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Dissertations / Theses on the topic 'Animation/3D'
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1
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.
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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.
2
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.Industriell animation som visar en komplicerad process på ett enkelt och pedagogiskt sätt.
Detta är en reflektionsdel till en digital medieproduktion.
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 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.
4
Guler, Mehmet Soner. "3d Animation For Hand Preshaping." Master's thesis, METU, 2006. http://etd.lib.metu.edu.tr/upload/2/12607117/index.pdf.
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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.
5
Song, Won Chan. "Speed-line for 3D animation." Texas A&M University, 2005. http://hdl.handle.net/1969.1/4730.
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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.
6
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 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.
7
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.
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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.
8
Gouvatsos, Alexandros. "3D storyboarding for modern animation." Thesis, Bournemouth University, 2018. http://eprints.bournemouth.ac.uk/31265/.
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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.
9
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.
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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.
10
Chin, Min-Zhi. "Naga: Combining 2D and 3D Animation." Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/honors/119.
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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.
11
Drury, Matthew R. "Creating 3D Smear Frames for Animation." Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/honors/348.
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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.
12
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 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.
13
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 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.
14
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.
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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.
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Ghys, Charlotte. "Analyse, reconstruction 3D, et animation du visage." Marne-la-Vallée, ENPC, 2010. http://www.theses.fr/2010ENPC1005.
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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
17
Ma, Minhua. "Automatic conversion of natural language to 3D animation." Thesis, University of Ulster, 2006. http://radar.gsa.ac.uk/876/.
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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.
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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.
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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 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.
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Au, Kristin C. "Animation : 2D versus 3D and their combined effect." Thesis, Massachusetts Institute of Technology, 2014. http://hdl.handle.net/1721.1/92640.
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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.
22
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.
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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
23
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 according to the human anatomy. Facial Action Coding System (FACS) was used to determine the control points and the face regions in the underlying model. The final positions of the control points after a facial expression were received from the expressive scan data of the source face. Afterwards control points were transferred to the target face using the facial landmarks and TPS as the morphing function. Finally, the neutral target face was animated with control points by TPS.
In order to visualize the method, face scans with expressions composed of a selected subset of action units found in Bosphorus Database were used. Five lower-face and three-upper face action units are simulated during this study. For experimental results, the facial expressions were created on the 3D neutral face scan data of a human subject and the synthetic faces were compared to the subject&rsquos actual 3D scan data with the same facial expressions taken from the dataset.
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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.
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MARQUES, CLARISSA CODA DOS SANTOS CAVALCANTI. "REAL-TIME 3D ANIMATION WITH HARMONIC AND MODAL ANALYSES." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2012. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=21844@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROCOORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO
Ainda hoje a animação de caracteres tridimensionais é um processo manual. Aplicações como jogos de computadores, ou capturas de movimentos para efeitos especiais em filmes requerem incessante intervenções do artista, que praticamente guia os movimentos a cada passo. Nesses exemplos as ferramentas disponíveis oferecem geralmente edição de detalhes, ou no espaço ou no tempo. Essa tese utiliza duas abordagens analíticas ao processo de animação: harmônica e modal, permitindo descrever movimentos com poucos controles. O resultado destas animações é mostrado em tempo real para o usuário graças às suas implementações na GPU. Em particular, permite escolher os parâmetros de controle através de galerias animadas em tempo real ou ainda usar as freqüências da música para guiar a animação.
Animation of three-dimensional characters is still a mostly manual process. Applications such as computer games and motion capture for special effects in movies require continuous intervention from the artist, who needs to guide the movement almost step by step. In such examples the available tools provide controls mainly over local details, either in space or in time. This thesis uses two analytical frameworks to deal with the process of animation: harmonic and modal analyses, allowing the description of movements with a reduced set of controls. A GPU implementation of the resulting animations allows for real-time rendering of those. In particular, it allows applications such as interactive control tuning through design galleries animated in real-time or three-dimensional music visualization. Particularly, it allows the choice of control parameters through the use of animated galleries in realtime and the use of music frequencies to guide the animation.
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Mahieddine, Mohammed. "Modélisation, visualisation et animation d'objets 3D : Approche orientée objets." nice, 1991. http://www.theses.fr/1991NICE4496.
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L'objectif de cette thèse est d'étudier l'application de l'approche orientée objets pour la modélisation, la visualisation et l'animation d'objets graphiques en 3 dimensions. Une première phase de cette étude a consiste en la construction d'une extension orientée objets de standards graphiques existants. Pour la construction du graphe d'héritage des classes, une méthode nouvelle est présentée qui consiste à utiliser a la fois l'héritage comportemental et l'héritage implémentationnel. Une extension orientée objets des systèmes core et cgi est présentée pour illustrer ces idées. Une étude exhaustive des méthodes de modélisation des courbes, des surfaces et des solides a permis de montrer l'intérêt des classes et de l'héritage pour réduire la difficulté de confection d'un logiciel de modélisation d'objets géométriques 3d. En ce qui concerne la visualisation des objets, nous montrons les avantages et les limites de l'approche orientée objets pour l'élimination des faces cachées, la manipulation des couleurs et le rendu réaliste (lancer de rayons). Nous montrons ensuite comment décrire l'animation des objets avec les concepts de classes et d'héritage et nous comparons cette approche avec celle des acteurs. La validation de cette approche a consiste à réaliser une application d'animation de robots articules en c++ sous x window. Ce travail démontre que la méthodologie orientée objets permet d'avoir une approche unifiée a la fois pour la modélisation géométrique, la visualisation des objets graphiques et pour leur animation
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Fehér, Marcus, and Mikael Borghult. "En arbetsprocess för att skapa 3D datorgrafik till film : Från karaktärsdesign till 3D animation." Thesis, Högskolan i Gävle, Avdelningen för Industriell utveckling, IT och Samhällsbyggnad, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-16928.
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Det är svårt att veta hur man på snabbast möjliga sätt kan skapa 3D datorgrafik till film. Detta arbete handlar om processen (pipeline) för att skapa ett troll i 3D till filmat material med målet att arbeta så tidseffektivt som möjligt utan att försämra kvaliteten. Vi utformar en specifik pipeline med hjälp av kunskaper från nyckelpersoner i filmindustrin, egna erfarenheter samt en litteraturstudie. Kortfilmen består av ett 3D troll sammansatt till en minuts filmat material. Kortfilmen förklarar de olika stegen i arbetsprocessen; filmskapandet och vad man ska tänka på från idé till slutlig animerad produkt samt val av programvaror.
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He, Zhi-guang, and 何智光. "3D Facial Animation." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/09169533194285308870.
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碩士義守大學
電機工程學系碩士班
93
It is a challenge that how to realistically generate 3D human face models and their various movement expressions in computer graphics. With the progress of computer technology, people request for more and more multimedia effects. Therefore, the reconstruction of 3D human facial models and facial animations are enthusiastically investigated. There are several kinds of method used to reconstruct 3D models. We animate the 3D object models that are reconstructed by using photometric stereo method and shape from contours with three light sources in this paper. The 3D models are stored in point data and the 3D curved surface generated by applying Delaunay triangulation mesh method to the 3D models are displayed on personal computer. Then, we animate the motion sequence of mouth on the 3D human facial model for pronouncing Chinese and English words by using 3D Studio MAX. The animation for different words and sentences, and several facial expression are shown in this thesis .
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CHEN, HONG-RUEI, and 陳泓睿. "3D Animation Creation “Treasure”." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/x8zszd.
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碩士國立臺灣藝術大學
多媒體動畫藝術學系動畫藝術碩士班
104
Recently, the Low-Poly style has become an emerging style of visual art, it was built as the solution of lacking of computing speed. Nowadays, this problem has been solved through the technology advance, however, the Low-Poly style does not disappear, instead, it is becoming a new visual style. The Low-Poly style brought out a special stimulation of visual art, it has been widely applied in graphic design, commercial advertising, even in portable game device area. Although the development of Low-Poly style has become mature and been extensively utilized in different design areas, the examples of Low-Poly style adopting in animation design are still uncommon. This animation theme is about a Lighthouse Keeper, to narrate how the man protects the lighthouse and keeps the light up. In terms of the presenting of this animation style, through the literature review, related video works and previous researches, the main visual element of the Low-Poly style will be completely integrated, moreover, to adopt the integrated result into this creation.
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LIU, MING-KUN, and 劉明昆. "ASAKU 3D animation production." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/fhsz9x.
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碩士亞洲大學
數位媒體設計學系
107
Since 1989, the year ASAKU ® was born, the IP, intellectual property, of the whole series, including images, music, and literature, belongs to the author of this doctoral dissertation. When the time of production is limited to seven days, all we have is one person and one personal computer, without the support of an animation team and facilities of high-end rendering, how we can complete the work from adjustment of creation method, tool option, and production procedure. Completing the series of animation work of ASAKU ® is the base. This dissertation mainly discusses the improvement of working efficacy and the reduction of cost, via adjustment of production procedure and creation method, in order to solve the problems of limited time and lack of resources in producing 3D animation. In order to complete the work of target in time, creation method and production procedure are altered. Besides the final work, a complete play of a long story is also included, which is the real origin of all creation. Based in Taiwan, ASAKU ® has been created for thirty years, with a whole world view and an abundance of characters. Through a different creation method, one series of animation from ASAKU ® is presented with a solution proposed. This literature is about collecting and editing materials, which shall be divided into three sections: the first part is the creation history of ASAKU ® that represents the evolution of the ACG industry in Taiwan for the past thirty years; the second part is the adaptation of Realtime Render and Acting with Sound in creation; and the last part is to present the result of the creation study and to infer a conclusion.
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Jun-Ze, Huang. "Speech-Driven 3D Facial Animation." 2006. http://www.cetd.com.tw/ec/thesisdetail.aspx?etdun=U0001-2407200613525500.
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Huang, Jun-Ze, and 黃鈞澤. "Speech-Driven 3D Facial Animation." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/22243033424866606258.
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碩士國立臺灣大學
資訊管理學研究所
94
It is often difficult to animate a face model speaking a specific speech. Even for professional animators, it will take a lot of time. Our work provides a speech-driven 3D facial animation system which allows the user to easily generate facial animations. The user only needs to give a speech as the input. The output will be a 3D facial animation relative to the input speech. Our work can be divided into three sub-systems: One is the MMM (multidimensional morphable model). MMM is build from the pre-recorded training video using machine learning techniques. We can use MMM to generate realistic speech video respect to the input speech. The second part is Facial Tracking. Facial Tracking can extract the feature points of a human subject in the synthetic speech video. The third part is Mesh-IK (mesh based inverse kinematics). Mesh-IK takes the motion of feature points as the guide line to deform 3D face models, and makes the result model have the same looking in the corresponding frame of the speech video. Thus we can have a 3D facial animation as the output. Facing Tracking and Mesh-IK can also take a real speech video or even a real expression video as the input, and produce the corresponding facial animations.
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Wei, Shu-Chen, and 韋淑貞. "Animation of 3D facial expressions." Thesis, 1993. http://ndltd.ncl.edu.tw/handle/38931393795866396065.
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Abdelhay, Khaled. "3D character animation using geometric constraints." Thesis, 2008. http://spectrum.library.concordia.ca/975728/1/MR40935.pdf.
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3D character animation is a very challenging field as it requires understanding of two different paradigms: fine arts and computer science. Currently there are many techniques used for animation authoring such as key framing, motion capture, non-linear editing, and forward and inverse kinematics. A limiting factor shared between current animation techniques is that they represent animation as a series of translation and rotation without considering other important aspects such as the rational of the motion, geometrical constraints between characters acting in the scene, or even between a character and his environment. For example, "standing" on floor indicates that both feet touch and parallel to floor. In this thesis I studied the foundations of classical and computer character animation, and then proposed using 3D geometric constraints as another method to represent animation. The method aims at capturing character's posture by a set of geometrical constraints and satisfying them using numerical methods. Maya plug-in has been implemented to build and solve symbolic geometric constraints for simple skeleton. The thesis includes a discussion on the results, usability and limitations of the proposed solution
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Chung, Hua-Chiang, and 鍾華強. "Fast Fluid Animation in 3D Environments." Thesis, 2002. http://ndltd.ncl.edu.tw/handle/84739702797110795048.
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Huang, Shih-Chia, and 黃士家. "3D Computer Animation in Astronomy Visualization." Thesis, 1998. http://ndltd.ncl.edu.tw/handle/16634389532797736873.
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Ferreira, Anabel Cristina Alves. "3D Character Animation Using Sign Language." Dissertação, 2017. https://repositorio-aberto.up.pt/handle/10216/106073.
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"3D Animation: Creating An Experiential Environment." East Tennessee State University, 2004. http://etd-submit.etsu.edu/etd/theses/available/etd-0719104-174201/.
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LI, TZU-CHIANG, and 李子強. "The Creation of 3D Animation – “Audition”." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/29ewy9.
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碩士國立臺灣藝術大學
多媒體動畫藝術學系動畫藝術碩士班
107
I like to indicate the mistakes that junior animators make easily by my animation. Let the student who wants to be an animator thinks what is incorrect in my exaggerated character animation, such as walk cycle, weight shifting, grab, and gimbal lock. Also help them to avoid these animation mistakes when they animate in the studio or company in the future. In my animation, the main character gets a role because his imperfect performance after the audition, the main concept of my animation is that we should never give up even we are not perfect. We never know what will happen tomorrow, we just need to do our best. This thesis includes two parts which are research of character performing and the workflow of my animation. The workflow includes storyboards, character design, and art.
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Chuan, Le，Wei, and 樂偉全. "3D Computer Animation “Little Bird” Dissertation." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/49098545725034253095.
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碩士國立臺灣藝術大學
多媒體動畫藝術學系碩士班
99
3D computer animation springing up with hardware technology progress and software capability strength is integrated with different category materials and extremely applied to various media such as movie, advertisement etc. but hard to notice immediately around audience daily life finding everywhere nowadays. United States is the pioneer and leader of 3D computer animation development. The development in early stage focus on realistic skills and recent years expands to diverse scopes presenting multiple artistry and luxury styles arousing the probing motivation coming with the decision to make full 3D computer animation movie. The dissertation inspiration and central thought is the needs of comprehensive review the existing solitude and social problems the aged persons facing which might transforming no matter from economic changes or social culture value transition retracing the situation in Taiwan all around meanwhile the globe is facing the challenging aging society population difficulty. 《Little Bird》animation dissertation describes the aged scientific living in solitude having interacts with the external world out of the house and closed life changes through the exploring experience bringing back from the machine bird. Integrated both 2D hand draw and 3D computer graphing advantages, the content is based on 3D computer animation intermixing with 2D hand draw mapping utilizing 3D computer graphing lighting strength to emphasis the artistry and atmosphere in the movie to differentiate from singular using of computer graphing. It hopes may stimulate the increasing attention of aged persons living in solitude from the society and making the audience thinking in further regarding the social phenomenon by presenting the story scheme. Key words: 3D computer animation, aged, solitude, living alone
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Jang, Guo-shi, and 張國璽. "The “Mona Lisa” Into 3D Animation." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/74093398413923743644.
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碩士開南大學
資訊傳播學系
100
Composition of the paintings are mostly one-way view. This research aims to make "Mona Lisa" painting into 3D,capable of multi-faceted view the principle of binocular disparity. The personal feeling is taken from the physical experience of psychological feelings , and 2D plane of the viewer a new experience. Using the 3D model and the original painting, the form of image is rendered. Using low-precision model of ZBrush to refurbish into a high-precision model .Use ZBrush special mapping software to built-in itself . The Maya’s UV map complement each other at the complete uv model. Because single portrait with the 3D model is not sufficient for the front and side of the map, we use the photoshop software image through the single "Mona Lisa " painting, to process the front and side of the map, to conform to the original painting as a key, create graphics for uv model which lacks texture . Moreover , to retopolopy a new 3D model and relocate the new UV to facilitate the production of new maps and to ensure the UV map to a new location accuracy. Finally, Maya software compositing is used with After Effects video editing software. This study purports to transform 2D drawings with 3D methods applying to most graphics to make more new visual experiences.
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Lin, Chun-Hao, and 林峻豪. "3D Motion Analysis For Animation Parameterization." Thesis, 2004. http://ndltd.ncl.edu.tw/handle/57671363119021624111.
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碩士國立成功大學
資訊工程學系碩博士班
92
Vivid 3D animation often needs the professional artist spending lots of time to construct. The more detail the animation contains, the more information it shall store. The huge size of the information brings the problem of storing, transferring and displaying the animation. Fine analysis and parameterization of the animation will help to compress the data. Therefore, animation analysis and parameterization plays an important role in the area of computer animation. In this paper, our method is based on the Principle Component Analysis (PCA). We use PCA to analysis the entire sequence of animation in the first step. With the analyzed data and motion similarity we propose, we can decompose the animated model into many small regions. Then we apply PCA again on each region. Because each vertex in the same region has similar motion characteristic, the second pass PCA can reconstruct the animation with less data than that of the first pass PCA. The higher compression rate is expected and the parameterization of animation can describe the characteristics of the motion in the entire animation more precisely.
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Ferreira, Anabel Cristina Alves. "3D Character Animation Using Sign Language." Master's thesis, 2017. https://repositorio-aberto.up.pt/handle/10216/106073.
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Tsai, Hung-Wen, and 蔡鴻文. "The research and creation of blended animation by 2D handy-sketched animation and 3D computer animation." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/kg4g6d.
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碩士國立臺灣師範大學
設計研究所
96
Abstract The technique of 2D handy-sketched animation is becoming matured; also the invention of 3D computer animation brings the animation a new era. Animation artists try to adopt two distinctive techniques/forms for artwork creation. 2D handy-sketched animation is superior both in presenting multi visual styles and character animation. Hopefully, the animation creation is expected to be more of sense-of-aesthetics by proper including the principles of 3D computer animation. The ability of objects simulating and virtual space constructing are primary merits of 3D computer animation. Camera manipulating is 3D-based which can not be accomplished under tradition animation operation mode. In stead of frame-by-frame drawing in 2D handy-sketched animation, 3D computer animation renders in-between frames by key frames. This assures the efficiency. From literature reviewing and video films analysis of 2D-included 3D computer animations, it is a tendency that character animation is usually completed by 2D handy-sketched whereas stuffs such as mechanic equipment, traffic facility are constructed mostly by 3D techniques. To be consistent with 2D handy-sketched characters, the scene should be rendered in cartoon fashion. Additionally, to coordinating with 3D virtual camera, the sketched background ought to be considered and represented in 3D manner. This study intends to extract the blending principle of two differential animations. By experiencing the harmony of traditional 2D handy-sketched and 3D computer, the researcher expects to provide the varieties of visual art styles.
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CHIEH-CHI, LI, and 李傑琦. "3D animation research for Anthropomorphism of wheeled vehicles - A "planetary rover" Animation." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/61881925325476103213.
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碩士國立臺南大學
動畫媒體設計研究所
103
In this study, the anthropomorphic expressions were analyzed by different type of wheeled vehicle based animation included vehicle styles and action performance. The rigging tool of MAYA 3D software was used in this animation for producing the anthropomorphic space vehicles. The emotion expression analysis was applied to this animation creation. This is a realist style animation should pay attention for the realistic animation performance. The rigging mainly used in characters or creatures and be less used in mechanical tool such as wheeled vehicles. In this animation, the protagonist is a planetary rover with six wheels structure. The Rigging is used in non-biological organism tend to focus on the relevance between each part of object and its mutual interlocking relationship. Rigging a car needs to understand mechanism and structure of the car. Rigging tool includes the skeleton function, parents, the axis positioning, as well as extensive use of constraint for gearing. The expression and mel were also used in program setting for reducing setting procedures. The Rigging will give the benefit to animation production and increase the production efficiency.
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Chun-chi, Huang. "Vision-based Interactive 3D Character Animation System." 2006. http://www.cetd.com.tw/ec/thesisdetail.aspx?etdun=U0001-2407200620383900.
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Chen, Si-Lun, and 陳希綸. "Unsteady Flow Simulation for 3D Computer Animation." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/12451215671176617837.
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碩士龍華科技大學
電子工程系碩士班
100
Nowadays, computer animation technologies play more and more important roles in movies. Using computer animation technologies, visual effects, required in movies, can be created. This method is very useful, especially for scenes cannot shoot by camera. Computer animation technologies are also used to create characters and scenes don’t exist in real world, such as the flood in the movie “2012” and the unrealistic character in the movie “The Curious Case of Benjamin Button.” Flow simulation is an important topic in computer animation. Realistic unsteady flow can be obtained using computer simulation. It can be applied to create visual effect scenes of water and smoke. This paper studies two flow simulation methods, respectively based on particle method and continuum mechanics, for computer animation. Techniques to create better results are also discussed. Furthermore, computer animation with water flood and exploding smoke are created using these methods.
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Lin, Wei-Cheng, and 林偉成. "Progressive Animation for Dynamic 3D Mesh Sequences." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/17154213982464775035.
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碩士中原大學
資訊工程研究所
97
Dynamic 3D mesh sequences, which are also called 3D animation, have been widely used in the movie and gaming industries. Because the 3D models are more complex and high resolution, the large requirements of dynamic mesh data make it difficult for a number of applications such as rendering, transmitting over a network. Based on universal media access (UMA), providing a suitable resolution according to characteristics of the end user’s terminal environment is needed. This paper proposes a multiresolution representation for 3D animation. The proposed representation correlates both geometry and connectivity for refining the coarse animation. This method transforms traditional 3D animation representation into a more compact format that takes up less storage space. The main idea is to reconstruct the most important components and coarse model first, which are called base animation, and then to load the refined model with less important components as the refining operators. In addition, because considerable preprocessing is carried out during the encoding stage, this method can achieve real-time rendering, lower memory requirements, and less computation time during the decoding stage. There are two kinds of refined operators, the one is refining the geometry part and the other is refining the connectivity part. After the simplification, the base animation appears by only few faces. More detailed or highly resolution animation appears by using 80% of original faces, but only requires 3% of original storage space. Our method based on progressive concept, getting more refined animation via refined operators during playing the animation. Consequently, this approach enables a continue level of detail for dynamic 3D mesh sequences.
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Huang, Chun-chi, and 黃俊棋. "Vision-based Interactive 3D Character Animation System." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/94666097073419720115.
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碩士國立臺灣大學
資訊工程學研究所
94
This thesis proposes a performance animation system controlled by upper body motion under a restricted workspace environment. The upper body motion are obtained from a markerless vision-based arm tracking system. Since 3D pose information derived from vision is often coarse and inexact, we apply a filter to reduce noise. After noise reduction, the motion signal can be used to directly control the animation of the upper body of the avatar, or be recognized as motion command to assign motion to the avatar. The motion control of our system is divided into two parts, the upper body and the lower body. The upper body motions of avatar can be controlled by control signal from filtered vision input, or they can be motion capture data selected by command signal from motion recognition, or they can be the mixture of two. The motions of lower body are motion capture data automatically selected by motion recognition of filtered vision input. The combined motion of the upper and the lower body may not be physically plausible. To solve this problem, we propose a two level motion integration framework. In each level, we use Kalman filters to smooth the combined motion and then revise it by imposing constraints. The combined motions are processed by the framework to ensure that they are not only smooth but also physically plausible.
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Chang, Chih-Han, and 張智涵. "Hibakusha－Interpretation of Loneliness by 3D Animation." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/ee6pxu.
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碩士實踐大學
時尚與媒體設計研究所
102
Hibakusha is an animation based on a fictional story. The story took place in a city once stroke by tsunami and nuclear disaster. A gigantic monster which no one knew its origin existed in the city. The mysterious creature was trapped in this city, where had been long abandoned by mankind. Its only companion died long ago and all left was a pile of bones. The monster guarded the bones with care. At first, the monster thought that life like this would last forever. Not until a little boy’s accidentally break-in did the monster start to believe that it might have a chance to escape from its current situation… The story was inspired by the social phenomena after what had happened in north-east Japan in March 11th, 2011. After the earthquake hit and later induced the nuclear disaster, victims in Fukushima were evacuated to other places in Japan. However, their misfortune brought them even more discrimination and hostility because the society was afraid of the spread of nuclear pollution since these victims might be contaminated by nuclear radiation. Their unfortunate experiences were similar to Hibakusha. Hibakusha were survivors of the atomic-bombs’ attack in Nagasaki and Hiroshima during WWII. Although citizens in Fukushima have been evacuated to safe places, there were still many animals left in the area and were forgotten by the world. All these hostile suffers and abandoning reminds me of my own lonely experiences back in high school and hence the story was created. The story was first created as a picture book and then drawn into a 3D work. The animation combines both experiences of the victims of Fukushima and my own. I hope my work could bring out readers’ compassion to care more about people around them. Only if everyone starts to care more will the gap between people be enclosed. There might be someone forgotten by others and is now under the torture of loneliness wait for attention and warm draw by others.