한·몽 성우 비교연구 -방송환경과 역할기능을 중심으로-

성선녀 한국몽골학회 2008 몽골학 Vol.0 No.25

Mongolia has a numerous relationship with us historically. Especially last summer in 2007, many Koreans have visited Mongolia marking the 800th birthday of Chinggiskhan But the exchange of the broadcasting stations between Korean and Mongolia has not gone on smoothly so far. This study was the outset from the initial attempt to find a way out of such reality. The followings was originated from the study on the broadcasting environment and role function by voice actor Having broadcasting environment in common, firstly the history of voice actors between Korea & Mongolia is similar and there is no age limit in it. Secondly, the voice actors in both countries take part in the whole field of being expressed by voice like radio drama acting, foreign film dubbing, DJ, narration, CM voice recording, and so forth. Thirdly, they strongly take pride in their work as an artist to create their own character in work with strong desire and professionalism comparing with their difference, firstly, as the broadcasting has creatively been developed under liberalism system the broadcasting environment of voice actor in Korea has been gained the public affections as a star with the advance of radio drama and their role has also been represented as a radio flower. But Mongolia was not easy in liberally developing the press and broadcasting under socialistic system in the past. The voice actors in Mongolia have relayed Moscow’s broadcasting subjected to Mongolian or engaged in the public broadcasting to support its continuation of a system. Thus, there is no star voice actor till now. Secondly, Korean voice actors with the variation of media environment have undergone change in their role and function. They are taking part in their unique areas like CM voice acting, all kinds of narrations including documentary program, TV entertainment program, show program, trailer, campaign besides TV foreign film dubbing, animation dubbing, voice acting in radio drama and also extending their countless kinds of work out of broadcasting. They are positioning as an expert in all areas relevant to voice. But Mongolian voice actors have digested diverse roles like writer, editor, actor, and comedian only by one person. In other words, they have performed as all around entertainers to play various parts like writer, editor, actor, and comedian because the role function of voice actors was not segmented in a reasonable manner. Thirdly, Korean voice actors are under exclusive contract with broadcasting companies after being openly employed by them and then participate in recording any area in need as a freelancer. On the other hand, Mongolian voice actors are graduated from art college unlike us and recommended by their seniors or professors after being set at their feet. And then, they are under the exclusive one year contract with a broadcasting company. Fourthly, Korean voice actors joined the organization which is called as Korea Voice Performance Association for the purpose of protecting their rights and interests and being in security for their performance fee under protection. They are also under protection of intellectual property rights by entertainer unionization. But Mongolian voice actors do not have any system like organization or union to protect their rights and interests in addition to intellectual property rights. Considering the role function between Korea and Mongolia, there is one thing I’ve noticed about their strong passion on acting and professional pride on their job especially in radio drama. But I’ve also noticed about the difference in the aspect of function of foreign film dubbing. In other words, Korean voice actors thoroughly analyze their characters in work and dub them considering the expression and mouth length indicated by their characters But Mongolian voice actors dub works with their language hearing original sound not matching the mouth length thoroughly unlike foreign films that Korean voice actors have d... Mongolia has a numerous relationship with us historically. Especially last summer in 2007, many Koreans have visited Mongolia marking the 800th birthday of Chinggiskhan But the exchange of the broadcasting stations between Korean and Mongolia has not gone on smoothly so far. This study was the outset from the initial attempt to find a way out of such reality. The followings was originated from the study on the broadcasting environment and role function by voice actor Having broadcasting environment in common, firstly the history of voice actors between Korea & Mongolia is similar and there is no age limit in it. Secondly, the voice actors in both countries take part in the whole field of being expressed by voice like radio drama acting, foreign film dubbing, DJ, narration, CM voice recording, and so forth. Thirdly, they strongly take pride in their work as an artist to create their own character in work with strong desire and professionalism comparing with their difference, firstly, as the broadcasting has creatively been developed under liberalism system the broadcasting environment of voice actor in Korea has been gained the public affections as a star with the advance of radio drama and their role has also been represented as a radio flower. But Mongolia was not easy in liberally developing the press and broadcasting under socialistic system in the past. The voice actors in Mongolia have relayed Moscow’s broadcasting subjected to Mongolian or engaged in the public broadcasting to support its continuation of a system. Thus, there is no star voice actor till now. Secondly, Korean voice actors with the variation of media environment have undergone change in their role and function. They are taking part in their unique areas like CM voice acting, all kinds of narrations including documentary program, TV entertainment program, show program, trailer, campaign besides TV foreign film dubbing, animation dubbing, voice acting in radio drama and also extending their countless kinds of work out of broadcasting. They are positioning as an expert in all areas relevant to voice. But Mongolian voice actors have digested diverse roles like writer, editor, actor, and comedian only by one person. In other words, they have performed as all around entertainers to play various parts like writer, editor, actor, and comedian because the role function of voice actors was not segmented in a reasonable manner. Thirdly, Korean voice actors are under exclusive contract with broadcasting companies after being openly employed by them and then participate in recording any area in need as a freelancer. On the other hand, Mongolian voice actors are graduated from art college unlike us and recommended by their seniors or professors after being set at their feet. And then, they are under the exclusive one year contract with a broadcasting company. Fourthly, Korean voice actors joined the organization which is called as Korea Voice Performance Association for the purpose of protecting their rights and interests and being in security for their performance fee under protection. They are also under protection of intellectual property rights by entertainer unionization. But Mongolian voice actors do not have any system like organization or union to protect their rights and interests in addition to intellectual property rights. Considering the role function between Korea and Mongolia, there is one thing I’ve noticed about their strong passion on acting and professional pride on their job especially in radio drama. But I’ve also noticed about the difference in the aspect of function of foreign film dubbing. In other words, Korean voice actors thoroughly analyze their characters in work and dub them considering the expression and mouth length indicated by their characters But Mongolian voice actors dub works with their language hearing original sound not matching the mouth length thoroughly unlike foreign films that Korean voice actors have dubbed. Thus,...

에스틸 보이스 트레이닝(Estill Voice Training) 훈련이 배우의 음성 공명 개선에 미치는 영향: EVT를 적용한 실험 분석 사례를 중심으로

이아름,조준희 한국예술교육학회 2024 예술교육연구 Vol.22 No.1

Actors should be able to resonate voice with an understanding of how the voice sounds and how it is transmitted in specific space. Particularly understanding the nature of resonance in voice can be a means to enhance the effectiveness of dialogue delivery. The vocal training models for actors vary widely, ranging from the established Bel Canto technique developed in the 18th century to Seth Riggs's Speech Level Singing (SLS), Cicely Berry's Voice Work, the Alexander Technique, and Estill Voice Training (EVT). Among them, one vocal model that can provide objective evidence regarding resonance training and its effects is Estill Voice Training (hereafter EVT). The characteristics of the EVT model, derived through the preliminary research by the researcher, are as follows. Firstly, EVT involves simultaneous visual, auditory, and kinesthetic senses, al - lowing analysis from various perspectives. Secondly, such training with multiple senses concurrently mini - mizes misunderstandings and confusion regarding the voice, leading to a shortened practice period. The re- searcher judged that, based on these characteristics, EVT could be utilized to improve vocal resonance. This study involves the process and conclusion of utilizing the EVT model as a training tool to en- hance the vocal resonance of actors. To improve resonance, basic knowledge is required about how sound is generated, how it is controlled by which muscles, and how sound is heard and perceived. Therefore, participants in the study focused on training to separate and control larynx structures re- lated to resonance after initiating their learning about the principles of voice production. Throughout the training process, their voices were objectively recorded and analyzed. The research results confirmed that the independent control of two laryngeal structures was specifically improved for all participants. In conclusion, participants gained the ability to selectively use their desired vocal tones by fulfilling proper movements of the velum and aryepiglottic sphincter(AES), contributing to the functionality of resonance. The researcher concluded that the EVT model, based on vocal science, will play a crucial role as an effective vocal technique in shortening actors' vocal training periods in the future.

배우의 소리 훈련에서 피치 확장이 지니는 의미

최정선 한국예술교육학회 2023 예술교육연구 Vol.21 No.4

In a play, words are not to be considered music unlike songs, even though they are melodies shap- ed by pitch. For this reason, the process of developing the actor’s pitch range is considered insignif- icant in voice training. Actors also do not recognize themselves what possibilities they can discover when expanding their pitch and applying it to speech. This paper examines the significance of pitch in the voice under the premise that words are also music. This study suggests the importance of pitch expansion in voice training through actors’ recognizing their familiar pitch range that prevents the dynamic use of pitch in speech. The development of the thesis is as follows. In the “Chapter 2-1. Intonation: the Melody of Words Shaped by Pitch” I suggest that words are also music by examining how pitch, the main ingredient of an accent, affects the actor’s speech. In the “Chapter 2-2. The Images and Emotions of the Line Shaped by Pitch”, I examine the reality of images inherent in words through neuroscience, and present the optimal pitch range that can most effectively convey images of words through the example of Ranevskya’s lines in Anton Chekhov’s Cherry Orchard. In the “Chapter 2-3, “The Limitations of the Comfort Zone’s Familiar Pitch on Speech Delivery”, I look at how actors’ individual comfort zone of voice limits their pitch range, and introduce training to extend the actor’s high and low pitch needed for her playing Ranevskaya. In the process of expanding and utilizing pitch of voice, actors can discover the true meaning and emotions of dialogue. Through this study, I hope that the practice of pitch expansion will be considered more important in existing vocal train- ing that mainly focused on relaxing muscle tension and amplifying resonance of voice.

시⋅청각적 공간을 구축하는 배우의 목소리에 관한 연구

김형준 한국연기예술학회 2024 연기예술연구 Vol.33 No.-

본 연구는 배우의 목소리가 대사를 전달하는 기의로서의 역할을 넘어서 기표 그 자체로서 물질성을 드러내며, 나아가 시·청각적 공간을 구현하는 요소로서 기능할 수 있는 가능성에 대한 탐구를 목적으로 두었다. 관객의 인지 감각에서 청각은 시각과 같이 중요하며, 공연 예술에서 소리는 빛과 같이 중요하다. 텍스트 연극에서 배우의 목소리는 그 잠재력이 억압되어 서사를 위한 전달체로서 축소되었다. 하지만 현 대 공연 예술이 다양한 디지털 기기와 융합하며 배우의 목소리가 지닌 새로운 가능성에 대한 재조명이 이뤄지고 있다. 영국의 창작 집단 ‘다크필드(Darkfield)’는 360도 입체음향을 활용해 청각적인 자극을 극 대화하며 배우 목소리의 물질성을 강조한다. 기괴한 배역이 등장하는 ‘다크필드’의 작품에서 배우의 목 소리와 숨소리는 그 질감 자체로서 역할 하며 작품의 서사적 기능을 대체할 뿐만 아니라 작품의 주제가 되기도 한다. 이를 위해 배우는 단순히 볼륨을 올리며 소리의 질감만 흉내 내는 것이 아니라, 배역의 고 유한 성질에 다가가며 이에 요구되는 언어의 심상과 크기를 소리로 변환시킬 수 있어야 한다. 그뿐만 아 니라 바이노럴 사운드(binaural sound)를 위한 더미 헤드(dummy head)와의 작업은 배우에게 낮은 볼륨에 서도 에너지가 분산되지 않는 열린 감각을 요구하게 된다. 그리하여 배우의 목소리는 관객과 상호작용하 며 거리감과 공간 감각을 인지시키는 요소로서 작용한다. 이는 배우에게서 발화된 목소리가 사람의 머리 크기와 동일하게 제작된 더미 헤드의 양쪽 귀에 장착된 마이크에 도달하기까지 시간의 차이와 음향 강도 의 차이 그리고 레벨의 차이가 입력되어 음향 장비를 통해 현실감 있게 구현된다. 따라서 배우의 목소리 가 기의로서의 기능을 넘어 물질성을 드러내며 작품의 주제로서 역할 할 뿐만 아니라, 바이노럴 레코딩 (binaural recording) 기술과 입체음향 장비와 융합되어 시·청각적 공간을 구축하는 요소로서 기능하게 되는 가능성에 관한 고찰을 하고자 한다. 더불어 다양한 디지털 기기와 융합을 통해 공간의 변화를 시도 하는 현대 공연 예술에서 배우의 목소리의 가능성을 고찰하며, 새롭게 구축되는 시·청각적 공간 가운데 관객뿐 아니라 디지털 장비와도 상호작용하는 배우의 목소리의 다양한 가능성을 재조명시키고자 한다. This study aims to explore the potential impact of actor’s voices in constructing audiovisual spaces, moving beyond the mere delivery of lines to actively demonstrate their presence. In shaping the perceptual experience of the audience, hearing is as crucial as visual elements, underscoring the equal importance of both sound and light in the realm of performing arts. In traditional text-based theaters, actor's voices have often been confined to serving as means for narrative delivery, thereby constraining their broader potential. However, contemporary performing arts, integrating diverse digital technologies, are reevaluating the inherent possibilities within the actor's voice. The UK-based creative group Darkfield” maximizes auditory stimuli by employing 360-degree immersive sound to emphasize the physicality of the actor's voice. In Darkfield's productions featuring eerie characters, the actor's voice and breath not only contribute as textures but also assume the role of the subject of the narrative. In productions that restrict vision to maximize auditory perception, the actor's voice acts as an element that interacts with the audience and conveys a sense of distance and spatial awareness. Therefore, this study aims to examine the potential of these interactions and reflections, discussing how the actor's voice can not only embody physicality but also become a thematic element in the work. Additionally, it seeks to review how the voice contributes to the construction of audiovisual spaces through integration with the technologies and equipment of binaural recording. In addition, it examines the possibility of actors' voices in modern performing arts that attempt to change space through convergence with various digital devices and re-examines the various possibilities of actors' voices interacting with digital equipment as well as the audience in the newly established visual and auditory space.

배우의 미학적 발성을 위한 판소리의 활용방안

이기호 한국콘텐츠학회 2009 한국콘텐츠학회논문지 Vol.9 No.12

The purpose of this research is to investigate appropriate usage of pansori's method of breathing, sound making, and resonance in order to develop actor's aesthetic voice. Today's theatre no longer see inter-cultural approach as new or experimental, but see it as a part of global current. Actors are required to integrate some global-ness into their acting. It's not enough, however, for actors to equip some cosmopolitan sensibility. More important thing is that they should be able to integrate one's own culture and aesthetic into their performance. Only after acquiring one's own cultural identity, it is possible to step into inter-cultural work. It is fundamental, therefore, for actors to assimilate traditional movement and aesthetic voice. It's been known that traditional Korean voice traits are well preserved in Pansori. In this paper, based upon well-known theories and practices of western voice training, pansori's principles and practices are utilized to bring a new aesthetic voice. 본 연구는 배우가 한국전통의 고유한 미학적 발성을 체득하기 위하여 한국 전통연극의 소리미학인 판소리의 호흡법, 발성법, 공명법을 분석하여 그 활용방안을 모색하는데 목적이 있다. 오늘날 세계의 연극흐름에서 상호문화교류주의와 글로벌 현상은 더 이상 새로운 이슈도, 새로운 접근법도 아니다. 세계 연극의 글로벌 현상은 이미 보편화되었는바, 연극을 완성시키는 배우의 연기 또한 글로벌 연극문화를 수용, 교류할 수 있어야 하겠다. 이는 배우들에게 다양한 스타일의 연기를 표현할 수 있는 능력의 요구를 의미하기도 하지만, 상호문화교류주의의 근간이 되는 자국의 문화와 미학을 연기에 담아낼 수 있어야 한다는 말이기도 하다. 따라서 배우가 자국의 문화와 예술을 담아낼 수 있는 몸짓과 소리미학 능력을 갖추는 것은 연기의 문화적 정체성을 획득하는데 있어서도 필수 불가결한 것이라 할 수 있겠다. 그 중에서도 미학적인 소리의 습득을 위하여 판소리의 발성원리와 발성법, 수련방법의 적용 및 응용 방법을 제시하는 것은 배우의 연기술에 문화적, 예술적 정체성을 획득하도록 돕는 일이 된다. 본고에서는 오늘날 세계적으로 가장 널리 알려진 서구의 발성이론과 훈련법을 토대로 판소리의 발성원리와 발성법, 수련기법을 분석하여 배우의 미학적 발성을 위한 활용방안을 모색하였다.

섹시한 음성에 대한 청지각적 분석 연구

조성미(Sung-Mi Jo),정옥란(Ok-Ran Jeong) 한국언어치료학회 2006 言語治療硏究 Vol.15 No.1

Voice seems to be one of the most influential factors in the personal communication. However, there have been few attempts to analyze and judge voice quality objectively. The purpose of this study was to determine characteristics of sexy voice perceptually.The voice samples from one male and one female actor were collected and their pitch, amplitude, nasalance were modified for a perceptual measurement. One-hundred-fifty-seven adults with normal hearing participated in the listening experiment and judged the degree of sexiness on a 7-point scale.The results showed that perceptual analyses on pitch, huskiness, and nasality had significant differences as a function of listeners gender and age. the perceptual parameters of sexy voice matched acoustic aspects of a previous study: Low pitch-low fundamental frequency and husky voice-high shimmer. On the other hand, the nasalance score did not match that of the previous study: Decreased nasalance had a higher score on sexiness scale judged by the listeners.It would be desirable to study the voice quality by analyzing and controling more acoustic and auditory parameters for practical applications in the future.

섹시한 음성의 음향학적 특징 연구

정옥란,조성미,Jeong Ok-Ran,Jo Sung-Mi 대한음성학회 2006 말소리 Vol.57 No.-

The purpose of this study was to explore the acoustic characteristics of sexy voice. In this study, we measured acoustic parameters (fundamental frequency, jitter, shimmer, and nasalance) of a sustained vowel sound produced by 40 actors (20 males and 20 females) and 40 non-actors (20 males and 20 females). Digital audio recordings were made in the sustained vowel |a| for acoustic analyses using Praat (version 4.1.9) and Nasal View (version 4.5). Twenty voice pathologists participated in the listening experiment and judged the degree of sexiness on a 7-point scale. The results showed that fundamental frequency, shimmer and nasalance had significant differences between actors and non-actors. The acoustic parameters of sexy voice matched perceptual aspects of a previous study: Low fundamental frequency-low pitch and high shimmer-husky voice. On the other hand, the nasalance score did not match that of the previous study: Decreased nasalance had a higher score on sexiness scale judged by the listeners. It would be desirable to study the voice quality by analyzing and controlling more acoustic and auditory parameters for practical applications in the future.

배우 음성 훈련을 위한 EVT 구조연습 활용방안 Ⅱ

이영수 한국콘텐츠학회 2022 한국콘텐츠학회논문지 Vol.22 No.2

This study explores the possibility that the figure of the Estill Voice Training model, which is based on speech science, can contribute to the expansion of vocal expertise in the acting art where an actor creates a character. The purpose of this study is to examine the usage plan. The training model through the fluidity and structural functionality of the voice production organ is differentiated from the existing voice training that focuses only on the results of sound due to its ambiguous abstraction. Developing the voluntary coordination ability of the occipital region and vocal tract, such as False Vocal Folds, Cricoid Cartilage, Velum, AES, and Anchoring, has scientific efficiency that makes it easier to produce artistic target sounds, and it is a technical skill that can creatively overcome the functional limitations faced by actors. It can be used as a methodology. The Estill model Figure, which is a principle training for harmony and coordination between the elements of voice production, has a practical value that can be used as an alternative training model for the voice education of actors in Korea, where images and abstractions are the mainstream. 본 연구는 음성 과학에 근간을 두고 있는 에스틸 보이스 트레이닝(Estill Voice Training) 모델의 구조연습(Figure)이 배우가 인물을 창조하는 연기예술에 있어 음성적 전문성의 확장으로 기여할 수 있는 가능성을 모색하고 그에 따른 활용방안을 고찰하는 데 그 목적이 있다. 음성 산출 기관의 유동성과 구조적 측면의 기능성을 통한 훈련 모델은 모호한 추상성에 기인하여 소리의 결과에만 천착하는 기존의 음성 훈련과는 차별화된다. 가성대, 윤상연골, 연구개, AES, 앵커링 등 후두부와 성도의 수의적 조정 능력을 개발하는 것은 예술적 목표음 산출을 보다 용이하게 만드는 과학적 효율성을 가지며 배우가 직면하는 기능적 한계를 창조적으로 극복할 수 있는 기술적 방법론으로 활용될 수 있다. 음성 산출 요소 간의 조화와 협응을 위한 원리적 훈련인 에스틸 모델의 구조연습은 이미지와 추상성이 주류를 이루고 있는 국내의 배우 음성 교육에 대안적 훈련 모델로 활용될 수 있는 실용적 가치를 지닌다.

배우의 발성과 극장 공간과의 상호작용 연구 : 극장의 건축학적 요소 중심으로

손정우 한국연극교육학회 2002 연극교육연구 Vol.8 No.-

This essay is a study aimed at the interrelation between performer's vocalization and space of theater. What is vocalization, it is a voice at time of when it is occurred its that performer's breath is to cause of vibrating vocal chords thru throat. This performer's vocalization again is to be conveyed its to spectators thru the giant resonance instrument like space of theater. In accordingly, this performer's vocalization could be conveyed clearly its or not to spectators according to depending on what is consisted structures of theater space. Therefore, this essay is to study in what structures of theater space can be effected its to vocalization. 1st for this, I am herewith to generalize about vocalization to be related to theater space thru reviewing of that how theaters such as from the ancient Greece age' theaters to Baroque age' theaters have come to being developed its. 2nd, I have explored method of developing furthermore today's the architectural structures of to be related to vocalization effectively. The factual causes being influenced significantly onto performer's vocalization in the architectural structures of theaters are the interior type of theaters, distance of between stage and spectators, stage of dimension and slope of guest's seat, capacity rate and so on. For examples, in view of today's mainly the proscenium stylish theater, it is embossed its largely because that type of guest's seat are the fan shape and the dead angle happened, there should be considered its such as necessary of setting angles and reverberating vocalization in order to supplement its. And then it is to suggest that is installing the sound reverberating plate and selecting material quality and so on in order to have effects of reverberating sounds in ceiling and walls of guest's seat above according to dimension of theater as for reverberating sound uniformly. And furthermore, it is because performer's vocalization is moving according to motion of performer that the reverberation of sound shall be reverberated its properly and the musical arrange shall be reverberated uniformly so that this the architectural facts of theater are the indispensable facts. I am looking over fields of today's theater structures and the effects of vocalization of our nation, most theaters are purposed for using its as object of the multi-purposed complex performing places and becoming trend of stage and guest's seat sized largely, in accordingly, it is not suitable as for performing opera and musical entertainments in actually. The adjustable-changeable dimension-size of the large stage of theater being devised its for acquiring effect of vocalization are rising it. However, there are also some limitation onto techniques in reverberating sound at the adjustable-changeable type theater, and then there are not formated the properly space of theater for effects of vocalization as before. Therefore, this essay is to study in the important elements-facts of causing influences to actor's vocalization in course of designing-drawing the performance place and I have come to retracing purposes of the original object in today's constructing the performance place for conveying performer's sound uniformally and obviously.

목소리 배우의 조형성을 이용한 2D/3D 애니메이션 캐릭터 연구

조은성(Jo Eun-Sung) 한국만화애니메이션학회 2009 만화애니메이션연구 Vol.- No.16

이전에 발표한 「실사인물의 조형성을 이용한 캐릭터 제작 연구」에서 기본 토대가 2D 애니메이션이었다. 2008년에 개봉 상영하여 20만 이상의 관객을 끌어 모은 애니메이션은 모두 5편이고 이중 4편이 3D 애니메이션이었다. 이는 관객의 선호도가 2D에서 3D쪽으로 전이되었음을 의미한다. 따라서 본 연구는 이전 연구에서 시대적인 반영이 미진했던 부분을 보완하여 3D까지 확대 연구 할 필요성에서 출발하였다. 캐릭터를 만드는 다양한 방법 중 목소리 녹음에 참여한 배우의 조형적 요소를 이용하여 만든 2D와 3D 애니메이션 작품 중 몇 편을 선별하였다. 실사인물의 캐릭터 변형과정에서 어떤 기준이 되는 부분을 발견하고 그 기준선을 기준으로 실사인물과 캐릭터를 비교 연구를 하였다. 2D에서 적용했던 연구를 3D작품에 확대시켜 적용하는 연구를 진행하여 작지만 각각의 차이를 발견하였다. 애니메이션 기획단계에서 기존 배우의 조형성을 기대하며 캐릭터를 제작한다면 본 연구에서 나타난 2D와 3D 영화 등장인물의 변형과정 특징을 잘 살펴 캐릭터 작업에 보탬이 되기를 바란다. It seems like that the main stream of animation for theaters transferred from cells to 3D animations. It can be easily seen if current situation is compared to the time when all works were Cell animations. Although earlier papers were mostly about studies on Cell animation works, future studies will publish papers related to 3D. Accordingly, this study studied the association of the researcher's paper with 3D works while it had been applied to 2D. Then, based on the data, this study analyzed how major/supporting characters were transformed to animation characters in the scenes that were animated at the beginning and end of film that were released in 2007. This result was compared with the character made using a voice actor in the Pixar's long piece of animation for theater that had been already screened. The data were made into values to some extent in an attempt to increase satisfaction in the result of analysis comparing the character with the voice actor. When making characters using actual persons, it is hoped that grasping the modeling factors of the images making 2D/3D characters as indicated in this study will be helpful in producing animation characters.