To see the other types of publications on this topic, follow the link: 3D modeling and animation.
Dissertations / Theses on the topic '3D modeling and animation'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 dissertations / theses for your research on the topic '3D modeling and animation.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
Krawczyk, Piotr. "Futurist sculpting: modeling movement in 3D." Texas A&M University, 2006. http://hdl.handle.net/1969.1/5014.
Full textAbstract:
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, âÂÂto find a form that would be like a remembered motion,
the product of time but permanent in space.â However, Futurist Sculpting extends
BoccioniâÂÂs idea to the new medium of 3D animation and modeling, introducing the
techniques of Motion Snapshot, Surface Differentiation, and Motion Elasticity. Motion
Snapshot has evolved from the idea that multiple key poses captured at different
stages of motion can successfully portray the idea of movement. Surface Differentiation
was developed to remove redundancy of overlaping geometry introduced by
snapshots occuring with high spatial frequency. Exploded Snapshot creates a geometric
blur effect and extends application of Motion Snapshots to motion of deforming
objects. The Motion Elasticity technique stretches the object to represent a partial
volume through which it is moving. As a proof of concept all of the Futurist Sculpting
techniques were implemented in Maya. The techniques should be viewed as a set of
tools for the artists. The user can choose any one of them to apply to any animation,
but he needs to understand their applications and limitations too.
2
Vimont, Ulysse. "Nouvelles méthodes pour la modélisation interactive d'objets complexes et d'animations." Thesis, Université Grenoble Alpes (ComUE), 2016. http://www.theses.fr/2016GREAM073/document.
Full textAbstract:
L'accroissement de la demande en contenu virtuel, tant en termes qualitatifs que quantitatifs, révèle de nouveaux défis scientifiques.Par exemple, la génération et la manipulation de formes 3D et d'animation sont particulièrement difficiles.Les méthodes modernes contournent ces difficultés en proposant des approches basées sur des algorithmes d'optimisation.Ces derniers utilisent des connaissances a priori sur les données à manipuler afin de générer de nouvelles données satisfaisant des contraintes dictées par l'utilisateur.De tels outils présentent le désaventage d'être indirects, couteux, et non génériques, ce qui limite la liberté artistique de l'utilisateur en le contraignant à de nombreux essais.Les objectifs de cette thèse sont pluriels.D'une part, elle vise à améliorer le contrôle de l'utilisateur en proposant des méthodes de manipulation interactives et directes.D'une autre, elle cherche à rendre ces méthodes capables de manipuler des contenus plus variés en proposant des outils novateurs et génériques.Plus précisément, cette thèse introduis trois méthodes de modélisation d'objets 3D.La première est une méthode basée exemple de génération d'objets composites caractérisés par l'adjacence de leur sous-parties.La seconde propose une interface de types "peinture" pour décrire les distributions d'objets dans une scène 3D.La troisième étend le princides des grammaires génératives à la déformation d'objets hiérarchiques.Nous proposons également deux méthodes de modélisation d'animation.La première offre de modéliser des scènes natuelles de cascades grâce à des controlleurs vectoriels.La seconde permet de sculpter une animation de liquide en manipulant directement ses éléments spatio-temporels saillantsAs virtual content continually grows in quantity and quality, new challenges arise.Amongst others, generating and manipulating 3D shapes and animations have become intricate tasks.State of the art methods attempt to hide this complexity through complex tools, which exploit content semantics for running optimization procedures, yielding constraint matching outputs.However, the control offered by such methods is often indirect, object-specific, and heavy, which imposes long trial-and-error cycles and restrains artistic freedom.The focus of this thesis is twofolds:First, improving user control through interactive and direct content manipulation;Second, enlarging the spectrum of manipulable content with innovative or generic content representations.We introduce three new mehods related to 3D shapes design:A part-based modeling tool allowing to generate assembly shapes with semantic adjacency constraints;A painting tool for distributing objects in a 3D scene;And a grammar-based hierarchical deformation paradigm, enabling the interactive deformation of complex models.We also propose two methods related to the design of animated contents: A vectorial editing tool to synthesize consistent waterfall scenes;And finally a sculpting method enabling to design new liquid animation from examples
3
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.
Full textAbstract:
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 professionals wielding scalpels or landing jets. I could never be one of those people. Or so I was told. I've always had excellent vision, nearly 20/20 my whole life and I've never struggled academically. It's just that my eyes don't point in the same direction like everybody else. Those who know me best can see it, but I've learned ways to make it not so obvious. It's all I've ever known. But, in an ironic twist of fate, it's become clear that my lazy eye has taught me to "see" better than the average artist. Having spent the last five years of my life studying 3D Design and exploring the most advanced creative technology on the planet, I've created a series of computer-generated environments, objects and characters. This is my latest attempt to prove to the world that I can see just fine. I could've been a doctor or a pilot after all. In this paper I present to the world a digital friend manifested from my slightly skewed interpretation of the world. Rocky is part of my imagination brought to life in perfect three-dimensional clarity for the world to see. He's a symbolic representation of my childhood love for cartoons and science fiction. He is strong yet gentle, modest, intelligent and noble. And, he is fiercely protective of that scared and blind five-year old boy.
4
Nadtoka, Nataliya. "Analysis modelling and animation of emotional speech in 3d." Thesis, University of Surrey, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.549468.
Full text
5
Wang, Jing. "Reconstruction and Analysis of 3D Individualized Facial Expressions." Thesis, Université d'Ottawa / University of Ottawa, 2015. http://hdl.handle.net/10393/32588.
Full textAbstract:
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 Binghamton University 3D Facial Expression Database is mainly used for facial expression recognition and it is difficult to compare, resolve, and extend the problems related detailed 3D facial expression analysis. Our work aims to find a new and an intuitively way of visualizing the detailed point by point movements of 3D face model for a facial expression.
In our work, we have created our own 3D facial expression database on a detailed level, which each expression model has been processed to have the same structure to compare differences between different people for a given expression.
The first step is to obtain same structured but individually shaped face models. All the head models are recreated by deforming a generic model to adapt a laser-scanned individualized face shape in both coarse level and fine level. We repeat this recreation method on different human subjects to establish a database. The second step is expression cloning. The motion vectors are obtained by subtracting two head models with/without expression. The extracted facial motion vectors are applied onto a different human subject’s neutral face. Facial expression cloning is proved to be robust and fast as well as easy to use. The last step is about analyzing the facial motion vectors obtained from the second step. First we transferred several human subjects’ expressions on a single human neutral face. Then the analysis is done to compare different expression pairs in two main regions: the whole face surface analysis and facial muscle analysis.
Through our work where smiling has been chosen for the experiment, we find our approach to analysis through face scanning a good way to visualize how differently people move their facial muscles for the same expression. People smile in a similar manner moving their mouths and cheeks in similar orientations, but each person shows her/his own unique way of moving. The difference between individual smiles is the differences of movements they make.
6
Wei, Xiaozhou. "3D facial expression modeling and analysis with topographic information." Diss., Online access via UMI:, 2008.
Find full text
7
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.
Full textAbstract:
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.Les défis à relever par l'industrie du dessin animé 2D se formulent donc en termes de:
1. Réutilisation des contenus selon le paradigme Create once, render many,
2. Facilité d'échange et de transmission des contenus, ce qui nécessite de disposer d'un unique format de représentation,
3. Production efficace et économique des contenus, requérant une animation automatisée par ordinateur.
Dans ce contexte compétitif, ce travail de thèse, réalisé dans le cadre du projet industriel TOON financé par la société Quadraxis avec le support de l' Agence Nationale de Valorisation de la Recherche (Oséo-ANVAR), a pour objectif de contribuer au développement d'une plate-forme de reconstruction, déformation et animation de modèles 3D pour les dessins animés 2D.
Un état de l'art des méthodes et outils contribuant à la reconstruction de modèles 3D et à leur animation est présenté et discuté au regard des contraintes spécifiques des règles de création des dessins animés 2D et de la chaîne de fabrication traditionnelle. Ayant identifié les verrous technologiques à lever, nos contributions ont porté sur :
* l'élaboration d'une méthode de reconstruction de personnages virtuels 3D à partir de dessins 2D,
* la mise au point d'une procédure de reconstruction surfacique par NURBS dotée d'une capacité de déformation interactive 2D/3D,
* la conception d'un module de modélisation 3D pour surfaces maillées, compatible avec le standard d'animation MPEG-4/AFX.
Les développements réalisés, intégrés dans un prototype de la plate-forme TOON, montrent un gain en temps de 20% sur l'ensemble de la chaîne de production tout en garantissant une complète interopérabilité des applications via le standard MPEG-4.
8
Bailey, Shasta. "Building and Using a Character in 3D Space." Digital Commons @ East Tennessee State University, 2014. https://dc.etsu.edu/honors/214.
Full textAbstract:
The goal of this thesis was to take a character from concept to creation and animation. A variety of skills in 2D and 3D computer graphics were used in order to design and build the character for a 3D space. The character was taken from flat concept to 3D model, and then rigged with a skeleton in the 3D program Maya so that the character could be animated. The focus of the animation is a walk cycle.
9
Nikoo, Elham. "Come with Me." Thesis, Virginia Tech, 2018. http://hdl.handle.net/10919/82404.
Full textAbstract:
Come with Me is the process of making a short 3D animation. Introducing the practice as a research method, I explored 3D animation production steps in a non-linear workflow. Each production step is then introduced along with the mind processes as Come with Me was developed from the story to the final animated scenes. The failed attempts are also included as an important part of this research. In the end, the workflows that allow for mistakes at each step of the 3D animation production are being explored.Master of Fine Arts
10
Spousta, Martin. "Elektronický obchod ve 3D rozměru." Master's thesis, Vysoké učení technické v Brně. Fakulta podnikatelská, 2011. http://www.nusl.cz/ntk/nusl-222821.
Full textAbstract:
This Diploma thesis deals with problems of making 3D e-shops for their widely usage. It contains the description of current level of e-shop, theoretical solution of the problem of transition to 3D with a description of advantages, disadvantages and warrant of new solution. It contains the practical solution as well.
11
Černý, Miloš. "Komplexní animace v 3D Studiu Max." Master's thesis, Vysoké učení technické v Brně. Fakulta informačních technologií, 2011. http://www.nusl.cz/ntk/nusl-236931.
Full textAbstract:
The goal of this project is to inform a reader about compact workflow of creating complex computer animation using 3D modelling and animation software 3ds Max. It guides him through the whole process from creating models, texturing and skinning them, to animation pointed at more difficult parts of the animation process. Beside the practical examples, this paper includes necessary theoretical explanation of particular problems. After reading this paper, the reader should be well acquainted with the compact process of creating the complex animation.
12
Holden, Allison Marissa. "Tumble time." Thesis, University of Iowa, 2014. https://ir.uiowa.edu/etd/4646.
Full textAbstract:
TumbleTime is a children's customizable play area that is both fun and educational. Planned to be produced in foam and vinyl fabric, TumbleTime resembles a gymnastic mat. The design is involved geometry that allows children to discover geometric relationships while playing with their furniture. TumbleTime has thousands of configurations demonstrated by 3D computer renderings and animations produced using Autodesk 3ds Max.
13
Sampedro, Paula Poiet. "Estudos da linguagem audiovisual em animações estereoscópicas : análise da representação tridimensional nas narrativas." Universidade Federal de São Carlos, 2016. https://repositorio.ufscar.br/handle/ufscar/8264.
Full textAbstract:
Submitted by Izabel Franco (izabel-franco@ufscar.br) on 2016-10-26T18:21:47Z
No. of bitstreams: 1
DissPPSeL.pdf: 4068768 bytes, checksum: 7c8ea6a69927c82c229fac660e7735fc (MD5)Approved for entry into archive by Marina Freitas (marinapf@ufscar.br) on 2016-11-08T18:29:10Z (GMT) No. of bitstreams: 1 DissPPSeL.pdf: 4068768 bytes, checksum: 7c8ea6a69927c82c229fac660e7735fc (MD5)
Approved for entry into archive by Marina Freitas (marinapf@ufscar.br) on 2016-11-08T18:29:16Z (GMT) No. of bitstreams: 1 DissPPSeL.pdf: 4068768 bytes, checksum: 7c8ea6a69927c82c229fac660e7735fc (MD5)
Made available in DSpace on 2016-11-08T18:29:23Z (GMT). No. of bitstreams: 1 DissPPSeL.pdf: 4068768 bytes, checksum: 7c8ea6a69927c82c229fac660e7735fc (MD5) Previous issue date: 2016-08-16
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)
The research herein is consolidated in fantastical narratives presented in animation movies allied with deep perception exploration. Its development aims to investigate how visual resources are used in animation movies to emphasize fantastical narratives in current contexts. The focus is placed on animations made by digital three-dimensional environment and on the use of stereoscopy working as tools that influence on the composition of narrative tension. The study is based upon the animation movies "How to Train Your Dragon" (DreamWorks, 2010), "How to Train Your Dragon 2" (DreamWorks, 2014) and "Frozen" (Disney, 2013) because of the fantastical storytelling, which evaluates their relations with stereoscopy's visuality and three-dimension digital space. At first a historical background to consolidate stereoscopy and animation techniques is described, which leads to contemporary cinematographic scenery and the use of 3D modeling. Then the research is directed to the study of film narratives previously mentioned followed by an evaluation of three-digital-dimensional language and the three-dimension characters building, in addition to their physical and psychological characteristics. In the end of the study, an analysis of the use of stereoscopy alongside with the narrative, characters and settings modeling of the three movies is proposed, verifying the stereoscopic space use in scenes with different dramatic intensity and how stereoscopy contributes to these narratives.
O presente trabalho tem como foco as narrativas fantásticas apresentadas em filmes de animação, aliadas à exploração da percepção de profundidade. Seu desenvolvimento tem o intuito de investigar como recursos visuais são utilizados em filmes de animação para reforçar narrativas fantásticas dentro do contexto contemporâneo. O foco se mantém nas animações criadas em ambiente digital tridimensional e no uso da estereoscopia como ferramenta que influencia a tensão da composição narrativa. Para realizar esse estudo, tem-se como base os longas-metragens de animação 3D "Como Treinar Seu Dragão" (How To Train Your Dragon – DreamWorks, 2010), "Como Treinar Seu Dragão 2" (How To Train Your Dragon 2 – DreamWorks, 2014) e "Frozen: Uma Aventura Congelante" (Frozen – Walt Disney 2013) devido às narrativas de cunho fantástico, onde avalia-se a visualidade proposta pela estereoscopia e ambientação em espaço digital tridimensional. Inicialmente, é descrito um panorama histórico para consolidar as técnicas da estereoscopia e da animação, o qual culmina no cenário cinematográfico atual e no uso de modelagem 3D. Em um segundo momento, a pesquisa se direciona ao estudo das narrativas dos filmes supracitados, seguido de uma avaliação sobre a linguagem tridimensional digital e da criação de modelos tridimensionais dos personagens, suas características físicas e psicológicas. Por último, é proposta uma análise sobre o uso da estereoscopia em conjunto com a narrativa e a modelagem dos personagens e cenários nos três filmes, verificando o uso do espaço estereoscópico em cenas de diferentes intensidades dramáticas e as maneiras como a estereoscopia contribuiu com as narrativas fílmicas.
14
Van, Wyk Desmond Eustin. "Virtual human modelling and animation for real-time sign language visualisation." University of the Western Cape, 2008. http://hdl.handle.net/11394/2998.
Full textAbstract:
>Magister Scientiae - MScThis thesis investigates the modelling and animation of virtual humans for real-time sign language visualisation. Sign languages are fully developed natural languages used by Deaf communities all over the world. These languages are communicated in a visual-gestural modality by the use of manual and non-manual gestures and are completely di erent from spoken languages. Manual gestures include the use of hand shapes, hand movements, hand locations and orientations of the palm in space. Non-manual gestures include the use of facial expressions, eye-gazes, head and upper body movements. Both manual and nonmanual gestures must be performed for sign languages to be correctly understood and interpreted. To e ectively visualise sign languages, a virtual human system must have models of adequate quality and be able to perform both manual and non-manual gesture animations in real-time. Our goal was to develop a methodology and establish an open framework by using various standards and open technologies to model and animate virtual humans of adequate quality to e ectively visualise sign languages. This open framework is to be used in a Machine Translation system that translates from a verbal language such as English to any sign language. Standards and technologies we employed include H-Anim, MakeHuman, Blender, Python and SignWriting. We found it necessary to adapt and extend H-Anim to e ectively visualise sign languages. The adaptations and extensions we made to H-Anim include imposing joint rotational limits, developing exible hands and the addition of facial bones based on the MPEG-4 Facial De nition Parameters facial feature points for facial animation. By using these standards and technologies, we found that we could circumvent a few di cult problems, such as: modelling high quality virtual humans; adapting and extending H-Anim; creating a sign language animation action vocabulary; blending between animations in an action vocabulary; sharing animation action data between our virtual humans; and e ectively visualising South African Sign Language.
South Africa
15
Angles, Baptiste. "Modélisation géométrique par primitives." Thesis, Toulouse 3, 2019. http://www.theses.fr/2019TOU30060.
Full textAbstract:
Les objets naturels ou artificiels contiennent des éléments géométriques répétés pouvantêtre interprétés comme des formes primitives. Les plantes, les arbres, les organismes vivants ou même les cristaux représentent des primitives qui se répètent. Les primitives se retrouvent aussi couramment dans les environnements créés par l'homme, car les architectes ont tendance à réutiliser les mêmes modèles sur un bâtiment et utilisent généralement des formes simples, telles que des fenêtres et des portes rectangulaires. Au cours de ma thèse, j'ai étudié les primitives géométriques sous trois angles: leur composition, leur simulation et leur découverte autonome. Dans la première partie, je présente une méthode pour retrouver la fonction par laquelle certaines primitives sont combinées. Notre système est basé sur un modèle de fonction de composition représenté par une surface paramétrique. La surface paramétrique est déformée via un alignement non rigide d'une surface qui, une fois convergée, représente l'opérateur souhaité. Cela permet de modéliser de manière interactive les opérateurs via une simple esquisse, ce qui résout un problème majeur de facilité de modélisation de la composition. Dans la deuxième partie, je présente l'utilisation d'une nouvelle primitive pour les simulations de physique en temps réel. Cette primitive convient pour modéliser efficacement les déformations des cordes préservant le volume, mais également celles de structures plus complexes telles que les muscles. L'un des principaux avantages de notre approche est que notre primitive peut servir de représentation unifiée pour la détection de collision, la simulation et la déformation de peau. Dans la troisième partie, je présente un cadre d'apprentissage en profondeur non supervisé pour apprendre et détecter les primitives. Dans un signal contenant une répétition d'éléments, le procédé est capable d'identifier automatiquement la structure de ces éléments (c'est-à-dire des primitives) avec une supervision minimale. Afin de former le réseau qui contient une opération non différenciable, un nouveau processus d'apprentissage en plusieurs étapes est présentéBoth man-made or natural objects contain repeated geometric elements that can be interpreted as primitive shapes. Plants, trees, living organisms or even crystals, showcase primitives that repeat themselves. Primitives are also commonly found in man-made environments because architects tend to reuse the same patterns over a building and typically employ simple shapes, such as rectangular windows and doors. During my PhD I studied geometric primitives from three points of view: their composition, simulation and autonomous discovery. In the first part I present a method to reverse-engineer the function by which some primitives are combined. Our system is based on a composition function template that is represented by a parametric surface. The parametric surface is deformed via a non-rigid alignment of a surface that, once converged, represents the desired operator. This enables the interactive modeling of operators via a simple sketch, solving a major usability gap of composition modeling. In the second part I introduce the use of a novel primitive for real-time physics simulations. This primitive is suitable to efficiently model volume-preserving deformations of rods but also of more complex structures such as muscles. One of the core advantages of our approach is that our primitive can serve as a unified representation to do collision detection, simulation, and surface skinning. In the third part I present an unsupervised deep learning framework to learn and detect primitives. In a signal containing a repetition of elements, the method is able to automatically identify the structure of these elements (i.e. primitives) with minimal supervision. In order to train the network that contains a non-differentiable operation, a novel multi-step training process is presented
16
Salisbury, Brian. "OF GODS, BEASTS AND MEN: DIGITAL SCULPTURE." Master's thesis, Orlando, Fla. : University of Central Florida, 2009. http://purl.fcla.edu/fcla/etd/CFE0002587.
Full text
17
Akagunduz, Erdem. "Simulation Of Turkish Lip Motion And Facial Expressions In A 3d Environment And Synchronization With A Turkish Speech Engine." Master's thesis, METU, 2004. http://etd.lib.metu.edu.tr/upload/1123025/index.pdf.
Full textAbstract:
In this thesis, 3D animation of human facial expressions and lip motion and their synchronization with a Turkish Speech engine using JAVA programming language, JAVA3D API and Java Speech API, is analyzed. A three-dimensional animation model for simulating Turkish lip motion and facial expressions is developed.
In addition to lip motion, synchronization with a Turkish speech engine is achieved. The output of the study is facial expressions and Turkish lip motion synchronized with Turkish speech, where the input is Turkish text in Java Speech Markup Language (JSML) format, also indicating expressions.
Unlike many other languages, in Turkish, words are easily broken up into syllables. This property of Turkish Language lets us use a simple method to map letters to Turkish visual phonemes. In this method, totally 37 face models are used to represent the Turkish visual phonemes and these letters are mapped to 3D facial models considering the syllable structures.
The animation is created using JAVA3D API. 3D facial models corresponding to different lip positions of the same person are morphed to each other to construct the animation.
Moreover, simulations of human facial expressions of emotions are created within the animation. Expression weight parameter, which states the weight of the given expression, is introduced.
The synchronization of lip motion with Turkish speech is achieved via CloudGarden®&rsquo
s Java Speech API interface. As a final point a virtual Turkish speaker with facial expression of emotions is created for JAVA3D animation.
18
Skrip, Betsy. "Imaging the airways : 3D modeling of a complete respiratory airway for use in computational flow dynamics studies of particle deposition in the lungs ; Creation of an educational animation about the respiratory system for use in the Human Visualization Project and CollaboRITorium /." Online version of thesis, 2008. http://hdl.handle.net/1850/7744.
Full text
19
Ecormier-Nocca, Pierre. "Authoring consistent, animated ecosystems : Efficient learning from partial data." Thesis, Institut polytechnique de Paris, 2020. http://www.theses.fr/2020IPPAX078.
Full textAbstract:
Grâce aux récentes améliorations de puissance de calcul, les mondes virtuels sont maintenant plus vastes et complexes que jamais. Alors que ce type de contenu se généralise dans de nombreux médias, les utilisateurs attendent une expérience de plus en plus réaliste. En conséquence, de nombreuses recherches ont été effectuées sur la modélisation et la génération de terrains et de végétation, et parfois leurs interactions. Néanmoins, les animaux ont reçu moins d'attention et sont souvent étudiés en isolation. Avec le manque d'outils d'édition intuitive, ces problèmes font de la modélisation d'écosystèmes une tâche difficile pour les artistes, qui se retrouvent limités dans leur liberté créative, ou forcés d'ignorer le réalisme biologique.Dans cette thèse, nous présentons des nouvelles méthodes adaptées au design et à l'édition d'écosystèmes virtuels, permettant la liberté créative sans pour autant renoncer à la plausibilité biologique. Notre approche a pour objectif de fournir des outils basés sur des données concrètes pour permettre une édition efficace des écosystèmes, tout en ne nécessitant qu'un nombre peu élevé de données. En incorporant les connaissances existantes sur la biologie à nos modèles, nous sommes capables de garantir à la fois la cohérence et la qualité des résultats.Nous présentons des méthodes dédiées à l'instantiation précise et intuitive d'éléments statiques et animés. Comme les éléments statiques peuvent présenter des interactions complexes, nous proposons une méthode précise, basée sur l'exemple et adaptée aux recouvrements. Nous appliquons un concept similaire à l'édition de troupeaux, en utilisant des photographies ou vidéos comme entrée d'un algorithme de synthèse par l'exemple. À une échelle plus large, nous utilisons des données biologiques pour formuler un processus unifié gérant l'instantiation globale et les interactions de long terme entre la végétation et les animaux. En plus de garantir la cohérence biologique, ce modèle offre un contrôle sur le résultat via l'édition des informations à toute étape.Nos méthodes fournissent contrôle et réalisme durant le processus de création d'écosystèmes, en prenant en compte les éléments statiques et dynamiques, ainsi que leurs interactions à plusieurs échelles. Nous validons nos résultats à l'aide d'études utilisateur, ainsi que des comparaisons avec des données réelles ou d'expertsWith recent increases in computing power, virtual worlds are now larger and more complex than ever. As such content becomes widespread in many different media, the expectation of realism has also dramatically increased for the end user.As a result, a large body of work has been accomplished on the modeling and generation of terrains and vegetation, sometimes also considering their interactions. However, animals have received far less attention and are often considered in isolation. Along with a lack of authoring tools, this makes the modeling of ecosystems difficult for artists, who are either limited in their creative freedom or forced to break biological realism.In this thesis, we present new methods suited to the authoring of ecosystems, allowing creative freedom without discarding biological realism. We provide data-centered tools for an efficient authoring, while keeping a low data requirement. By taking advantage of existing biology knowledge, we are able to guarantee both the consistency and quality of the results.We present dedicated methods for precise and intuitive instantiation of static and animated elements. Since static elements, such as vegetation, can exhibit complex interactions, we propose an accurate example-based method to synthesize complex and potentially overlapping arrangements. We apply a similar concept to the authoring of herds of animals, by using photographs or videos as input for example-based synthesis. At a larger scale, we use biological data to formulate a unified pipeline handling the global instantiation and long-term interactions of vegetation and animals. While this model enforces biological consistency, we also provide control by allowing manual editing of the data at any stage of the process.Our methods provide both user control and realism over the entire ecosystem creation pipeline, covering static and dynamic elements, as well as interactions between themselves and their environment. We also cover different scales, from individual placement and movement of elements to management of the entire ecosystem. We validate our results with user studies and comparisons with both real and expert data
20
Thurnauer, Mark H. "Lightscape as a Design Tool for Thematic Daylighting Design." Miami University / OhioLINK, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=miami988735302.
Full text
21
Malciu, Marius. "Approches orientées modèle pour la capture des mouvements du visage en vision par ordinateur." Phd thesis, Université René Descartes - Paris V, 2001. http://tel.archives-ouvertes.fr/tel-00273232.
Full textAbstract:
Modèle 3D d'objet, séquences vidéos monoscopiques, estimation de la pose 3D, recalage 3D/2D, texture, flot optique, translation et rotation de grande amplitude, occultation, appariement par bloc, interpolation temporelle, modélisation ondulatoire, critère de visibilité, analyse de déformations faciales, description MPEG-4 du visage, prototype déformable, bouche, yeux, B-splines, classification floue non supervisée, méthode du simplexe, synthèse de déformations faciales..
22
Leonardi, Valentin. "Modélisation dynamique et suivi de tumeur dans le volume rénal." Thesis, Aix-Marseille, 2014. http://www.theses.fr/2014AIXM4056/document.
Full textAbstract:
Ce travail de thèse porte sur la modélisation dynamique 3D du rein et le suivi d’une tumeur de cet organe. Il s’inscrit dans le projet KiTT (Kidney Tumor Tracking) qui regroupe des chercheurs issus de plusieurs domaines : la modélisation géométrique, la radiologie et l’urologie. Le cadre de cette thèse suit une tendance de mini-invasivité des gestes chirurgicaux observée ces dernières années (HIFU, coelioscopie). Sa finalité est d’aboutir à un nouveau protocole de destruction de tumeurs rénales totalement non-invasif, par la diffusion d’agents physiques (ondes d’ultrasons) à travers la peau et focalisés sur la tumeur. Devant le mouvement et la déformation que le rein présente au cours du cycle respiratoire, la problématique de ces travaux de recherche est de connaître en permanence la position de la tumeur afin d’ajuster à moyen terme la diffusion des ondes en conséquenceThis Ph.D. thesis deals with the 3D dynamic modeling of the kidney and tracking a tumor of this organ. It is in line with the KiTT project (Kidney Tumor Tracking) which gathers researchers from different fileds: geometric modeling, radiology and urology. This work arised from the tendency of nowadays surgical gestures to be less and less invasive (HIFU, coelioscopy). Its goal is to result in a totally non-invasive protocol of kidney tumors eradication by transmitting ultrasound waves through the skin without breaking in it. As the kidney presents motions and deformations during the breathing phase, the main issue is to know the kidney and tumor positions at any time in order to adjust the waves accordingly
23
Prokeš, Marek. "Modely elektrických přístrojů v moderních CAD systémech." Master's thesis, Vysoké učení technické v Brně. Fakulta elektrotechniky a komunikačních technologií, 2008. http://www.nusl.cz/ntk/nusl-217604.
Full textAbstract:
In this master thesis the new possibilities of software Autodesk Inventor Professional 2008 are described. Autodesk Inventor is a system for 3D machine engineering containing tools for 3D modeling, information management, cooperation and technical support. Autodesk Inventor Professional 2008 has a lot of new possibilities and improvements compared to the previous version. This Master thesis contains also description of the circuit breaker BD250N and its utilization in the distribution of low voltage. In enclosed CD the model animation of circuit breaker with description of modeling process can be found. The Autodesk Inventor Professional 2008 is used for this master’s thesis – English version.
24
Billström, Johan, and Alexander Fjellström. "3D-animation i reklamfilm." Thesis, Södertörn University College, School of Communication, Media and it, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-2597.
Full textAbstract:
Study objects: Three different productions companies which the authors have chosen to be anonymous. Purpose: The purpose with this study is to examine why production companies choose to use 3D-animations in television commercials, and what different kind of aspects affects their decisions. Theoretical: The theoretical chapter reviews the history of 3D-animation andtelevision commercials and other fields that will be relevant laterin the analysis and discussion. Method: A case study has been made on three different companies, two of the companies are active in post-production and the other one is active in the consulting area. Data was collected through semistructured interviews with two of the companies. The last interview was conducted via e-mail. Conclusions: There were different ground aspects (economy, control, targetaudience, consumer impression) that affected a productioncompany’s decision in whether or not to use 3D-animation in theirproductions of television commercials.
25
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.
Full textAbstract:
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.Industriell animation som visar en komplicerad process på ett enkelt och pedagogiskt sätt.
Detta är en reflektionsdel till en digital medieproduktion.
26
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.
Full textAbstract:
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 krävdes att ett flertal aspekter togs i beaktning, exempelvis behövde lögnsignalerna vara tydliga och inte överskuggas av starkare känslor eller signaler. Nervositetstecken avlästes dock enkelt av respondenterna i undersökningen vilket kan betyda att en avskalad virtuell karaktär kan gestalta ett nervöst tillstånd utan audiella ledtrådar. Resultatet som undersökningen gav har ställts mot insamlad data och tidigare forskning för att diskutera undersökningens brister och lämpliga framtida justeringar för att åtgärda dessa. Slutligen har även möjligheter för framtida arbete diskuterats och spekulationer kring användningsområden för en liknande undersökning i ett branschperspektiv har genomförts.
27
Guler, Mehmet Soner. "3d Animation For Hand Preshaping." Master's thesis, METU, 2006. http://etd.lib.metu.edu.tr/upload/2/12607117/index.pdf.
Full textAbstract:
The human hand is an essential part of human body, capable of making complex and expressive motions. Its complicated structure makes it a formidable challenge for animators to animate hand motions. Most computer graphics research on hand motion has focused on preshaping, preshaping and gestures with application to areas of human computer interaction and sign language. There are also a number of educational applications such as typing, playing of musical instruments etc. From a computer graphics standpoint, these applications are difficult in animation of hand.
This thesis aims to animate 3D hand preshaping activity for a chosen virtual 3D object in real-time. Researches on human hand kinematics, structure and geometric stability analysis on preshaping are the main motivation for the algorithms developed in this thesis for animating 3D preshaping.
The algorithm that we developed is made of two main parts. The first part is related with the precision type preshaping requiring the finger-tips positioning for a given object such as the cube, cylinder or sphere. First part is completed by procedural approach which is based on kinematics to generate the motion of the hand for the given virtual object at the determined finger-tip positions.
Second part related with the wrap type preshaping aims to have maximum interaction between hand and object. For this purpose, we have developed the collision detection algorithm to find intersection surfaces between hand and object.
Even though developed algorithm based on the kinematics was used for the precision type preshaping application, it can also be used for many other applications requiring hand animation given the positions of finger tips.
28
Song, Won Chan. "Speed-line for 3D animation." Texas A&M University, 2005. http://hdl.handle.net/1969.1/4730.
Full textAbstract:
My thesis describes a tool which creates speed-lines automatically in 3D computer
animations. Speed-lines are usually used in comic books to express fast motions
in a still image. They are also used in 2D animations. Although animations don't
need speed-lines for motions, they are interesting graphic elements and give more
sense of speed to the audience. However, speed-lines are not used in the 3D computer
animation, so I have implemented the graphic element into the 3D computer
animation. The combination of the 2D-looking speed-lines and the 3D computer animations
makes a unique look that some animators might want. In addition, making
speed-lines based on motions of moving objects or cameras, this tool can make 3D
speed-lines which are very difficult to draw by hand.
29
Crow, Trent Fielding. "Stylized Hatching for 3D Animation." BYU ScholarsArchive, 2007. https://scholarsarchive.byu.edu/etd/1046.
Full textAbstract:
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 create a set of controls to adjust the hatching that are easy to use and allow our style to be applied to many different objects in many shots of a film in an efficient manner. To show the success of our method, we will discuss the implementation and results of applying it to an actual 3D animated short film.
30
BEZERRA, HEDLENA MARIA DE ALMEIDA. "3D COLORIZING FOR 2D ANIMATION." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2005. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=7715@1.
Full textAbstract:
COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIORFINANCIADORA DE ESTUDOS E PROJETOS
Esta dissertação discute a aplicação de efeitos de colorização 3D a animações 2D produzidas pela técnica quadro-a-quadro. Utilizando algoritmos de processamento de imagens, desenhos 2D são preparados para receber técnicas de sombreamento evitando a transformação da cena para uma geometria 3D. Esta preparação se dá através da obtenção de mapas de normais que aproximam a geometria do desenho. O sombreamento é obtido através de um conjunto de técnicas de renderização foto-realistas e não-foto-realistas, que podem ser adaptadas para utilização de normais aproximadas. Visando amenizar o trabalho exaustivo de colorir cada desenho, um método baseado no relacionamento entre imagens é apresentado para colorir automaticamente cada quadro numa seqüência de desenhos. Este processo de colorização considera a necessidade de possíveis intervenções humanas para garantir a qualidade final de cada imagem da animação. Um estudo sobre aproximação de normais, técnicas de sombreamento, segmentação de imagens e rastreamento de objetos é amplamente discutido nesta dissertação.
This dissertation discusses the 3D colorization effects usage over a 2d animation, which has been produced through frame-by-frame techniques. Normal vector maps approximates the drawing geometry and provide the ability to perform shading effects by applying digital image processing algorithms, avoiding 3D geometry scene transformation. A set of photorealistic and non-photorealistic renderization techniques, which can be adapted to normal approximation usage, is proposed in the colorization process. Also, a method based on interframe dependence is presented, aiming to reduce the thoroughgoing effort of colorizing each individual frame within an animation. This colorization process considers possible human interventions to ensure image´s result quality. Finally, this dissertation provides a comprehensive study regarding several topics, such as normal approximations, shading techniques, image segmentation and object tracking.
31
Gouvatsos, Alexandros. "3D storyboarding for modern animation." Thesis, Bournemouth University, 2018. http://eprints.bournemouth.ac.uk/31265/.
Full textAbstract:
Animation is now a classic medium that has been practiced for over a century. While Disney arguably made it mainstream with some hand-drawn classics, today’s industry is focused on Three-Dimensional (3D) animation. In modern 3D animation productions, there have been significant leaps in terms of optimising, automating and removing manual tasks. This has allowed the artistic vision to be realised within time and budget and empowered artists to do things that in the past would be technically more difficult. However, most existing research is focused on specific tasks or processes rather than the pipeline itself. Moreover, it is mostly focused on elements of the animation production phase, such as modelling, animating and rendering. As a result, pre-production parts like storyboarding are still done in the traditional way, often drawn by hand. Because of this disparity between the old and the new, the transition from storyboarding to 3D is prone to errors. 3D storyboarding is an attempt to adapt the pre-production phase of modern animation productions. By allowing storyboard artists access to simple but scale-accurate 3D models early on, drawing times as well as transition times between pre-production and production can be reduced. However, 3D storyboarding comes with its own shortcomings. By analysing existing pipelines, points of potential improvement are identified. Motivating research from these points, alternative workflows, automated methods and novel ideas that can be combined to make 3D animation pipelines more efficient are presented. The research detailed in this thesis focuses on the area between pre-production and production. A pipeline is presented that consists of a portfolio of projects that aim to: • Generate place-holder character assets from a drawn character line-up • Create project files with scene and shot breakdowns using screenplays • Empower non-experts to pose 3D characters using Microsoft Kinect • Pose 3D assets automatically by using 2D drawings as input.
32
Perez, Alain François. "Modélisation de la dynamique du carpe." Phd thesis, Université Joseph Fourier (Grenoble), 1994. http://tel.archives-ouvertes.fr/tel-00344523.
Full text
33
Arjunan, Dorai Raj. "3D Animation: Creating an Experiential Environment." [Johnson City, Tenn. : East Tennessee State University], 2004. http://etd-submit.etsu.edu/etd/theses/available/etd-0719104-174201/unrestricted/Arj%20with%20animation%2017KB.pdf.
Full textAbstract:
Thesis (M.F.A.)--East Tennessee State University, 2004.Title from electronic submission form. ETSU ETD database URN: etd-0719104-174201 Includes bibliographical references. Also available via Internet at the UMI web site.
34
Chin, Min-Zhi. "Naga: Combining 2D and 3D Animation." Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/honors/119.
Full textAbstract:
Naga is an animated short about a lively dragon that roams about the lands embracing it’s surroundings dearly. It discovered a barren land while out exploring and was saddened by the sight. After pondering for a while, it then realized it could revive the land with it’s ability to summon rain using it's dragon ball. The short blends traditional animation and computer animation, where the look is similar to 2D animation but the character and a few environment elements are done in 3D. Software utilized to complete the short were Autodesk Maya, Adobe Photoshop, Clip Studio Paint, Adobe After Effects, and Adobe Premiere Pro. The short showcases a stylized Chinese traditional ink painting style, key frame animation, and particle effects.
35
Drury, Matthew R. "Creating 3D Smear Frames for Animation." Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/honors/348.
Full textAbstract:
In the transition between 2D and 3D animation animators tried to be able to replicate all of the styles and techniques in 3D that they utilized in 2D. Motion blur eventually came to replace a popular 2D technique known as a smear frame. A smear frame is much more than a path of motion or a blur though, it has a style that cannot be replicated with such methods. I present a creative project with the intent on creating 3D smear frames in a self-made character rig. In order to achieve this I will be designing, modeling, texturing, rigging, animating, and rendering the character of Champ Champions.
36
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.
Full textAbstract:
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 make animation, especially character animation, more realistic and entertaining. These principles can and should be applied to 3D computer animation' (Lasseter 1987). The importance of animation principles in all animation mediums is stressed by Oscar-winning traditional animator Gene Deitch. He states that 'Every animated film made today uses those same basic principles developed at the Walt Disney studios during the 1930s. They still apply, no matter which technology is used' (2001). This research report examines the validity of this argument and identifies the tools, principles, and procedures that professional 3D animators are using. Central to this research is the dynamic of the contemporary relevance of traditional animation as an aesthetic, craft and economic entity. Most importantly this research considers how that dynamic might translate into the teaching of 3D animation courses. It is claimed that the findings of this research benefits 3D animation teachers, students, and those who employ them. To conduct on-site research with professional animators, this study enlisted the participation of a small number of animation studios in south-east Queensland, Australia by ensuring the protection of their Intellectual Property. Close observation of their working practices was made and numerous secondary sources of information (3D animation tutorials, books, DVDs, software manuals etc.) examined in order to locate the tools, processes, and principles that CG animators engaged. The findings were applied and critically assessed by means of a practical project (a seven-minute 3D-animated film) which was created concurrently with the research. Recommendations were formulated as to the most useful tools, processes, and principles for the student of computer animation by way of a revision of the existing Queensland College of Art syllabus for teaching computing animation. What follows is an account of the development and context of the project, the research methods applied, and critical analyses of the findings. The research concludes that it is necessary and advantageous to apply traditional animation skills to 3D computer work.
37
Ghys, Charlotte. "Analyse, Reconstruction 3D, & Animation du Visage." Phd thesis, Ecole des Ponts ParisTech, 2010. http://pastel.archives-ouvertes.fr/pastel-00555140.
Full textAbstract:
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 détection globale de points d'intérêts. Partant de contraintes anthropométriques, nous sommes capables d'estimer la pose 3D du visage à partir d'une seule image, et de l'étendre au suivi du visage. L'analyse d'émotion conclut notre travail : nous présentons une technique de modélisation d'expression définie comme une série temporelle et proposons de l'utiliser pour la prédiction d'émotions.
38
Greenberg, Jonathan. "Real time 3D animation using progressive transmission." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape3/PQDD_0027/MQ51718.pdf.
Full text
39
Chrysanthou, Yiorgos. "Shadow computation for 3D interaction and animation." Thesis, Queen Mary, University of London, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.244505.
Full text
40
Ghys, Charlotte. "Analyse, reconstruction 3D, et animation du visage." Marne-la-Vallée, ENPC, 2010. http://www.theses.fr/2010ENPC1005.
Full textAbstract:
L’analyse du visage est un sujet très étudié dans de nombreux domaines : In-teraction Homme Machine, sécurité, post-production cinématographique, jeux vidéo. . . Cela comprend la détection, la reconnaissance, la reconstruction 3D, l’ani-mation et l’analyse d’émotions. L’animation du visage a été la motivation princi-pale durant toute la thèse. Nous nous intéressons à la plupart des domaines liésau visage : tout d’abord la reconstruction 3D et la modélisation de visage, avecun nouveau modèle de visage. Ensuite, nous introduisons des contraintes anthro-pométriques par champs de Markov pour la détection globale de points d’inté-rêts. Partant de contraintes anthropométriques, nous sommes capables d’estimerla pose 3D du visage à partir d’une seule image, et de l’étendre au suivi du vi-sage. L’analyse d’émotion conclut notre travail : nous présentons une techniquede modélisation d’expression définie comme une série temporelle et proposons del’utiliser pour la prédiction d’émotionsFace analysis fields are widely spread out over a large quantity of domains :Human Computer Interaction, security, movies post-production, games. . . It in-cludes detection, recognition, 3D reconstruction, animation, and emotion analy-sis. Face animation was the main motivation of this thesis, and we always kept itin mind at anytime. We discuss here, most of the fields. We first talk about face reconstructionand face modeling with a new model inspired by the Candide Model. Then, weaddress face detection and particularly features detection introducing anthropome-tric constraints in a global scheme through a Markov Random Field formulation. From prior constraints, we are able to estimate the 3d pose of a face from a singleimage and to extend it to motion tracking. We conlude our work with emotion ana-lysis. We propose an expression modelling technique defined as time series, andwe present our 3D database for face expression. We present the state of the art ofemotion recognition. And we finally invoke the use of our expression modellingtechnique as a prediction to be compared with the data in time
41
Higa, Mitsutoshi. "Perception Based Character Modeling and Animation." Texas A&M University, 1999. http://hdl.handle.net/1969.1/90682.
Full textAbstract:
This thesis explores how humans identify sex (male or female) and judge gender (masculine or feminine) and attractiveness of a computer animated walker. Hip and shoulder movements during the walk cycle and waist-to-hip ratio (WHR) of the walking figure were systematically manipulated to construct the stimulus set. The analysis of the experiment data suggested that perceived sex is identified primarily by WHR. Perceived gender and attractiveness are judged by both WHR and walk motion independently and interactively. These results were used to develop guidelines to reproduce and control perceived sex and gender for computer animated models.
42
O'Brien, James F. "Graphical modeling and animation of fracture." Diss., Georgia Institute of Technology, 2000. http://hdl.handle.net/1853/13074.
Full text
43
Ma, Minhua. "Automatic conversion of natural language to 3D animation." Thesis, University of Ulster, 2006. http://radar.gsa.ac.uk/876/.
Full text
44
Cavusoglu, Abdullah. "Providing language facilities for 3D articulated figure animation." Thesis, University of Sussex, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.333407.
Full text
45
Tutar, Mustafa. "Simplified techniques for motion entourage in 3D animation /." free to MU campus, to others for purchase, 2004. http://wwwlib.umi.com/cr/mo/fullcit?p1422972.
Full text
46
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.
Full textAbstract:
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 motion from the real-world to mediate enhanced 3D animation production. Thus natural motion is simulated to support user engagement, leveraged through real-time mapping, and for control of digital characters through enabling devices for markerless capture. Captured data is analysed offline to identify potential creative enhancements. As a result of the comprehensive investigation, contributions include an innovative animation framework to support real and virtual engagement within immersive environments. The novel approach simulates motion, through combining elements of real-time game technology with facets of behaviour simulation from Embodied Conversational Agents. Contributions are also proposed towards bridging the gap between realistic motion capture and authoring more stylised 3D cartoon animations. Shortcomings of transferring natural motion to exaggerated cartoon styled animation are systematically studied and a solution based on parametric motion curve optimization is proposed. Intelligent reasoning for validation of temporal sequencing of animation assets using a structured knowledge model, further contributes towards animation production through facilitating sharing animation planning across different domains. The computational model, thus embodies the concept that through systematic investigation of synergies and differences between natural motion and keyframe animation, the benefits of both can be fused together to target more efficient, yet believable, and even creative animation authoring.
47
Au, Kristin C. "Animation : 2D versus 3D and their combined effect." Thesis, Massachusetts Institute of Technology, 2014. http://hdl.handle.net/1721.1/92640.
Full textAbstract:
Thesis: S.B., Massachusetts Institute of Technology, Department of Architecture, 2014.Cataloged from PDF version of thesis.
Includes bibliographical references (pages 53-54).
This thesis studies the differences in the perception of space and character movement between 2D and 3D animation. 2D animation is defined by elements constructed in a 2D environment while 3D animation by elements constructed in a 3D environment. Modern day animated films have been seen to mix the two forms for the sake of artistic effect, expedited production, and general convenience. Though some modern animations combine the two in the explorative quest to discover new animation forms, few films directly compare the forms to visualize the differences in their perceived qualities. Noticeably, the two animation methods differ in level of detail, dimension, realism, and artistic expression. In terms of lighting, the science of illumination dictates the 3D environment whereas in the 2D environment, lighting is an illusion created by coloring conventions. This study looks specifically at lighting as the controlling factor delineating the two forms. Two short mixed media films were created. One film had a 3D base while the other a 2D base. A varied set of subjects were shown one of the two short films produced and asked to complete a survey. The survey measured the subject's understanding of space and character movement as seen the film. Results show that in 3D there is an enhanced understanding of spatial perception while in 2D there is a lower sensitivity to character movement.
by Kristin C. Au.
S.B.
48
Huang, Chien-Chieh, and 黃健桀. "3D Facial Modeling and Animation with Speech / Lip Synchronization for Human-Robot Interactions." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/51811848990537700868.
Full textAbstract:
碩士國立臺灣大學
電機工程學研究所
99
In 21st century, the intelligent robotics becomes one of the most essential industries all over the world. There are many intelligent robotics institutions develop modern and multi-functional robots in many types, for example, wheel robot, and biped robot. With the growing of elders and economic pressure of present society, most of the parents both have to work for their family. Because of this phenomenon, we made an application for the children and the elders. Human-robot interaction (HRI) is an important technology in intelligent robotics field. In this thesis, we use sound and voice as commands to communicate with robots. It consists of two major parts, namely, head modeling and speech processing. Synchronization between speech and mouth shape includes technologies, such as computer vision, speech synthesis, and speech recognition. We present a method to synchronize the lip movement and the speech, and we use Microsoft’s Speech Application Programming Interface (SAPI) as the speech synthesis and recognition tool. Speech animation includes two components, the speech and the image. Speech synthesis output is obtained from Text-to-Speech (TTS), and the images of visemes are generated from software, FaceGen Modeller. Import three key pictures to this software to calibrate and generate the face model. The viseme event handler in C# will connect the image of mouth shape and viseme together. Load the images sequentially and the visemes will one by one match with the images correctly. The main applications of speech synthesis are used as assistive devices, e.g. the use of screen readers for people with visual impairment. A mute person can take advantage of this technology to talk to others. In recent years, speech synthesis is extensively applied in service robotics and entertainment productions such as language learning, education, video games, animations, and music videos. Finally, we build a quick method to make a 3D head model and synchronize it with speech. This application can be used to educate children English reading and listening. For some specific people, like mute people and deaf people, this application can be used as a communication tool.
49
Tsai, Dong-Sheng, and 蔡東昇. "A Study on the Implementation of Object-Oriented 3D Visual Realism on Kinematic Modeling & Animation." Thesis, 1997. http://ndltd.ncl.edu.tw/handle/35386939060546056483.
Full text
50
Abson, Karl, Hassan Ugail, and Stanley S. Ipson. "A methodology for feature based 3D face modelling from photographs." 2008. http://hdl.handle.net/10454/2435.
Full textAbstract:
In this paper, a new approach to modelling 3D faces based on 2D images is introduced. Here 3D faces are created using two photographs from which we extract facial features based on image manipulation techniques. Through the image manipulation techniques we extract the crucial feature lines of the face in two views. These are then used in modifying a template base mesh which is created in 3D. This base mesh, which has been designed by keeping facial animation in mind, is then subdivided to provide the level of detail required. The methodology, as it stands, is semi-automatic whereby our goal is to automate this process in order to provide an inexpensive and expedient way of producing realistic face models intended for animation purposes. Thus, we show how image manipulation techniques can be used to create binary images which can in turn be used in manipulating a base mesh that can be adapted to a given facial geometry. In order to explain our approach more clearly we discuss a series of examples where we create 3D facial geometry of individuals given the corresponding image data.