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Dissertations / Theses on the topic 'Computer animation Animation (Cinematography)'
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1
Timmerman, Jo Anna. "Character animation with a computer /." Online version of thesis, 1989. http://hdl.handle.net/1850/11297.
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2
Safuoglu, Hikmet. "Within normal limits /." Online version of thesis, 1991. http://hdl.handle.net/1850/11610.
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3
Albright, Laura Beth. "2D spatial design principles applied to 3D animation a proposed toolset for filmmakers /." Columbus, Ohio : Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1230703092.
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4
Cotrupe, Jacqueline M. "The moving image /." Online version of thesis, 1988. http://hdl.handle.net/1850/11506.
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5
Noiman, Jay Victor. "The joker is wild /." Online version of thesis, 1987. http://hdl.handle.net/1850/8822.
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6
Rollins, Donna Lee. "Imagination makes things perfect /." Online version of thesis, 1990. http://hdl.handle.net/1850/11640.
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7
Gamble, Chuck. "Shadow puppets /." Online version of thesis, 1992. http://hdl.handle.net/1850/11077.
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8
Cone, Jonathan. "Chinchi and Eleanor /." Online version of thesis, 2010. http://hdl.handle.net/1850/11978.
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9
Boris, Dale Frances. "Interactive animated children's story /." Online version of thesis, 1989. http://hdl.handle.net/1850/11503.
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10
Rogers, Douglas E. "Self fish /." Online version of thesis, 2010. http://hdl.handle.net/1850/11675.
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11
Lemon, Nicole E. "Previsualization in Computer Animated Filmmaking." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1345569188.
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12
Albright, Laura Beth. "2D Spatial Design Principles Applied to 3D Animation: A Proposed Toolset for Filmmakers." The Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=osu1230703092.
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13
Sloan, Robin J. S. "Emotional avatars : choreographing emotional facial expression animation." Thesis, Abertay University, 2011. https://rke.abertay.ac.uk/en/studentTheses/2363eb4a-2eba-4f94-979f-77b0d6586e94.
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As a universal element of human nature, the experience, expression, and perception of emotions permeate our daily lives. Many emotions are thought to be basic and common to all humanity, irrespective of social or cultural background. Of these emotions, the corresponding facial expressions of a select few are known to be truly universal, in that they can be identified by most observers without the need for training. Facial expressions of emotion are subsequently used as a method of communication, whether through close face-to-face contact, or the use of emoticons online and in mobile texting. Facial expressions are fundamental to acting for stage and screen, and to animation for film and computer games. Expressions of emotion have been the subject of intense experimentation in psychology and computer science research, both in terms of their naturalistic appearance and the virtual replication of facial movements. From this work much is known about expression universality, anatomy, psychology, and synthesis. Beyond the realm of scientific research, animation practitioners have scrutinised facial expressions and developed an artistic understanding of movement and performance. However, despite the ubiquitous quality of facial expressions in life and research, our understanding of how to produce synthetic, dynamic imitations of emotional expressions which are perceptually valid remains somewhat limited. The research covered in this thesis sought to unite an artistic understanding of expression animation with scientific approaches to facial expression assessment. Acting as both an animation practitioner and as a scientific researcher, the author set out to investigate emotional facial expression dynamics, with the particular aim of identifying spatio-temporal configurations of animated expressions that not only satisfied artistic judgement, but which also stood up to empirical assessment. These configurations became known as emotional expression choreographies. The final work presented in this thesis covers the performative, practice-led research into emotional expression choreography, the results of empirical experimentation (where choreographed animations were assessed by observers), and the findings of qualitative studies (which painted a more detailed picture of the potential context of choreographed expressions). The holistic evaluation of expression animation from these three epistemological perspectives indicated that emotional expressions can indeed be choreographed in order to create refined performances which have empirically measurable effects on observers, and which may be contextualised by the phenomenological interpretations of both student animators and general audiences.
14
Louarn, Amaury. "A topological approach to virtual cinematography." Thesis, Rennes 1, 2020. http://www.theses.fr/2020REN1S063.
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La recherche dans le domaine de la cinématographie virtuelle s'est essentiellement focalisée sur des aspects précis de la cinématographie mais n'ont pas adressé les nombreuses interdépendances entre les entités d'une scène. En effet, alors que la majorité des approches prennent en compte le fait que les caméras et lumières sont contraintes par les acteurs, elles oublient que les acteurs sont aussi contraints par les caméras et des lumières. Dans cette thèse, nous adressons ces interdépendances en modélisant les relations partagées par les entités et la topologie de l'environnement. Pour ce faire, nous proposons un langage permettant de décrire formellement une scène avec des contraintes de haut niveau qui représentent les relations des entités, auxquelles sont associés des opérateurs formels permettant d'appliquer ces contraintes géométriquement. Notre seconde contribution est un système de mise en scène cinématographique qui génère des configurations de mises en scène dans un environnement virtuel à partir d'une description écrite dans notre langage formel. Notre troisième contribution est un système de placement de caméras en temps réel générant des rails de caméras dans un environnement virtuel qui sont ensuite utilisés pour guider la caméra en temps réel<br>Research in the domain of virtual cinematography has mostly focused on specific aspects of cinematography but fail to take into account the interdependencies between all the entities in the scene. Indeed, while most approaches take into account the fact that the cameras and lights are constrained by the characters, most fail to acknowledge that the characters are also constrained by the cameras and lights. In this thesis we tackle these interdependencies by modeling the relations between the entities and the topology of the environment. To this end, we propose a language to be used to formally describe a scene thanks to high-level constraints that represent entity relations, to which are associated formal operators that can be used to enforce these constraints through geometry. Our second contribution is a cinematographic staging system that generates staging configurations in a virtual environment thanks to a description written in our formal language. Our third contribution is a real-time camera placement system that builds on a subset of our formal language and generates camera tracks in a virtual environment to be used to guide the camera in real-time
15
Roome, John William. "Creative applications of basic computer software: a practice-led exploration of visual art and design thinking drawing and animation." Thesis, Cape Peninsula University of Technology, 2013. http://hdl.handle.net/20.500.11838/1336.
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Thesis
submitted
in
fulfilment
of
the
requirements
for
the
degree
Doctor
of
Technology:
Design
in
the
Faculty
of
Informatics
and
Design
at
the
Cape
Peninsula
University
of
Technology
2013<br>Digital
drawing
and
animation,
using
basic
computer
software,
opens
up
new
possibilities
in
creative
practice-‐led
research.
The
digital
medium,
with
its
relative
ease
of
reproduction
and
storage
of
images,
facilitates
a
reflective
method
of
thinking-‐while-‐
drawing,
thereby
stimulating
the
creative
process
and
providing
a
unique
means
of
reflection-‐in-‐action.
The
computer’s
ability
to
record
images
allows
for
temporal
disruption,
providing
possibilities
for
exploring
alternative
creative
solutions
as
well
as
retrospective,
reflection-‐on-‐action.
This
thesis
presents
an
interrogation
of
the
researcher’s
creative
practice,
as
well
as
the
findings
and
creative
artefacts
of
other
relevant
practitioners
in
the
field
of
digital
drawing,
animation,
and
related
creative
activities.
A
reflexive
methodology
was
used
to
investigate
the
relationship
between
making,
doing,
and
knowing
in
creative
practice.
The
findings
are
supported
by
creative
outputs
(making),
reflection
on
the
creative
process
in
relation
to
supporting
literature
(doing),
and
knowledge
resulting
from
this
reflection
together
with
related
theoretical
research
(knowing).
The
research
revealed
that
digital
drawing
and
animation
supports
new
modes
of
making
resulting
in
the
production
of
original
creative
artefacts.
It
was
further
revealed
that
in
relation
to
“doing”,
the
digital
medium
supports
reflective
practice
by
enabling
the
creative
practitioner
to
document
and
reflect
on
these
outputs
both
during
and
after
making.
The
resulting
reflexive
actions
combined
with
theoretical
research
lead
to
revelations
concerning
the
relationship
between
thinking
and
drawing
when
using
digital
media
as
well
as
in
a
broader
sense.
The
study
thus
contributes
insights
concerning
art
and
design
thinking,
and
makes
a
contribution
to
new
developments
in
visual
arts
and
design
research.
Practice-‐led
research
introduces
a
theoretical
paradigm
that
has
methodological
implications
particularly
in
the
context
of
the
current
re-‐structuring
and
transformation
of
art
and
design
education
at
South
African
Universities
of
Technology.
The
findings
indicate
that
digital
drawing
and
animation
can
encourage
a
critical
and
reflective
approach
not
only
in
the
work
of
creative
practitioners
by
supporting
new
modes
of
making,
but
that
it
also
has
positive
implications
for
visual
arts
research
and
teaching.
In
this
regard
the
research
highlights
the
need
for
promoting
the
integration
of
theory
and
practice
in
visual
arts
and
design
education
curricula.
16
Hale, Ryan Nathan. "INTIMATE CINEMA: AVANT-GARDE FILM INFLUENCING A BIOGRAPHICAL STORY OF DISCOVERY IN COMPUTER ANIMATION." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1306950792.
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Chow, Ka Nin. "An embodied cognition approach to the analysis and design of generative and interactive animation." Diss., Georgia Institute of Technology, 2010. http://hdl.handle.net/1853/34695.
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Animation is popularly thought of as a sequence of still images or cartoons that produce an illusion of movement. However, a broader perspective of animation should encompass the diverse kinds of media artifacts imbued with the illusion of life. In many multimedia artifacts today, computational media algorithmically implement expanded illusions of life, which include images not only moving, but also showing reactions to stimuli (reactive animation), transforming according to their own internal rules (autonomous animation), evolving over a period of time (metamorphic animation), or even generating varying instances subject to user intervention or chance (contingent animation).
Animation in the digital age consists of forms as varied as computer-generated imagery (CGI) in films, motion graphics on interactive multimedia websites, animated contents of video games, graphical interfaces of computer systems, and even digital signage in communal areas. With these forms, the new animation phenomena emerge from entertainment media, functional designs, and expressive works alike, all of which may engage viewers' sensory perceptions, cognitive processes, as well as motor actions.
Hence, the study and creation of animation now requires an interdisciplinary framework, including (1) insights from perceptual psychology and animation studies about animacy, (2) theories of conceptual blending from cognitive science applied to understanding images, (3) notions of embodiment and temporality in phenomenological approaches to human-computer interaction (HCI), and (4) new interpretations of liveness in performance studies accounts of computer-mediated performance. These emergent ideas jointly characterize the new role of animation in media, and produce new possibilities for more embodied, evocative, and affective forms of generative and interactive animation.
18
Rogers, Brendan. "Technique arms the imagination developing an acting theory best suited for motion capture performance and the creation of a virtual character." Master's thesis, University of Central Florida, 2011. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5029.
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The untrained body, like the sculptor's marble, can express nothing but its own limitations (Lust 70). As acting styles have changed through the years, corresponding schools of thought have arisen to prepare performers for their unique challenges. Perhaps the goal of producing a "gripping performance," one in which the audience is truly invested, has remained the same since the time of Thespis. How one arrives at this desired result, however, has varied greatly through the ages. Techniques, not surprisingly, tend to build on previous theories, beliefs and practices. Etienne Decroux's corporeal mime technique builds on the teachings of Jacques Copeau, but as a result, takes the art form into a radically new direction. Vsevolod Meyerhold studied with Stanislavski, learning his inside-out approach to performance, and, with biomechanics, creates a performance technique that turns Stanislavski's approach on its head. The point is not that these theorists developed something that undermines the previous work, but that they built their theories from knowledge of older techniques. In essence, these theorists learned from the past to prepare for the future. Advancements in film technology have dramatically changed both the nature of film, and performance, itself. Computer-generated characters and environments are becoming more commonplace in film due to the flexibility they provide in composing shots, and the relatively low price tag that comes with them. Technology still can't replace the subtlety that comes from a human performance, so currently, actors find themselves in the unique position of having one foot in the real world and the other foot in the virtual world. The motion-capture process, or moCap, is the best example of this unique relationship.; By placing sensors at key joints on an actor's body, their performance can be tracked by a computer and then directly applied to a computer-generated model (Hooks 30). In a sense, it's digital puppetry. Because only the movements are being recorded and not the actor's physical appearance, performers can play parts that are not necessarily their physical type or even their own species. Director Peter Jackson cast Andy Serkis to play a forty-foot-tall ape in the 2005 remake of King Kong, and thanks to the motion-capture process, the result is a perfect blend of live acting and computer-generated graphics. The relatively low cost and flexibility of this process has made it available, not just to filmmakers in Hollywood, but also to the independent market. I am currently directing a feature length film that utilizes both computer-generated backgrounds and virtual characters accomplished through the motion-capture process. This production has been in the works since I started graduate school. As I learn more and more about specific acting techniques in class, I am always looking for something that I could apply specifically to motion-capture performance. Currently there is little research on the topic and certainly, there's no specific acting theory that applies to this medium. In this paper I hope to formulate an acting technique that is tailored for the field of motion-capture performance, building upon theories of the past. Further study in this technique will better prepare future performers in this field, as well as provide insights for directors new to the medium. The following three techniques in particular, each with their emphasis on an outside-in approach to acting, will provide the basis for this theory: Meyerhold's biomechanics; Decroux's corporeal mime; and Edward Gordon Craig's uber-marionette concept.; I will provide detailed sections on each one of these approaches, discussing the theoretical sides of each, as well as specific exercises students in these schools are asked to perform. Next, I will provide a detailed section on the motion-capture process, discussing how it works and the challenges it presents to performers. Finally I will apply each one of the three theories to the motion-capture process, finding points where the theories apply and also where they fall short. By choosing specifically what applies to the moCap process from each one of the techniques, we will be left with a new theory that specifically relates to virtual performance. This will not only serve as an invaluable guide to both future performers and directors entering the field of motion capture, but will hopefully be the beginnings of an acting theory that can bring performance education programs into the 21st century. Working in the virtual realm requires a performer to use his imagination, but having training and knowledge in theories of the past will mean the imagination is not the only thing actors have to work with.<br>ID: 030422726; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Thesis (M.F.A.)--University of Central Florida, 2011.; Includes bibliographical references (p. 88-92).<br>M.F.A.<br>Masters<br>Theatre<br>Arts and Humanities<br>Acting
19
Glass, Kevin Robert. "Automating the conversion of natural language fiction to multi-modal 3D animated virtual environments." Thesis, Rhodes University, 2009. http://hdl.handle.net/10962/d1006518.
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Popular fiction books describe rich visual environments that contain characters, objects, and behaviour. This research develops automated processes for converting text sourced from fiction books into animated virtual environments and multi-modal films. This involves the analysis of unrestricted natural language fiction to identify appropriate visual descriptions, and the interpretation of the identified descriptions for constructing animated 3D virtual environments. The goal of the text analysis stage is the creation of annotated fiction text, which identifies visual descriptions in a structured manner. A hierarchical rule-based learning system is created that induces patterns from example annotations provided by a human, and uses these for the creation of additional annotations. Patterns are expressed as tree structures that abstract the input text on different levels according to structural (token, sentence) and syntactic (parts-of-speech, syntactic function) categories. Patterns are generalized using pair-wise merging, where dissimilar sub-trees are replaced with wild-cards. The result is a small set of generalized patterns that are able to create correct annotations. A set of generalized patterns represents a model of an annotator's mental process regarding a particular annotation category. Annotated text is interpreted automatically for constructing detailed scene descriptions. This includes identifying which scenes to visualize, and identifying the contents and behaviour in each scene. Entity behaviour in a 3D virtual environment is formulated using time-based constraints that are automatically derived from annotations. Constraints are expressed as non-linear symbolic functions that restrict the trajectories of a pair of entities over a continuous interval of time. Solutions to these constraints specify precise behaviour. We create an innovative quantified constraint optimizer for locating sound solutions, which uses interval arithmetic for treating time and space as contiguous quantities. This optimization method uses a technique of constraint relaxation and tightening that allows solution approximations to be located where constraint systems are inconsistent (an ability not previously explored in interval-based quantified constraint solving). 3D virtual environments are populated by automatically selecting geometric models or procedural geometry-creation methods from a library. 3D models are animated according to trajectories derived from constraint solutions. The final animated film is sequenced using a range of modalities including animated 3D graphics, textual subtitles, audio narrations, and foleys. Hierarchical rule-based learning is evaluated over a range of annotation categories. Models are induced for different categories of annotation without modifying the core learning algorithms, and these models are shown to be applicable to different types of books. Models are induced automatically with accuracies ranging between 51.4% and 90.4%, depending on the category. We show that models are refined if further examples are provided, and this supports a boot-strapping process for training the learning mechanism. The task of interpreting annotated fiction text and populating 3D virtual environments is successfully automated using our described techniques. Detailed scene descriptions are created accurately, where between 83% and 96% of the automatically generated descriptions require no manual modification (depending on the type of description). The interval-based quantified constraint optimizer fully automates the behaviour specification process. Sample animated multi-modal 3D films are created using extracts from fiction books that are unrestricted in terms of complexity or subject matter (unlike existing text-to-graphics systems). These examples demonstrate that: behaviour is visualized that corresponds to the descriptions in the original text; appropriate geometry is selected (or created) for visualizing entities in each scene; sequences of scenes are created for a film-like presentation of the story; and that multiple modalities are combined to create a coherent multi-modal representation of the fiction text. This research demonstrates that visual descriptions in fiction text can be automatically identified, and that these descriptions can be converted into corresponding animated virtual environments. Unlike existing text-to-graphics systems, we describe techniques that function over unrestricted natural language text and perform the conversion process without the need for manually constructed repositories of world knowledge. This enables the rapid production of animated 3D virtual environments, allowing the human designer to focus on creative aspects.
20
Lucena, Júnior Alberto. "Hipercinema : elementos para uma teoria formalista do cinema de animação hiperrealista." [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284589.
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Orientadores: Antonio Fernando da Conceição Passos, Marcello Giovani Tassara<br>Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-21T08:12:31Z (GMT). No. of bitstreams: 1
LucenaJunior_Alberto_D.pdf: 14069485 bytes, checksum: 0faaf35a9f1dd903e00f992649686519 (MD5)
Previous issue date: 2012<br>Resumo: A pesquisa almeja formular uma teoria estética para o cinema de animação hiperrealista. Após completar meio século de existência, a computação gráfica finalmente alcançou um estágio tecnológico no qual o artista dispõe de ferramentas poderosas e flexíveis o suficiente para enfim encarar o desafio de criar filmes com imagens realistas sintéticas absolutamente convincentes. Impõe-se, entretanto, a necessidade de fundamentação estética para fornecer o apoio artístico capaz de colaborar para o êxito expressivo desse novo cinema, tanto no trabalho de produção quanto na avaliação crítica. Para tanto o estudo empreende uma investigação do desenvolvimento da arte desde sua origem a fim de situar, seja na arte fixa ou na arte móvel, o lugar da forma realista e verificar as exigências formais que transformam uma imagem de alto nível icônico em obra de arte<br>Abstract: The research aims to formulate an aesthetic theory for the hyperrealist animated film. After completing half a century, computer graphics has finally reached a technology stage in which the artist has powerful and flexible tools to finally face the challenge of creating films with realistic synthetic images absolutely convincing. It must be, however, the need for aesthetic reasons to provide artistic support able to contribute to the expressive success of this new cinema, both in production work and in critical evaluation. For that, the study undertakes an investigation of the development of art from its origin in order to place, whether in still art or moving one, the place of realistic form and check the formal requirements that make a high-level iconic picture into the work of art<br>Doutorado<br>Multimeios<br>Doutor em Multimeios
21
Heban, Thomas Edward. "Representations of Scale and Time: Reinterpreting Cinematic Conventions in Digital Animation to Create a Purposeful Visual Language." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1430399136.
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22
Pappas, Michael A. "Experimental animation." Virtual Press, 1994. http://liblink.bsu.edu/uhtbin/catkey/917014.
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The primary objective of this creative project was to explore and analyze the centuries old technique of animation. The investigation of the material included both text and also visual material such as existing films, videos and interviews.This body of work consisted of a variety of animation techniques combined into one film, a zoetrope with five hand-drawn strips and various forms of merchandise (stickers, bumper stickers and a t-shirt) based on the animation.The goal for this project was to convey the idea that animation is an unlimited field that is always open to new and exciting innovations. The author wanted to express the technique, rather than a plot or some concept to the viewer, with the intent that the viewer will be inspired to also experiment with animation.<br>Department of Art
23
Stainback, Pamela Barth. "Computer animation : the animation capabilities of the Genigraphics 100C /." Online version of thesis, 1990. http://hdl.handle.net/1850/11460.
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24
Jerlardtz, Emilia. "Anatomy and Animation: Anatomically Based Animation Skeletons for Quadrupeds." Thesis, Högskolan i Gävle, Avdelningen för Industriell utveckling, IT och Samhällsbyggnad, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-13442.
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Constructing animation skeletons for quadrupeds is a complicated process, and knowing how to construct an animation skeleton for one type of quadruped does not guarantee the ability to effortlessly do so for another. This project explores how anatomy may easy the task of quadruped animation skeleton setup. Quadruped anatomy has been extensively studied and a method for animation skeleton setup based on anatomical information was explored using Autodesk Maya 2012. This method was based on the assumption that anatomical information could be incorporated into animation skeleton creation, thereby enabling the construction of an animation skeleton structure applicable to quadrupeds of different locomotion. It was discovered that this was hardly the case and the conclusion of this project has been that a better approach to animation skeletons is to construct them depending on the requirements of the project they are intended for rather than seeking to standardise how they should be set up.
25
Montanari, Lucia. "Frattali e computer animation." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2017. http://amslaurea.unibo.it/14685/.
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26
Björklund, Niklas. "Acting in animation." Thesis, University of Gävle, Ämnesavdelningen för datavetenskap, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-4698.
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<p>It is important to remember actors and animators are similar in many respects, but also very different in some. They both frame and provide life to a character, through thoughts and feelings. To obtain a better understanding of how professional animators work and what methods they use, this thesis contains general background information on animation and the Principles in Animation, as well as the analysis of acting and the different acting concepts. By studying these methods and utilizing them in my own work, a short animation was developed to visualize a characters personality through his actions. The result was then applied to a questionnaire to determine if the audience could pick out the characters personality only through the animation without dialog, music, or sound. According to the interviewed audience, they could feel some of the characters emotions and pick out some of the inner thoughts and feelings from the animation.</p>
27
Lim, Cheong San. "Christian education utilizing cartoon & animation /." Free full text is available to ORU patrons only; click to view:, 2003. http://wwwlib.umi.com/cr/oru/fullcit?p3112969.
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Applied research project (D. Min.)--School of Theology and Missions, Oral Roberts University, 2003.<br>Includes abstract and vita. Translated from Korean. Includes bibliographical references (leaves 221-230).
28
Kim, Hana 1980. "Multimodal animation control." Thesis, Massachusetts Institute of Technology, 2003. http://hdl.handle.net/1721.1/29661.
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Thesis (M.Eng.)--Massachusetts Institute of Technology, Dept. of Electrical Engineering and Computer Science, 2003.<br>Includes bibliographical references (leaf 44).<br>In this thesis, we present a multimodal animation control system. Our approach is based on a human-centric computing model proposed by Project Oxygen at MIT Laboratory for Computer Science. Our system allows the user to create and control animation in real time using the speech interface developed using SpeechBuilder. The user can also fall back to traditional input modes should the speech interface fail. We assume that the user has no prior knowledge and experience in animation and yet enable him to create interesting and meaningful animation naturally and fluently. We argue that our system can be used in a number of applications ranging from PowerPoint presentations to simulations to children's storytelling tools.<br>by Hana Kim.<br>M.Eng.
29
Pickup, David Lemor. "Example-based water animation." Thesis, University of Bath, 2013. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.607612.
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We present the argument that video footage of real scenes can be used as input examples from which novel three-dimensional scenes can be created. We argue that the parameters used by traditional animation techniques based on the underlying physical properties of the water, do not intuitively relate to the resulting visual appearance. We will present a novel approach which allows a range of video examples to be used as a set of visual parameters to design the visible behaviour of a water animation directly. Our work begins with a method for reconstructing the perceived water surface geometry from video footage of natural scenes, captured with only a single static camera. We show that this has not been accomplished before, because previous approaches use sophisticated capturing systems which are limited to a laboratory environment. We will also present an approach for reconstructing the water surface velocities which are consistent with the reconstructed geometry. We then present a method of using these water surface reconstructions as building blocks which can be seamlessly combined to create novel water surface animations. We are also able to extract foam textures from the videos, which can be applied to the water surfaces to enhance their visual appearance. The surfaces we produce can be shaped and curved to fit within a user's three-dimensional scene, and the movement of external objects can be driven by the velocity fields. We present a range of results which show that our method can plausibly emulate a wide range of real-world scenes, different from those from which the water characteristics were captured. As the animations we create are fully three-dimensional, they can be rendered from any viewpoint, in any rendering style.
30
Yu, Jinhui. "Stylised procedural animation." Thesis, University of Glasgow, 1999. http://theses.gla.ac.uk/6737/.
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This thesis develops a stylised procedural paradigm for computer graphics animation. Cartoon effects animations - stylised representations of natural phenomena - have presented a long-standing, difficult challenge to computer animators. We propose a framework for achieving the intricacy of effects motion with minimal animator intervention. Our approach is to construct cartoon effects by simulating the hand-drawing process through synthetic, computational means. We create a system which emulates the stylish appearance, movements of cartoon effects in both 2D and 3D environments. Our computational models achieve this by capturing the essential characteristics common to all cartoon effects: structure modelling, dynamic controlling and stylised rendering. To validate our framework, we have implemented a cartoon effects system for a range of effects including water effects, fire, smoke, rain and snow. Each effect model has its own static structure such as how the different parts are related temporarily. The flexibility of our approach is suggested most evidently by the high-level controls on shape, colour, timing and rendering on the effects. Like their hand-drawn counterparts, they move consistently while retaining the hand-crafted look. Since the movements of cartoon effects are animated procedurally, their detailed motions need not be keyframed. This thesis therefore demonstrates a powerful approach to computer animation in which the animator plays the role of a high level controller, rather than the more conventional hand-drawing slave. Our work not only achieves cartoon effects animation of un-precedented complexity, but it also provides an interesting experimental domain for related research disciplines toward more creative and expressive image synthesis in animation.
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Thornton, Thomas Lance. "Computer animation of quadrupedal locomotion." Texas A&M University, 2004. http://hdl.handle.net/1969.1/1400.
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A discussion of the theory and methodology for creating believable quadrupedal
locomotion for computer animation applications. The study focuses on a variety of
issues related to producing realistic animal gait animations and includes a case study for
rigging and animating the various gaits of a horse. Visualization of unnatural gaits for
the horse will also be discussed and animated. The process of rigging involves setting
up the character control system in a high-end 3d computer animation program such as
Maya which is used extensively by the computer graphics industry.
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Yun, Hee Cheol. "Compression of computer animation frames." Diss., Georgia Institute of Technology, 1996. http://hdl.handle.net/1853/13070.
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Trout, Terry Thoke. "Design of computer animation languages /." Title page, contents and abstract only, 1990. http://web4.library.adelaide.edu.au/theses/09SM/09smt861.pdf.
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Pullen, Andrew Mark. "Motion development for computer animation." Thesis, University of Cambridge, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.278403.
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Fukuchi, Yoshihiko. "Animation for computer integrated construction." Thesis, Massachusetts Institute of Technology, 1994. http://hdl.handle.net/1721.1/12101.
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Sue, Hoylen. "Implicit models for computer animation." Thesis, University of Sussex, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.259514.
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John, Nigel William. "Techniques for planning computer animation." Thesis, University of Bath, 1989. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.329568.
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Samoylenko, Igor. "Computer animation of deformable bodies." Thesis, University of Bath, 2002. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.269676.
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Earnshaw, Rae A., N. Magnenat-Thalmann, D. Terzopoulos, and D. Thalmann. "Computer animation for virtual humans." IEEE, 1998. http://hdl.handle.net/10454/3505.
Full textAbstract:
Yes<br>Advances in computer animation techniques
have spurred increasing levels of
realism and movement in virtual characters that closely
mimic physical reality. Increases in computational
power and control methods enable the creation of 3D
virtual humans for real-time interactive applications.
Artificial intelligence techniques and autonomous
agents give computer-generated characters a life of
their own and let them interact with other characters
in virtual worlds. Developments and advances in networking
and virtual reality (VR) let multiple participants
share virtual worlds and interact with
applications or each other.
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Seun, Wen Hwa. "Computer animation: time and process." The Ohio State University, 1994. http://rave.ohiolink.edu/etdc/view?acc_num=osu1322071920.
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Hawkins, Stuart Philip. "Video replay in computer animation." Thesis, University of Cambridge, 1990. https://www.repository.cam.ac.uk/handle/1810/250977.
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Achurra, Jeannette M. Arosemena. "Multi-image animation : "Super Hero" /." Online version of thesis, 1989. http://hdl.handle.net/1850/11484.
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Zongker, Douglas. "Creating animation for presentations /." Thesis, Connect to this title online; UW restricted, 2003. http://hdl.handle.net/1773/6862.
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Ezzat, Tony F. (Tony Farid). "Trainable videorealistic speech animation." Thesis, Massachusetts Institute of Technology, 2002. http://hdl.handle.net/1721.1/8020.
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Thesis (Ph. D.)--Massachusetts Institute of Technology, Dept. of Electrical Engineering and Computer Science, 2002.<br>Includes bibliographical references (p. 53-58).<br>I describe how to create with machine learning techniques a generative, videorealistic, speech animation module. A human subject is first recorded using a videocamera as he/she utters a pre-determined speech corpus. After processing the corpus automatically, a visual speech module is learned from the data that is capable of synthesizing the human subject's mouth uttering entirely novel utterances that were not recorded in the original video. The synthesized utterance is re-composited onto a background sequence which contains natural head and eye movement. The final output is videorealistic in the sense that it looks like a video camera recording of the subject. At run time, the input to the system can be either real audio sequences or synthetic audio produced by a text-to-speech system, as long as they have been phonetically aligned. The two key contributions of this work are * a variant of the multidimensional morphable model (MMM) [4] [26] [25] to synthesize new, previously unseen mouth configurations from a small set of mouth image prototypes, * a trajectory synthesis technique based on regularization, which is automatically trained from the recorded video corpus, and which is capable of synthesizing trajectories in MMM space corresponding to any desired utterance. Results are presented on a series of numerical and psychophysical experiments designed to evaluate the synthetic animations.<br>by Tony Farid Ezzat.<br>Ph.D.
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Torstensson, Erik. "Physically-based Real-time Animation." Thesis, Linköping University, Department of Electrical Engineering, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-10076.
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<p>The field of real-time computer animation is undergoing major changes, and many of the methods used to this point are no longer sufficient to achieve the degree of realism that is desired. There is a need for an animation method that provides greater realism, simpler ways to create animations, and more vivid and lifelike virtual creatures. This thesis suggests the possibility of doing that with a physically-based method, by researching current and alternative solutions, developing an architecture for a physically-based system, and describing an implementation of such a system.</p>
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Parker, Richard S. "BRAT - (Blender Rapid Animation Tool)." Thesis, California State University, Long Beach, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=1523073.
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<p> These are exciting times in the world of computer animation. Individual artists can now produce animations which in the past required teams of artists and programmers to create, but the obstacles to an individual artist can still be daunting in terms of required manual input or technical skills. The goal of this thesis is to demonstrate a simple software tool (BRAT - Blender Rapid Animation Tool) which allows an artist to create cartoon-like 3D animations using the artist's 2D drawings, at the touch of a button. It could be useful for any artist producing 3D animations. The tool is a Python script addon to the Blender 3D modeling system. It is a high level program which links to Blender's Python API library of low level calls to automate the manual work normally required by 3D artists to create an animation. The output of BRAT is a 3D animation file showing a character traversing a rectangular matrix of buildings.</p><p> This thesis compares the manual way of creating such an animation with the BRAT automated process. The comparison explains the benefits of using BRAT. This thesis also discusses the design of BRAT and compares it to some other existing 3D software tools whcih also attempt to simplify the 3D animation production process. The conclusion discusses some future enhancements to make BRAT more useful. </p>
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Solomon, Gabriel Jerome. "Computer animation of multi-legged creatures." Thesis, Georgia Institute of Technology, 1993. http://hdl.handle.net/1853/9192.
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Hunter, Jane Louise. "Integrated sound synchronisation for computer animation." Thesis, University of Cambridge, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.239569.
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Van, Baerle Susan Lynn. "Computer-generated, three-dimensional character animation." The Ohio State University, 1985. http://rave.ohiolink.edu/etdc/view?acc_num=osu1166553738.
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Viñolo, Locubiche José Samuel. "El modelo de producción industrial de animación 3D estadounidense." Doctoral thesis, Universitat de Barcelona, 2017. http://hdl.handle.net/10803/405853.
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La irrupción de la animación 3D a mediados de la década de 1990 supuso una de las transformaciones tecnológicas mas rápidas y profundas del audiovisual contemporáneo, con repercusiones que afectaron de manera muy especial los procesos industriales, económicos y artísticos de la animación en los Estados Unidos de América. La presente tesis doctoral se centra en la producción de largometrajes y series estadounidenses realizados con esta técnica de animación entre 1995 y 2015. La investigación intenta determinar hasta qué punto las características económicas, productivas y formales que definen la animación 3D en la industria audiovisual estadounidense permiten considerarlo un modelo de producción institucionalizado y consensuado de normas, valores y prácticas cinematográficas. Para esta tarea, la investigación combina el análisis de las fuentes documentales, los materiales históricos y la recopilación de la bibliografía crítica con diversos enfoques que parten de los ámbitos empresarial, profesional, tecnológico, estético e industrial. La tesis doctoral establece también un marco de referencia en el que se compendian enfoques multidisciplinares y se analiza la riqueza de opciones y posibilidades con las que cuenta el modelo de la animación 3D, al tiempo que se facilitan una serie de herramientas metodológicas que permiten definirlo frente a otros modelos de producción de animación.<br>The emergence of Computer Graphics (CG) animation in the mid-1990s is widely regarded as one of the biggest upheavals in contemporary audiovisual media. This economic, industrial and artistic disruption impacted with particular intensity on the US animation industry’s production processes. This dissertation focuses on CG animation production for feature film and TV series created by American studios between 1995 and 2015. This study examines the extent to which the economic, productive and stylistic characteristics of the American CG animation industry can be considered an institutionalized and recognized production model comprising its own unique set of customs, values and filmmaking practices. To this end, the research utilizes documentary sources, historical materials and a review of critical literature. It uses a range of perspectives drawn from managerial, professional, technological, aesthetic and industrial fields and a framework of multidisciplinary approaches that analyzes the variety of options and modes of the CG animation model. Finally, the study proposes the use of some methodological tools that could serve to define the American CG animation model against other systems of animation production.