Relevant bibliographies by topics / 3D computer animation / Dissertations / Theses
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Dissertations / Theses on the topic '3D computer animation'

Author: Grafiati
Published: 4 June 2021
Last updated: 20 February 2023

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1

Ottosson, Joakim, and Stefan Eriksson. "3D Animation Karlshamns AB." Thesis, Blekinge Tekniska Högskola, Sektionen för teknokultur, humaniora och samhällsbyggnad, 2005. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-1524.

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A project produced for Karlshamns AB. This project is a 3D-visualization for a industrial process that shows how to clean oil from a special raw material. In this case we want with the sheanuts help show how the nut harvests, carry and then clean to be used in quality products.<br>Industriell animation som visar en komplicerad process på ett enkelt och pedagogiskt sätt.<br>Detta är en reflektionsdel till en digital medieproduktion.
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2

Crow, Trent Fielding. "Stylized Hatching for 3D Animation." BYU ScholarsArchive, 2007. https://scholarsarchive.byu.edu/etd/1046.

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Much research has been done in creating non-photorealistic renderings of objects that mimic the look of hand-made drawings by traditional artists. This thesis extends work in this area by presenting an NPR hatching method that can be applied to 3D animated films to help them feel more hand drawn. In contrast to most other NPR methods, this method preserves the 3D lighting and effects of the film that make it interesting to watch. This process includes a procedural algorithm to create a hatching pattern that can be easily integrated into any film's pipeline that uses Renderman. In addition, we
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3

Karlsson, Tobias. "Kroppsspråk i 3d-animation : Lögner hos 3d-karaktärer." Thesis, Högskolan i Skövde, Institutionen för kommunikation och information, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-5022.

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Detta arbete undersöker huruvida vi kan uppfatta lögn och nervositet hos en avskalad virtuell karaktär. Utifrån forskning om beteendevetenskap, kroppsspråk och icke-verbala signaler har lögnsignaler och nervositetstecken animerats hos en avskalad virtuell karaktär. Dessa animationer visades utan audiella ledtrådar, såsom tal, för urvalsgrupper och en kvantitativ undersökning genomfördes för att besvara arbetets frågeställning. Undersökningens resultat gav emellertid inget konkret svar på frågeställningen. För att respondenterna skulle uppfatta lögnsignaler hos en avskalad virtuell karaktär krä
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4

Harvey, Louise, and n/a. "The Best of Both Worlds: The Application of Traditional Animation Principles in 3D Animation Software." Griffith University. Griffith Film School, 2007. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20070810.105026.

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This research assesses the skills and knowledge necessary for the creation of animation in the 3D computer medium. It responds to the argument that students of this new form of animation must learn to apply principles and theories of animation that had their genesis in the early years of traditional, hand-drawn animation (Kroyer, 2002). Many industry notables argue for the use of traditional animation principles in 3D computer animation. John Lasseter, executive vice president at Pixar studios in the United States, represents one such example. He states that 'These principles were developed to
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Harvey, Louise. "The Best of Both Worlds: The Application of Traditional Animation Principles in 3D Animation Software." Thesis, Griffith University, 2007. http://hdl.handle.net/10072/365586.

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This research assesses the skills and knowledge necessary for the creation of animation in the 3D computer medium. It responds to the argument that students of this new form of animation must learn to apply principles and theories of animation that had their genesis in the early years of traditional, hand-drawn animation (Kroyer, 2002). Many industry notables argue for the use of traditional animation principles in 3D computer animation. John Lasseter, executive vice president at Pixar studios in the United States, represents one such example. He states that 'These principles were developed to
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6

Han, Ching-Pei B. "3D alchemy : a guide to 3D realistic computer graphics /." Online version of thesis, 1993. http://hdl.handle.net/1850/11747.

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7

Ghys, Charlotte. "Analyse, Reconstruction 3D, & Animation du Visage." Phd thesis, Ecole des Ponts ParisTech, 2010. http://pastel.archives-ouvertes.fr/pastel-00555140.

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L'analyse du visage est un sujet très étudié dans de nombreux domaines : Interaction Homme Machine, sécurité, post-production cinématographique, jeux video. . . Cela comprend la détection, la reconnaissance, la reconstruction 3D, l'animation et l'analyse d'émotions. L'animation du visage a été la motivation principale durant toute la thèse. Nous nous intéressons à la plupart des domaines liés au visage : tout d'abord la reconstruction 3D et la modélisation de visage, avec un nouveau modèle de visage. Ensuite, nous introduisons des contraintes anthropométriques par champs de Markov pour la déte
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8

Marcusson, Oscar. "Algoritmiska Animationer : En studie av automatisering av animation." Thesis, Högskolan i Skövde, Institutionen för informationsteknologi, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-16560.

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Att utveckla 3D-animeringar till dataspel är kostsamt eftersom det tar mycket tid och resurser för att uppnå den kvalitet som dagens spelare kräver. För att både spara arbetstid och göra det lättare för ovana animatörer att skapa animationer av tillräckligt hög kvalitet undersöker detta arbete hur ett verktyg för regelbaserad procedurell animering kan utformas, vad spelare anser om resultatet och vad utvecklare anser om både resultat och användning. För att testa detta skapades en artefakt (ett rymdspel) bestående av 3D-modeller och programmering (C# i Unity) av script, API, klasser och metode
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9

Rivera, Fiona MacDonald. "An improved computational model for effective 3D animation." Thesis, Queen Mary, University of London, 2017. http://qmro.qmul.ac.uk/xmlui/handle/123456789/25937.

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As humans, our fascination with recreating images of ourselves began with parietal art many thousands of years ago, and has continued throughout the ages. However, we also now strive to create moving, thinking, believable, virtual humans, rather than focus entirely on static images. Moreover, computer generated humans are now integral to the digital world that encompasses us, yet 3D animation remains rife with challenges. The overarching objective of the thesis, therefore, is to systematically investigate and design a comprehensive computational model that leverages the effect of natural motio
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10

Fonseca, Jose Antonio dos Santos. "Character body expression in 3D computer animation : a new posing approach." Thesis, Bournemouth University, 2015. http://eprints.bournemouth.ac.uk/24898/.

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Creation of 3D character animations is a complex and time-consuming process, and the character animator has to simultaneously consider a multitude of factors in order to create high quality expressive animation. The 12 Principles of Animation are traditionally considered as the main guidelines for creating high-grade character animation. The main focus of this research is the process of animating the 3D character’s body expression and the animator’s practice, particularly the Posing phase of the animation process. Although posing is not one of the 12 Principles of Animation, it can be consider
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Carter, Chris P. "Animated Mise-en-scene and aesthetic harmony: An expansion of the traditional principles of animation to 3D computer animation." Thesis, Queensland University of Technology, 2016. https://eprints.qut.edu.au/93800/1/Christopher_Carter_Thesis.pdf.

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3D Computer Graphics (CG) has become the dominant medium for modern animated feature films. It is widely understood that traditional principles of animation developed in the 1930s at the Walt Disney Studio remain applicable to this new medium and heavily influence the range of aesthetic motion styles in contemporary animation. Via a frame-by-frame textual analysis of four animated feature films, this thesis tests and confirms the validity of the principles of animation and expands upon them by reinterpreting the Disney principle of appeal as aesthetic harmony, which delineates the way in which
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12

Albright, Laura Beth. "2D spatial design principles applied to 3D animation a proposed toolset for filmmakers /." Columbus, Ohio : Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1230703092.

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13

Miller, Louis James. "Combining Media Processes for Ideation in 3D Character Design for Computer Animation." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1243947806.

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14

Erdogdu, Aysu. "Morphable 3d Facial Animation Based On Thin Plate Splines." Master's thesis, METU, 2010. http://etd.lib.metu.edu.tr/upload/12611910/index.pdf.

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The aim of this study is to present a novel three dimensional (3D) facial animation method for morphing emotions and facial expressions from one face model to another. For this purpose, smooth and realistic face models were animated with thin plate splines (TPS). Neutral face models were animated and compared with the actual expressive face models. Neutral and expressive face models were obtained from subjects via a 3D face scanner. The face models were preprocessed for pose and size normalization. Then muscle and wrinkle control points were located to the source face with neutral expression a
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15

Bazard, Audrey-Anne. "Madame Sylvia and the bird : a step into 3D animation." Virtual Press, 2006. http://liblink.bsu.edu/uhtbin/catkey/1337188.

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This creative project is a 3D animated short created in Softimage XSI. It tells the humoristic story of an old lady, Madame Sylvia, and a bird, who are trying to find their place in society and do not succeed. Madame Sylvia is an old surly woman who tries to be like the stereotyped image of the nice old lady feeding birds in a park. The bird on the contrary tries to differentiate himself from his fellow sparrows by acting differently. The humoristic denouement of the story shows that pretending to be someone else might not be the solution to fit into society. The piece lasts two and a half min
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16

Neumann, Thomas, and Markus Wacker. "Wie der Computer virtuelle Muskeln formt." Hochschule für Technik und Wirtschaft Dresden, 2014. http://nbn-resolving.de/urn:nbn:de:bsz:520-qucosa-144193.

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Mit Techniken der Computergraphik können bewegte drei-dimensionale Oberflächen mit höchsten visuellen Details generiert und dargestellt werden. Mittlerweile sind die Ergebnisse so gut, dass beispielsweise virtuelle menschliche Gesichter in Filmen und Videospielen kaum noch von realen zu unterscheiden sind. Auch in der Ergonomie werden immer genauere Mensch-Modelle und Simulationen verwendet, beispielsweise zur Validierung und Verbesserung von Textilien.
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17

Conventi, Maurizio. "Physically-based animation of 3D Biped characters with genetic algorithms." Thesis, Linköping University, Department of Electrical Engineering, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-8513.

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<p>Synthesizing the realistic motion of a humanoid is a very sophisticated task, studied in different research areas. This work addresses the problem to synthetize realistic animations of 3D biped characters in a simulated environment, using genetic algorithms. Characters are represented as a structure of rigid bodies linked each other by 1DOF joints. Such joints are controlled by sinusoidal functions whose parameters are calculated by the genetic algorithm. Results, obtained by testing and comparing several different genetic operators, are presented. The system we have created allows the non-
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18

Williams, Jared Van. "Rocky: virtual sculpting as the basis for computer generated character development." Thesis, University of Iowa, 2012. https://ir.uiowa.edu/etd/3011.

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Human beings have two perfectly aligned eyeballs working together sending three-dimensional images to the brain and providing accurate depth perception. I lack true stereoscopic vision. When I was five years old I had my second eye surgery and I remember lying blind and terrified for two days in the children's ward of Reid Memorial Hospital in Richmond, Indiana. I later learned that my eyes didn't align properly and for the rest of my life my right eye would "wander". Because of my condition, I was given a list of jobs that I could never perform, jobs where human lives are entrusted to skilled
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19

Krawczyk, Piotr. "Futurist sculpting: modeling movement in 3D." Texas A&M University, 2006. http://hdl.handle.net/1969.1/5014.

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Futurist Sculpting is a collection of techniques for representing dynamic motion in a static three-dimensional model. These techniques allow digital artists to use animation as a new modeling tool. The idea of Futurist Sculpting is inspired by the works of the Italian Futurist artists and it aims to achieve the same goal as the one described by Umberto Boccioni, “to find a form that would be like a remembered motion, the product of time but permanent in space.” However, Futurist Sculpting extends Boccioni’s idea to the new medium of 3D animation and modeling, introducing the tec
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20

Albright, Laura Beth. "2D Spatial Design Principles Applied to 3D Animation: A Proposed Toolset for Filmmakers." The Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=osu1230703092.

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21

Ali, Ahmad, and Svensson Marcus. "Animation through Body Language : A study using the fictional character Mokhtar." Thesis, Uppsala universitet, Institutionen för speldesign, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-297660.

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Learning to read body language is something we do throughout our whole life. It is a complex non-verbal language that can express more than words. In this study we investigate the possibility to use only body language to portray emotions to the viewer. In a background of a game project we have used a character that has his face covered, therefore, facial expression is not visible during the online survey, which we used as a method for our investigation. As a foundation we have created four character animations to portray anger, frustration, exhaustion and hurt. To find the answer if it is poss
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22

Han, Lei. "Pixel Noir: a style for cinematic computer-generated lighting." Texas A&M University, 2004. http://hdl.handle.net/1969.1/3048.

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This thesis provides an example of creating a special cinematic style of Film Noir in computer-generated animation. The thesis is designed as a discussion of how a unique lighting style in computer graphics can be used to enhance visual storytelling for cinematic purposes. It provides digital filmmakers a beginning guide to deal with various lighting situations, and with cinematic lighting in 3D production.
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Elliott, Jason Lynn. "AquaMOOSE 3D a constructionist approach to math learning movitved by artistic expression /." Available online, Georgia Institute of Technology, 2005, 2005. http://etd.gatech.edu/theses/available/etd-08232005-133845/.

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Thesis (Ph. D.)--Computing, Georgia Institute of Technology, 2006.<br>Elizabeth Mynatt, Committee Member ; Janet Kolodner, Committee Member ; Amy Bruckman, Committee Chair ; Michael Eisenberg, Committee Member ; Mark Guzdial, Committee Member. Vita. Includes bibliographical references.
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Junede, Fredrik, and Samuel Asp. "Real-time 3D cloud animations using DCGAN." Thesis, Blekinge Tekniska Högskola, Institutionen för datavetenskap, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-19567.

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Background. Previous studies in the area of video generation using generative adversarial networks have shown limitations in perceived naturalism of the generated images. A previously proposed method of rendering and simulating clouds serves as the base for this thesis. Objectives. This thesis aims to propose a new method utilising machine learning in the context of generating 3D cloud animation in computer graphics. This aim is broken down into multiple objectives, with the primary ones being the following. The utilisation of a machine learning model includes the pre-processing of cloud image
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Wang, Youyou DeSouza Guilherme. "A compact representation for 3D animation using octrees and affine transformation." Diss., Columbia, Mo. : University of Missouri--Columbia, 2009. http://hdl.handle.net/10355/6645.

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Title from PDF of title page (University of Missouri--Columbia, viewed on March 10, 2010). The entire thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file; a non-technical public abstract appears in the public.pdf file. Thesis advisor: Dr. Guilherme DeSouza. Vita. Includes bibliographical references.
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Hjelm, John. "Facial Rigging and Animation in 3D : From a videogame perspective." Thesis, Högskolan på Gotland, Institutionen för speldesign, teknik och lärande, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:hgo:diva-679.

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What are some of the methods for rigging and animating a face in 3D and which method is preferable when and under which circumstances? In this report I will examine a few of the different methods available when rigging and animating a face in 3D. I will be working mainly with Autodesk 3D Studio Max so some knowledge with it is preferable to fully understand the process. At the end of the report I will look at the positive as well as negative aspects of each method as well as which method is preferable in what kind of production or with which assets.
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Barreby, Martin. "When is it Necessary to Use Muscle Systems to Enhance 3D Animation?" Thesis, University of Gävle, Ämnesavdelningen för datavetenskap, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-4643.

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<p> </p><p>To build muscles to enhance the animation of a 3D character takes more time and effort than the standard character rig. In some cases, the muscles will not be noticeable and therefore are unnecessary. This research tried to find the moments when the muscles did or did not make a difference. The new Maya Muscle System is also explored and the procedure to create muscles for a standard rig is explained. The test that was performed showed that the muscles are more noticeable in all cases.</p><p> </p>
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Monjaux, Perrine. "Modélisation et animation interactive de visages virtuels de dessins animés." Phd thesis, Université René Descartes - Paris V, 2007. http://tel.archives-ouvertes.fr/tel-00274869.

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La production de dessins animés 2D qui suit actuellement un schéma mis en place dans les années 1920 fait intervenir un très grand nombre de compétences humaines et de métiers différents. Par opposition à ce mode de travail traditionnel, la production de films de synthèse 3D, en exploitant les technologies et les outils les plus récents de modélisation et d'animation 3D, s'affranchit en bonne partie de cette composante artisanale et vient concurrencer l'industrie du dessin animé traditionnel en termes de temps et coûts de fabrication. <br />Les défis à relever par l'industrie du dessin animé 2
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Boukhayma, Adnane. "Animation de capture de mouvement de surface." Thesis, Université Grenoble Alpes (ComUE), 2017. http://www.theses.fr/2017GREAM080/document.

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En tant qu'une nouvelle alternative à la MoCap standard, la capture de surface 4D est motivée par la demande croissante des produits médiatiques de contenu 3D très réaliste. Ce type de données fournit une information complète et réelle de la forme, l'apparence et la cinématique de l'objet dynamique d'intérêt. On aborde dans cet ouvrage certaines taches liées à l'acquisition et l'exploitation de données 4D, obtenues à travers les vidéos multi-vues, avec un intérêt particulier aux formes humaines en mouvements. Parmi ces problèmes, certains ont déjà reçu beaucoup d'intérêt de la part des communa
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Warren, John Rodger. "A visual examination of artificial life and science fiction using 3D computer graphics and animation." The Ohio State University, 1997. http://rave.ohiolink.edu/etdc/view?acc_num=osu1382949898.

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31

Haley, Brent Kreh. "A Pipeline for the Creation, Compression, and Display of Streamable 3D Motion Capture Based Skeletal Animation Data." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1300989069.

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32

Larsson, Niklas. "Morph targets and bone rigging for 3D facial animation : A comparative case study." Thesis, Uppsala universitet, Institutionen för speldesign, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-327302.

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Facial animation is an integral and increasing part of 3D games. This study investigates how the two most common methods of 3D facial animation compare to each other. The goal of this study is to summarize the situation and to provide animators and software developers with relevant recommendations. The two most utilized methods of facial animation; morph target animation and bone driven animation are examined with their strong and weak aspects presented. The investigation is based on literature analysis as well as a comparative case study approach which was used for comparing multiple formal a
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Qin, Chuanshi. "How to use computer graphics to promote virtual idols based on 3D /." Online version of thesis, 2009. http://hdl.handle.net/1850/10964.

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Burns, Shana McKay. "Creating an educational tool utilizing design intensities for the set design process of 3D computer animation." The Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=osu1328731602.

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Glass, Kevin Robert. "Automating the conversion of natural language fiction to multi-modal 3D animated virtual environments." Thesis, Rhodes University, 2009. http://hdl.handle.net/10962/d1006518.

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Popular fiction books describe rich visual environments that contain characters, objects, and behaviour. This research develops automated processes for converting text sourced from fiction books into animated virtual environments and multi-modal films. This involves the analysis of unrestricted natural language fiction to identify appropriate visual descriptions, and the interpretation of the identified descriptions for constructing animated 3D virtual environments. The goal of the text analysis stage is the creation of annotated fiction text, which identifies visual descriptions in a structur
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Kamat, Vineet Rajendra. "Enabling 3D Visualization of Simulated Construction Operations." Thesis, Virginia Tech, 2000. http://hdl.handle.net/10919/35470.

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Simulation modeling and visualization can substantially help in designing complex construction operations and in making optimal decisions where traditional methods prove ineffective or are unfeasible. However, there has been limited use of simulation in planning construction operations due to the unavailability of appropriate visual communication tools that can provide users with a more realistic and comprehensible feedback from simulation analyses. Visualizing simulated construction operations in 3D can significantly help in establishing the credibility of simulation models. In addition, 3D v
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Kandaswamy, Balasubramanian. "Planning techniques for agent based 3D animations." Thesis, University of North Texas, 2005. https://digital.library.unt.edu/ark:/67531/metadc4958/.

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The design of autonomous agents capable of performing a given goal in a 3D domain continues to be a challenge for computer animated story generation systems. We present a novel prototype which consists of a 3D engine and a planner for a simple virtual world. We incorporate the 2D planner into the 3D engine to provide 3D animations. Based on the plan, the 3D world is created and the objects are positioned. Then the plan is linearized into simpler actions for object animation and rendered via the 3D engine. We use JINNI3D as the engine and WARPLAN-C as the planner for the above-mentioned protot
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Wang, Jing. "Reconstruction and Analysis of 3D Individualized Facial Expressions." Thesis, Université d'Ottawa / University of Ottawa, 2015. http://hdl.handle.net/10393/32588.

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This thesis proposes a new way to analyze facial expressions through 3D scanned faces of real-life people. The expression analysis is based on learning the facial motion vectors that are the differences between a neutral face and a face with an expression. There are several expression analysis based on real-life face database such as 2D image-based Cohn-Kanade AU-Coded Facial Expression Database and Binghamton University 3D Facial Expression Database. To handle large pose variations and increase the general understanding of facial behavior, 2D image-based expression database is not enough. The
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Harris, Jane. "Surface tension - the aesthetic fabrication of digital textiles : (the design and construction of 3D computer graphic animation)." Thesis, Royal College of Art, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.393907.

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Baecher, Moritz Niklaus. "From Digital to Physical: Computational Aspects of 3D Manufacturing." Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:11149.

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The desktop publishing revolution of the 1980s is currently repeating itself in 3D, referred to as desktop manufacturing. Online services such as Shapeways have become available, making personalized manufacturing on cutting edge additive manufacturing (AM) technologies accessible to a broad audience. Affordable desktop printers will soon take over, enabling people to fabricate<br>Engineering and Applied Sciences
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Triki-Bchir, Olfa. "Modélisation, reconstruction et animation de personnages virtuels 3D à partir de dessins manuels 2D." Phd thesis, Université René Descartes - Paris V, 2005. http://tel.archives-ouvertes.fr/tel-00273248.

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La production de dessins animés 2D, qui suit actuellement un schéma mis en place dans les années 1920, fait intervenir un très nombre de compétences humaines et de métiers différents. Par opposition à ce mode de travail traditionnel, la production de films de synthèse 3D, en exploitant les technologies et outils les plus récents de modélisation et d'animation 3D, s'affranchit pour une bonne part de cette composante artisanale et vient concurrencer l'industrie du dessin animé tradtionnel en termes de délais et de coûts de fabrication.<br /><br />Les défis à relever par l'industrie du dessin ani
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Elisei, Frédéric. "Clones 3D pour communication audio et vidéo." Phd thesis, Université Joseph Fourier (Grenoble), 1999. http://tel.archives-ouvertes.fr/tel-00004829.

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Pour la téléconférence, on peut remplacer l'image des correspondants distants par des modèles 3D animés de leurs visages. En plus de taux de compression avantageux, cette approche offre les libertés du virtuel : on peut par exemple composer à l'écran l'impression d'un lieu unique, virtuel, où débattent les représentants 3D. Cette thèse présente un algorithme de rendu spécifique, applicable à des clones 3D photo-réalistes de visages. En restreignant les angles de vue autorisés, il permet un rendu simple et rapide, même avec des ordinateurs peu puissants ou sur des machines virtuelles. On propos
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Fernández, Baena Adso. "Animation and Interaction of Responsive, Expressive, and Tangible 3D Virtual Characters." Doctoral thesis, Universitat Ramon Llull, 2015. http://hdl.handle.net/10803/311800.

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This thesis is framed within the field of 3D Character Animation. Virtual characters are used in many Human Computer Interaction applications such as video games and serious games. Within these virtual worlds they move and act in similar ways to humans controlled by users through some form of interface or by artificial intelligence. This work addresses the challenges of developing smoother movements and more natural behaviors driving motions in real-time, intuitively, and accurately. The interaction between virtual characters and intelligent objects will also be explored. With these subjects r
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Hed-Tegelbratt, Linus, and Johan Leosson. "Skapandet av animerad 3D-film från idé till färdig produkt." Thesis, Högskolan i Gävle, Avdelningen för Industriell utveckling, IT och Samhällsbyggnad, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-14436.

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Den här uppsatsen handlar om skapandet av animerad 3D-film från idé till färdigt resultat. Även att på uppdrag av en extern beställare av filmen försöka tillgodose dennes önskemål och krav på bästa sätt. Med hjälp av en litteraturstudie och egna kunskaper diskuteras och beskrivs process och genomförande av animering och karaktärsdesign för att slutligen få fram en animerad film som är utformad enligt beställarens önskan.
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Hale, Ryan Nathan. "INTIMATE CINEMA: AVANT-GARDE FILM INFLUENCING A BIOGRAPHICAL STORY OF DISCOVERY IN COMPUTER ANIMATION." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1306950792.

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Zhang, Li. "Human animation from analysis and reconstruction of human motion in video sequences." Thesis, Curtin University, 2009. http://hdl.handle.net/20.500.11937/684.

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This research aims to address one of the most challenging problems in the field of computer vision and computer graphics, that is, the reconstruction of smooth 3D human motions from monocular video containing unrestricted human movement. The objective is to propose novel methods which differ from the traditional kinematics/dynamics formulations and image based reconstruction methods to provide an alternative highly automated way for human animation from the most widely available source that records human movements and activities. Such methods should be relatively low-cost while avoiding many l
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Dahle, Theo. "Culture and 3D animation : A study of how culture and body language affects the perception of animated 3D characters." Thesis, Högskolan i Skövde, Institutionen för informationsteknologi, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-17242.

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This study examined the differences and similarities in how animated 3D characters were perceived by individuals from Sweden and China. The study also attempted to examine how cultural aspects influenced the participants’ perceptions. Parts of the study were conducted through collaboration with the Chinese game company, Focus Games. A literature study focusing on body language and culture was conducted, as well as a game animation analysis featuring games from both western and East Asian developers. Based on the game analysis, 6 animations were created with movement qualities inspired by each
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Roussellet, Valentin. "Implicit muscle models for interactive character skinning." Thesis, Toulouse 3, 2018. http://www.theses.fr/2018TOU30055/document.

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En animation de personnages 3D, la déformation de surface, ou skinning, est une étape cruciale. Son rôle est de déformer la représentation surfacique d'un personnage pour permettre son rendu dans une succession de poses spécifiées par un animateur. La plausibilité et la qualité visuelle du résultat dépendent directement de la méthode de skinning choisie. Sa rapidité d'exécution et sa simplicité d'utilisation sont également à prendre en compte pour rendre possible son usage interactif lors des sessions de production des artistes 3D. Les différentes méthodes de skinning actuelles se divisent en
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Konečný, Kamil. "Animovaný 3D model." Master's thesis, Vysoké učení technické v Brně. Fakulta informačních technologií, 2016. http://www.nusl.cz/ntk/nusl-255330.

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This  thesis  deals  with  production  of  three-dimensional  animated  model. Thesis is about model of billiard table and visualization of balls motion on its surface. Using simulation methods to solve the problem of balls motion is the goal of this work. This thesis contains summary of physical phenomena which describe the ball motion. There are also animation and simulation techniques which are used to create a model involved in this work. This thesis also deals with description of software, which can be used to create a three-dimensional model, animation and define user interaction. The se
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Apaydin, Ozan. "Networked humanoid animation driven by human voice using extensible 3D (X3D), H-Anim and JAVA speech open standards." Thesis, Monterey, Calif. : Springfield, Va. : Naval Postgraduate School ; Available from National Technical Information Service, 2002. http://handle.dtic.mil/100.2/ADA401793.

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