105-128
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• 2014

This study was aimed to analyze the disparities of 3D stereoscopic images in four well-known American animation movies. After Avatar (2009), lots of stereoscopic movies were developed in Korean 3D production. Almost all 3D productions in Korea, however, focus on the display images or TV series animation yet. In order to make many well-made Korean stereoscopic 3D animations in future, analyzing and comparing the disparities of 3D stereoscopic images is necessary and even mandated. First, I chose 40 cuts from each four American stereoscopic 3D feature films, including Despicable me 2, Epic, Monster University, and Turbo. According to the classifications of shot angles by Vineyard (2008), secondly I analyze the 23 different angular disparities of 3D stereoscopic images and displayed in tables. Demonstrated shot angle disparities in each scene would provide numerical information to animators how to design and make the 3D stereoscopic images. Making successful stereoscopic 3D feature film will be a huge turning point in the Korean animation field in future. This study would be a first trial to seek a new method to set ahead an outlook of numerical values of 3D stereoscopic images for better visual effects.

• Cartoon and Animation Studies
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• s.20
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• pp.31-45
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• 2010

Stereoscopic 3D animation contents are in the rise as a key part of contents market. Major animation studios are planning to produce 3D animations in a stereoscopic process. This study aims at understanding the visual textuality of 3D animation contents at its early stage. To understand 3D animation, , are analyzed. Stereoscopic 3D animations are exploring the new visual aesthetics using the specific storytelling, sequence ordering, camera working, shot size and camera angles etc. Based on these visual textualities, stereoscopic 3D animations are constructing telepresence, multi-senses of individual spectators. Stereoscopic 3D animations have formed their own aesthetics and cultural meanings in the digital age.

• 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.

• Journal of Korea Game Society
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• v.13 no.3
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• pp.131-140
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• 2013

The study analyzes how to create stereoscopic image in 3-dimension animation 'Yggdrasil', produced in Autodesk Maya(3D animation software), using Anaglyph method that is the oldest in 3-dimension stereoscopic video production. The anaglyph method help to produce stereoscopic images easily and to give effective 3D effect encoding each eye's image using filters of different colors. In addition, space direction applied visual perception theory expresses necessary distance, depth and speed effectively in 'Yggdrasil'

• The Journal of the Korea Contents Association
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• v.12 no.1
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• pp.112-124
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• 2012

The remarkable development of digital technologies and the success of 3D stereoscopic films have led to started drawing attention to stereoscopic images. The stereoscopic images have not become a passing fad in the present time unlike in the past, but have constantly showed their potentials. Unfortunately, the domestic stereoscopic images market is faced with difficulties, such as lack of the capital strength and of insufficient production infrastructure, and the production of 3D from 2D. As a result, it is not easy to produce creative stereoscopic animation contents. Therefore, in Korea, more efforts should be made in accumulating a plenty of data on production techniques. In order to make film production reflecting stereoscopy and effective stereoscopic implementation, which are necessary to produce high-quality stereoscopic contents, this thesis gave an explanation about a production technique studied on the basis of 3D graphic. Stereoscopic images are definitely one of the most promising image contents in the 21st digital contents industry. For the reason, in order to produce stereoscopic animation contents with high quality, fundamental studies on the stereoscopic images should be performed in a constant and cautions way.

• The Journal of the Korea Contents Association
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• v.13 no.8
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• pp.93-100
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• 2013

Works of director Robert Zemeckis have attracted much attention after the appearance of in which realistic digital characters appeared. Although he quitted animation production after , his 3D animation contributed to the 3D stereoscopic animation direction considerably. This study compared and analyzed representative 3D stereoscopic works of Robert Zemeckis with special reference to the theoretical background of 3D stereoscopic, cubic effect awareness factor using single eye sight and dual eye sight and matters of consideration in the direction of 3D stereoscopic image. This study also examined an expression method used in his works to improve cubic effects focusing on and .

• Journal of the Korea Society of Computer and Information
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• v.18 no.1
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• pp.21-29
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• 2013

The current software for creating and editing animation offers the possibility of dividing variable objects into layers. This paper suggests a method to render and edit each of right and left layer in the process of creating a 3D stereoscopic animation. It is possible to apply a variety of effects to left and right images and to adjust the gap of binocular parallax through this method so that wider variation of images and richer sense of depth can be produced. In addition, this method offers freedom of deleting and inserting an object, controlling size and position of the object and adjusting the gap of binocular parallax. Thus, new sense of depth can be obtained. This method shows the results to apply various effects on the 3D stereoscopic image and to reduce visual fatigue rather than the method to render simultaneously both of left and right layer.

• Cartoon and Animation Studies
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• s.49
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• pp.697-712
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• 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
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• s.26
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• pp.1-30
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• 2012

The purpose of animation is to give interesting stories to an audience through motion. To achieve the purpose, over the past century since its inception, animation has adopted many kinds of technologies, and thus developed diverse narrative methods and visual expression techniques. In addition, with the advancement of expression techniques, all elements making up animation have gradually been systemized, and at the same time, have helped express the worlds beyond the reality. As a result, people have faced the era when an audience can watch everything imaginated by an animation director on a big screen. These days, more efforts have been made in order for the audience to feel much more than enjoy pictures moving in a frame. In other words, the purpose of the animation is changing from the passive viewing of animation to feeling and sensing stuffs through the animation. In the center of the changing process is 3D technology which gives new interesting to an audience. Sometime ago, a 3D animation movie was produced in Korea. But it did not bring out box-office profits, for it failed to give satisfaction to an audience who expected high perfection and beauty being able to be rivalled to those of international 3D animation movies. The failure is attributable to the fact that the domestic 3D animation production industry is merely in the early stage, and has not sufficient human resources, technology, and experiences in producing 3D animation films. Moreover, the problem is that most studies on 3D focus on the technologies related to reenactment, but that few studies on the images, which an audience directly faces, have been conducted. Under the domestic circumstance, the study on stereoscopic image screen of , a 3D stereoscopic animation film which was released in 2010 and has been seen as the best successful 3D stereoscopic animation, is worthwhile. Thus this thesis conducted theoretical consideration and case analysis focusing on the visual direction that creates the pictures to deliver abundant three dimensional effect so that it can be used as a basic data when producing high quality-domestic 3D animation and training professional labor forces. In the result, it was found that the 3D animation was not a new area, but the area which has been expanded and changed by applying the characteristics of 3D image based on the principles of the existing media aesthetics. This study might be helpful to establish the foundation of the theoretical studies necessary for producing 3D animation contents for realizing the sense of reality.

• Journal of Multimedia Information System
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• v.8 no.4
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• pp.277-284
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• 2021

Despite skepticism about commercial potential, the stereoscopic 3D cinema is still a form that any filmmaker can choose to employ for its aesthetics and its immersive potential. Based on a haptic illusion, the stereoscopic media content requires a new perspective different from the principle of 2D media content in terms of creation and acceptance. This paper examines the technical and aesthetic issues of stereoscopic 3D film production from the perspective of today's emerging realistic and immersive media through a case study. One of the key factors for successful content creation and research and development in stereoscopic 3D cinema is the combination of artistic principles together with technical mastering of the new image technology. The purpose of this paper is to outline the principal challenges and research topics in stereoscopic 3D cinema through a case study of stereoscopic 3D pilot film production for the 'User-Selective UHD Stereoscopic Media Service Platform' of the ETRI (Electronics and Telecommunications Research Institute). This paper intends to examine stereoscopic 3D filmmaking workflow and production methodologies, as well as technical elements and aesthetic issues.