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Journal articles on the topic 'Computer animation Animation (Cinematography)'

Author: Grafiati

Published: 4 June 2021

Last updated: 15 February 2022

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1

Junaedi, Hartarto, Mochamad Hariadi, and I. Purnama. "Profiling Director’s Style Based on Camera Positioning Using Fuzzy Logic." Computers 7, no. 4 (2018): 61. http://dx.doi.org/10.3390/computers7040061.

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Machinima is a computer imaging technology typically used in games and animation. It prints all movie cast properties into a virtual environment by means of a camera positioning. Since cinematography is complementary to Machinima, it is possible to simulate a director’s style via various camera placements in this environment. In a gaming application, the director’s style is one of the most impressive cinematic factors, where a whole different gaming experience can be obtained using different styles applied to the same scene. This paper describes a system capable of automatically profile a director’s style using fuzzy logic. We employed 19 output variables and 15 other calculated variables from the animation extraction data to profile two different directors’ styles from five scenes. Area plots and histograms were generated, and, by analyzing the histograms, different director’s styles could be subsequently classified.

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2

Alvarado, Rodrigo García, Gino Alvarez Castillo, Juan Carlos Parra Márquez, and Sergio Navarro Mayorga. "Filmic Development of Architectural Animations." International Journal of Architectural Computing 3, no. 3 (2005): 299–316. http://dx.doi.org/10.1260/147807705775377320.

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This paper proposes a general method to make animated presentations of architectural designs, based on cinematographic techniques. Particularly, it reviews theoretical documenttion about filmmaking as well as several productions that exhibit remarkable locations. The proposed method first comprises of a planning stage, with the narrative and graphic formulation of the presentation. Next is an elaboration or adjustment stage for the digital modelling of the design, and finally, there is an animation production and editing stage. Likewise, the research sets up a computer implementation of some activities and characteristics, and experiments in the programming of camera movements for architectural animations. In general, this work suggests focusing on the communication of the qualitative features of the design, instead of the elaboration of the digital model, and on emphasizing the visual diversity, graphic style and narrative construction of the presentation.

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3

Jha, Sunil Kr, and Stefan Shorko. "Parallax engine for 2D animation in cinematography." Signal, Image and Video Processing 11, no. 3 (2016): 487–91. http://dx.doi.org/10.1007/s11760-016-0985-3.

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4

Magnenat Thalmann, Nadia, and Daniel Thalmann. "Computer animation." ACM Computing Surveys 28, no. 1 (1996): 161–63. http://dx.doi.org/10.1145/234313.234381.

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5

Magnenat-Thalman, N., and D. Thalmann. "Computer animation." Visual Computer 1, no. 4 (1985): 207–8. http://dx.doi.org/10.1007/bf02021808.

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6

Fathoni, Ahmad Faisal Choiril Anam, and Dermawan Syamsuddin. "Perbandingan Metode Depth of Field pada Lensa Kamera Fotografi dengan Efek Lensa pada Software Animasi." Humaniora 4, no. 1 (2013): 177. http://dx.doi.org/10.21512/humaniora.v4i1.3427.

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The knowledge of photography becomes fundamental importance in the understanding of digital cinematography. The work of a good photography is a blend of knowledge and photographic ability (skill) correctly. By learning photography properly, it allows an animator or digital art workers to apply some standard cinematography as well. By knowing the comparison between photography with "photographic" in 3D animation, animators will be easier to create a digital aesthetic standard with the help of the software. This paper discusses the comparison of the use of photographic camera lenses and camera parameters found in animation software 3D Studio Max. The final form is the camera pictures and parameters of used lens with the results of rendering images with the software-related parameter.

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7

Ardiyan, Ardiyan, Melki Sadekh Mansuan, and Juni Putra. "SINEMATOGRAFI ANIMASI DALAM MEDIA VIRTUAL REALITY BERMUATAN HANTU LOKAL INDONESIA." Jurnal Dimensi DKV Seni Rupa dan Desain 4, no. 1 (2019): 87. http://dx.doi.org/10.25105/jdd.v4i1.4563.

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<strong>Abstract</strong><br />Animation Cinematography in Virtual Reality Media with Indonesian Local Ghost Content. This research objective is to search local potential in visual communication design especially animation cinematography field in context of Virtual Reality (VR) usage that contained Indonesian local ghost stories as entertainment yet informational message. The development of VR media as short animation movie media is affecting visual communication design especially animation cinematography because of the variety and optional camera view is not only determined by movie maker. Interactivity through VR media makes user is immersive with the environment. The immersive aspect can be more attractive when affecting user such as in horror ghost stories through VR media that caused audience feels horror through simulation or fantasy. But the quantity<br />and quality of VR media is not use enough and through this research this problem is analyzed in descriptive qualitative method to explore understanding and content in VR design especially local ghost stories that can be entertainment yet informational. The usage of animation cinematography will transform in VR media especially in 360 VR<br />animation movie.<br /><div> </div><div> </div><strong>Abstrak</strong><br />Sinematografi Animasi dalam Media Virtual Reality Bermuatan Hantu Lokal<br />Indonesia. Penelitian ini bertujuan untuk menggali potensi lokal dalam sudut pandang keilmuan Desain Komunikasi Visual terutama dalam rumpun sinematografi animasi yang berkaitan dengan pemanfaatan medium Virtual Reality (VR) dengan konten hantu lokal Indonesia sebagai sarana hiburan ataupun dapat dimanfaatkan lebih lanjut sebagai<br />media untuk menyampaikan informasi. Perkembangan media VR mempengaruhi perkembangan keilmuan, terutama sinematografi animasi dari sudut pandang kamera yang memberikan opsi dalam pembingkaian gambar yang sudah tidak dipilihkan oleh perancang film. Interaktivitas melalui media VR mengakibatkan seolah-olah kita merasa imersif dengan lingkungan. Aspek imersif yang terjadi sangat mempengaruhi<br />penggunanya, sebagai contoh VR yang bertemakan horror hantu sehingga pengguna bereaksi ketakutan dan mendapatkan pengalaman yang bersifat simulasi bahkan fantasi.<br />Namun sangat disayangkan secara kuantitas dan kualitas media VR ini belum maksimal dimanfaatkan, sehingga dalam penelitian ini melalui analisis kualitatif deskriptif mencoba memberi pemahaman dan menggali konten yang dapat menjadi masukan untuk dimunculkan dalam karya desain VR, khususnya kekayaan budaya hantu lokal yang dapat dijadikan sarana hiburan ataupun informasi. Tidak hanya itu penerapan<br />sinematografi animasi diharapkan bertransformasi dalam medium VR khususnya dalam 360 film animasi VR.<br /><br />

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8

Herzog, Peter. "Janimation animation..." ACM SIGGRAPH Computer Graphics 38, no. 2 (2004): 8–9. http://dx.doi.org/10.1145/1012283.1012293.

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9

Wejchert, Jakub, and David Haumann. "Animation aerodynamics." ACM SIGGRAPH Computer Graphics 25, no. 4 (1991): 19–22. http://dx.doi.org/10.1145/127719.122719.

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10

Sandi, Supriyadi. "Perancangan Animasi Stopmotion Pangeran Diponegoro Berbasis Sinematografi." Jurnal Komunikasi 10, no. 2 (2019): 145–52. http://dx.doi.org/10.31294/jkom.v10i2.6181.

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Nowadays animated films are developing rapidly in Indonesia. Animated films are in demand because they are entertaining, but rarely found educative animated films that tell about history. In general, historical documentation is only based on thick textbooks, and the placement of photos of heroes on classroom walls is generally not interesting for students to enjoy. This encourages researchers to make an animated film that has historical and educational value. With appropriate cinematography, a film can have high artistic value. In addition, the film can also convey information and implied messages that can be used as lessons in life. To attract students, stopmotion technique was chosen. This stopmotion animation is created by applying the sine matography technique so that what will be conveyed in this animated film can be conveyed well to the audience. All of this aims to make the animation look livelier, smoother in its movements, and produce a more attractive appearance and is liked by the audience. It is better to make a stopmotion animation in a detailed storyboard design, so there are no mistakes when making motion, camera angles, type shots, and video translation. Stopmotion filmmaking is inseparable from photography and cinematography

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11

Lasseter, John. "Principles of traditional animation applied to 3D computer animation." ACM SIGGRAPH Computer Graphics 21, no. 4 (1987): 35–44. http://dx.doi.org/10.1145/37402.37407.

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12

Sun, Zhen Tao. "Animation Type Analysis after Using Computer 3D Animation Technology." Advanced Materials Research 971-973 (June 2014): 1553–56. http://dx.doi.org/10.4028/www.scientific.net/amr.971-973.1553.

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Type of computer animation using 3D technology can be divided under three seeds that mimic 2D animation, imitating traditional 3D animation, imitating real movie. Mimic 2D animation and imitating real movie are infinitely close with 2D animation and real film movie. Imitating traditional 3D animation is completely different from the traditional three-dimensional animation, which won the visual realism. "Visual realism" to get that 3D animation and real film movie stood on the same competition platform.

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13

Junaedi, Hartarto, Jaya Pranata, Mochamad Hariadi, and I. Ketut Eddy Purnama. "Penempatan Posisi Multi Kamera Berdasarkan Gaya Sutradara Berbasis Logika Fuzzy." Jurnal Teknologi Informasi dan Ilmu Komputer 5, no. 6 (2018): 687. http://dx.doi.org/10.25126/jtiik.2018561117.

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<p class="Abstrak">Teknologi komputer saat ini telah banyak digunakan dalam pengembangan animasi atau permainan komputer. Salah satu teknologi itu adalah <em>machinima </em>yaitu suatu sistem yang menggunakan teknologi mesin grafik 3D untuk menghasilkan produk sinematik secara <em>real time</em>. Dalam proses pembuatan produk sinematik itu penempatan posisi kamera sangat memegang peranan penting. Penempatan posisi kamera ini tentu harus sesuai dengan kaidah-kaidah sinematografi. Penelitian ini akan mengusulkan sebuah pendekatan agen cerdas dengan multi perilaku untuk menempatkan kamera <em>virtual</em> dalam lingkungan <em>virtual </em>secara otomatis sesuai dengan gaya seorang sutradara. Setiap kamera <em>virtual </em>itu akan memiliki perilaku yang berbeda berdasarkan kaidah sinematografi sehingga memiliki <em>Point of View</em> (POV) yang berbeda. Untuk memberikan perilaku pada kamera <em>virtual</em> akan digunakan pendekatan berbasis logika fuzzy dengan menggunakan metode <em>mamdani</em>. Jumlah variabel masukan yang digunakan sejumlah tiga dan variabel keluaran sejumlah tiga dengan <em>membership function </em>antara tiga sampai lima. Penelitian ini akan menggunakan simulasi permainan komputer dengan tiga kamera <em>virtual</em> dengan perilaku yang berbeda untuk merekam adegan yang sama dan hasilnya akan divalidasi berdasarkan hasil pengamatan dengan komunitas juru foto. Pada akhirnya dapat diambil kesimpulan bahwa pendekatan logika fuzzy dapat digunakan untuk memberikan sebuah perilaku atau gaya sutradara pada kamera <em>virtual</em>.</p><p class="Abstrak"><strong>Abstract</strong></p><p class="Abstract">Computer technology is has been used widely in the development of animation or computer games. One of the technologies is machinima, a system that uses reak time 3D graphics engine technology to produce cinematic products. In the process of develop a cinematic product, camera positioning is a very important component. The camera positioning must be comply with cinematography’s rule. This research will propose an intelligent multi agent behavior to positining a virtual camera in a virtual environment automatically according to the director’s style. Each virtual camera will have a different behavior based on cinematographic rules so that it has a different Point of View (POV). To assign a behavior on the virtual camera will be based on fuzzy logic using the mamdani method. The number of input variables are three and the output variables are three with the number membership functions between three to five. This research will program a computer game simulation with three multi behavior virtual cameras to capture some scene and the results will be validated based on observations with the photographer community. Finally it can be concluded that the fuzzy logic approach can be used to assign some behavior to a virtual camera.</p>

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14

Fei, Ma. "Computer Animation Process Research." Advanced Materials Research 926-930 (May 2014): 3018–21. http://dx.doi.org/10.4028/www.scientific.net/amr.926-930.3018.

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The article talks about the history of animation, focusing on the production of computer-assisted animation effects. Include key technologies of early modeling animation, motion control, distribution plan and other colors. Tracking the most advanced animation techniques and methods. Finally, introduce the application of the major animation techniques.

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15

DeMetz, Brian A., and Fred C. DeMetz. "Computer animation of sound." Journal of the Acoustical Society of America 100, no. 4 (1996): 2700. http://dx.doi.org/10.1121/1.417080.

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16

Rosenbloom, Andrew. "Physically based computer animation." Communications of the ACM 43, no. 7 (2000): 30–32. http://dx.doi.org/10.1145/341852.341860.

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17

Thalmann, N. Magnenat, and D. Thalmann. "Computer graphics and animation." Computer Physics Reports 11, no. 1-6 (1989): 221–91. http://dx.doi.org/10.1016/0167-7977(89)90024-5.

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18

Max, Nelson. "Computer animation of photosynthesis." Journal of Molecular Graphics 10, no. 1 (1992): 40–41. http://dx.doi.org/10.1016/0263-7855(92)80017-8.

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19

Lopes, Pedro Faria, and Mário Rui Gomes. "Computer animation in Portugal." Computers & Graphics 13, no. 3 (1989): 381–87. http://dx.doi.org/10.1016/0097-8493(89)90089-7.

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20

Gleicher, Michael. "Animation from observation." ACM SIGGRAPH Computer Graphics 33, no. 4 (1999): 51–54. http://dx.doi.org/10.1145/345370.345409.

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21

Van Citters, Darrell. "Animation and technology." ACM SIGGRAPH Computer Graphics 44, no. 3 (2010): 1–4. http://dx.doi.org/10.1145/1852645.1852651.

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22

WELLMANN, JANINA. "Animating embryos: thein totorepresentation of life." British Journal for the History of Science 50, no. 3 (2017): 521–35. http://dx.doi.org/10.1017/s0007087417000656.

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AbstractWith the recent advent of systems biology, developmental biology is taking a new turn. Attempts to create a ‘digital embryo’ are prominent among systems approaches. At the heart of these systems-based endeavours, variously described as ‘in vivoimaging’, ‘live imaging’ or ‘in totorepresentation’, are visualization techniques that allow researchers to image whole, live embryos at cellular resolution over time. Ultimately, the aim of the visualizations is to build a computer model of embryogenesis. This article examines the role of such visualization techniques in the building of a computational model, focusing, in particular, on the cinematographic character of these representations. It asks how the animated representation of development may change the biological understanding of embryogenesis. By situating the animations of the digital embryo within the iconography of developmental biology, it brings to light the inextricably entwined, yet shifting, borders between the animated, the living and the computational.

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23

Miyashita, Homei. "Online TV Animation Creation Using Vector Animation Software." Journal of the Institute of Image Information and Television Engineers 58, no. 9 (2004): 1260–62. http://dx.doi.org/10.3169/itej.58.1260.

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24

Mattei, Maria Grazia. "Animation in Italy." Journal of Visualization and Computer Animation 1, no. 2 (1990): 42–43. http://dx.doi.org/10.1002/vis.4340010202.

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25

Elliott, Conal, and Paul Hudak. "Functional reactive animation." ACM SIGPLAN Notices 32, no. 8 (1997): 263–73. http://dx.doi.org/10.1145/258949.258973.

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26

Di Fiore, Fabian, Frank Van Reeth, John Patterson, and Philip Willis. "Highly stylised animation." Visual Computer 24, no. 2 (2007): 105–23. http://dx.doi.org/10.1007/s00371-007-0189-5.

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27

AKANKSHA, Z. HUANG, B. PRABHAKARAN, and C. R. RUIZ. "VISUALIZING ANIMATION DATABASES." International Journal of Software Engineering and Knowledge Engineering 13, no. 01 (2003): 1–25. http://dx.doi.org/10.1142/s0218194003001214.

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We consider a repository of animation models and motions that can be reused to generate new animation sequences. For instance, a user can retrieve an animation of a dog kicking its leg (in air) and manipulate the result to generate a new animation where the dog is kicking a ball. In this particular example, inverse kinematics technique can be used to retarget the kicking motion of a dog to a ball. This approach of reusing models and motions to generate new animation sequences can be facilitated by operations such as querying of animation databases for required models and motions, and manipulation of the query results to meet new constraints. However, manipulation operations such as motion retargeting are quite complex in nature. Hence, there is a need for visualizing the queries on animation databases as well as the manipulation operations on the query results. In this paper, we propose a visually interactive method for reusing motions and models, by adjusting the query results from animation databases for new situations while at the same time, keeping the desired properties of the original models and motions. Here, a user first queries for animation objects, i.e., geometric models and motions. Then, the user interactively makes new animations by visually manipulating the query results. Depending on the orders in which the GUIs (Graphical User Interfaces) are invoked and the parameters are changed, the system automatically generates a sequence of operations, a list of SQL-like syntax commands, and applies it to the query results of motions and models. With the help of visualization tools, the user can view the changes before accepting them.

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28

Marcias, Giorgio, Nico Pietroni, Daniele Panozzo, Enrico Puppo, and Olga Sorkine-Hornung. "Animation-Aware Quadrangulation." Computer Graphics Forum 32, no. 5 (2013): 167–75. http://dx.doi.org/10.1111/cgf.12183.

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29

Preston, M., and W. T. Hewitt. "Animation using NURBS." Computer Graphics Forum 13, no. 4 (1994): 229–41. http://dx.doi.org/10.1111/1467-8659.1340229.

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30

Connelly, John, and Marilyn Connelly. "History of Animation." TechTrends 55, no. 3 (2011): 6. http://dx.doi.org/10.1007/s11528-011-0487-7.

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31

Gao, Xin Rui. "Research of Efficiency of Computer 3D Animation." Applied Mechanics and Materials 421 (September 2013): 672–75. http://dx.doi.org/10.4028/www.scientific.net/amm.421.672.

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3D animation is an application of computer graphics. The factors that affect the efficiency of 3D animation include animation algorithms, 3D models, materials and textures, rendering, and LOD (level of detail). This thesis discusses these technologies separately. By using these technologies properly, we could reduce the complexity of algorithms and the overall data quantity and then enhance the efficiency of 3D animation.

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32

Ebert, David S., and Dan Bailey. "A Collaborative and Interdisciplinary Computer Animation Course." Leonardo 35, no. 1 (2002): 83–86. http://dx.doi.org/10.1162/002409402753689371.

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Animation has always required a close collaboration between artists and scientists, poets and engineers. Current trends in computer animation have made successful and effective teamwork a necessity. To address these issues, the authors have developed an interdisciplinary computer animation course for artists and scientists, in which student teams produce a professional animation that extends the capabilities of a commercial animation package. A key component of this course is the use of collaborative teams that provide practical experience and cross-mixing of student exper-tise. Another key component is group-based education: the students learn from each other, as well as from the instructors.

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33

Waly, Sherif M., and Frederick E. Sistler. "Ergonomic design using computer animation." Computers & Industrial Engineering 37, no. 1-2 (1999): 293–96. http://dx.doi.org/10.1016/s0360-8352(99)00077-7.

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34

Larboulette, Caroline, and François Faure. "Symposium on Computer Animation 2010." Computer Graphics Forum 30, no. 6 (2011): 1867. http://dx.doi.org/10.1111/j.1467-8659.2011.01997.x.

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35

Sturman, David. "The state of computer animation." ACM SIGGRAPH Computer Graphics 32, no. 1 (1998): 57–61. http://dx.doi.org/10.1145/279389.279467.

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Abel, Robert, Jim Blinn, Carl Rosendahl, and Craig Upson. "Four paths to computer animation." ACM SIGGRAPH Computer Graphics 22, no. 4 (1988): 347. http://dx.doi.org/10.1145/378456.378547.

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Rosendahl, Carl. "Inside the computer animation studio." ACM SIGGRAPH Computer Graphics 31, no. 1 (1997): 33. http://dx.doi.org/10.1145/248307.248338.

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Terzopoulos, Demetri. "Visual modeling for computer animation." ACM SIGGRAPH Computer Graphics 33, no. 4 (1999): 42–45. http://dx.doi.org/10.1145/345370.345400.

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Foster, Nick, and Dimitris Metaxas. "Modeling water for computer animation." Communications of the ACM 43, no. 7 (2000): 60–67. http://dx.doi.org/10.1145/341852.341864.

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Preston, Martin, and Terry Hewitt. "Integrating Computer Animation and Multimedia." Computer Graphics Forum 15, no. 3 (1996): 377–86. http://dx.doi.org/10.1111/1467-8659.1530377.

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41

Graber, Jeffrey, Kevin Lefebvre, Michael Sciulli, et al. "Developing computer animation packages (panel)." ACM SIGCHI Bulletin 17, SI (1986): 193–96. http://dx.doi.org/10.1145/30851.275629.

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Pla-Castells, Marta, Ignacio García-Fernández, Jesús Gimeno, and Irene Ferrando. "Computer Animation to teach interpolation." Modelling in Science Education and Learning 12, no. 1 (2019): 31. http://dx.doi.org/10.4995/msel.2019.10976.

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<div data-canvas-width="460.953206963072">Aunque las asignaturas de matemáticas son un tema básico en los estudios de una ingeniería, a menudo son considerados por los estudiantes como una asignatura difícil. En este trabajo presentamos una experiencia de aprendizaje basada en la animación por ordenador mediante el uso de la modelización matemática. Nuestro objetivo es proporcionar a los estudiantes un contexto que motive el estudio de la interpolación de funciones. Presentamos un planteamiento del problema que se pretende resolver mediante</div><div data-canvas-width="460.9542195018301">el Ciclo de Modelización. Se presentan y discuten tanto desarrollo de la actividad como las estrategias identicadas durante el proceso.</div>

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Björk-Willén, Polly, and Karin Aronsson. "Preschoolers’ “Animation” of Computer Games." Mind, Culture, and Activity 21, no. 4 (2014): 318–36. http://dx.doi.org/10.1080/10749039.2014.952314.

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44

Todd, Stephen, William Latham, and Peter Hughes. "Computer sculpture design and animation." Journal of Visualization and Computer Animation 2, no. 3 (1991): 98–105. http://dx.doi.org/10.1002/vis.4340020306.

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45

Weinberg, R. "Producing content producers [computer animation]." IEEE Communications Magazine 33, no. 8 (1995): 70–73. http://dx.doi.org/10.1109/35.400610.

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46

Earnshaw, R., N. Magnenat-Thalmann, D. Terzopoulos, and D. Thalmann. "Computer Animation for Virtual Humans." IEEE Computer Graphics and Applications 18, no. 5 (1998): 20–23. http://dx.doi.org/10.1109/mcg.1998.708557.

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47

Pueyo, Xavier, and Daniela Tost. "A Survey of Computer Animation." Computer Graphics Forum 7, no. 4 (1988): 281–300. http://dx.doi.org/10.1111/j.1467-8659.1988.tb00630.x.

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48

Holliday, Mark A. "Animation of computer networking concepts." Journal on Educational Resources in Computing 3, no. 2 (2003): 2. http://dx.doi.org/10.1145/982753.982755.

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49

Graber, Jeffrey, Kevin Lefebvre, Michael Sciulli, et al. "Developing computer animation packages (panel)." ACM SIGCHI Bulletin 18, no. 4 (1987): 193–96. http://dx.doi.org/10.1145/1165387.275629.

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50

Preis, K., I. Bardi, O. Biro, et al. "Computer animation of electromagnetic phenomena." IEEE Transactions on Magnetics 31, no. 3 (1995): 1714–17. http://dx.doi.org/10.1109/20.376365.

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