Relevant bibliographies by topics / Production of animated film

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Academic literature on the topic 'Production of animated film'

Author: Grafiati
Published: 24 April 2022

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Journal articles on the topic "Production of animated film"

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Frølunde, Lisbeth. "Animated war." Convergence: The International Journal of Research into New Media Technologies 18, no. 1 (2012): 93–103. http://dx.doi.org/10.1177/1354856511419918.

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In this feature article two DIY (do-it-yourself) film projects are examined from perspectives of resemiosis (transformations in meaning-making) and the textual production practices of contemporary multimedia authorship. These practices are considered as evolving in a complex media ecology. The two films analysed are Gzim Rewind (Sweden, 2011) by Knutte Wester, and In-World War (USA, expected 2011) by DJ Bad Vegan. The films are currently in production and involve many collaborators. Both films have themes of war and include film scenes that are ‘machinima’ – real-time animation made in 3D graphic environments – within live action film scenes. Machinima harnesses the possibilities of reappropriating digital software, game engines, and other tools available in digital media. War-related stories are resemiotized in the machinima film scenes as meanings are transformed in the story’s shift from a war game context to a film context. Thus machinima exemplifies how DIY multimedia storytellers explore new ways to tell and to ‘animate’ stories. The article contains four parts: an introduction to machinima and the notions of resemiosis and authorial practice; a presentation of DIY filmmaking as a practice that intertwines with new networked economics; an analysis of the two DIY film projects; and a discussion of implications including issues relating to IP (intellectual property) and copyrights when reappropriating digital assets from commercial media platforms.
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Šošková, Eva. "The Reincarnation of Animated Film." Slovenske divadlo /The Slovak Theatre 65, no. 4 (2017): 331–44. http://dx.doi.org/10.1515/sd-2017-0019.

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Abstract Throughout its entire history, Slovak animated film has had the form of figurative narrative art or craft. For this reason, the author of this study examines its post-1989 development through the prism of the body. Since the most visible change that has affected contemporary film aesthetics is the feminization of animated film in terms of authorship, the study primarily focuses on the ability of an animated body to represent gender and gender roles. It attempts to capture the most significant changes in the depiction of the body in authorial animated film before and after 1989, in more detail record the post-revolution changes in the body, and relate this to the changes in the institutional background of animated film. Animated bodies have developed from “ordinary people” from a dominant male point of view in socio-critical socialist production through female characters in interaction with clearly distinguished male characters in the films of female authors from the Academy of Performing Arts, the crisis of stereotypical masculinity in the production of male authors to independent women looking for their own identity inside themselves, without relating themselves to their male counterparts.
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Rozario, Rebecca-Anne Do. "Reanimating the Animated: Disney's Theatrical Productions." TDR/The Drama Review 48, no. 1 (2004): 164–77. http://dx.doi.org/10.1162/105420404772990754.

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Metamorphosis is the cornerstone of Disney animation. Princes are turned into beasts and lions into matinee idols. Accomplishing this filmic flexibility onstage is central to Disney's expansion into theatrical production. Broadway's Beauty and the Beast, and the productions that came after, show how the elasticity of film animation can be recreated live in the theatre.
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Rahman, Fuazi. "“Burnout” Animasi Dua Dimensi Dengan Teknik Rotoscope." Journal of Animation & Games Studies 3, no. 2 (2018): 221. http://dx.doi.org/10.24821/jags.v3i2.1859.

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Film sebagai media kominikasi massa mempunyai andil yang cukup besar pada masyarakat era digital ini. Animasi merupakan jenis film yang menaik sebagai alternative dari film live shot. Pembuatan film animasi sebagai media komunikasi yang menarik diharapkan mampu menyampaikan gagasan cerita serta memberikan kontribusi positif bagi penonton.Penggunaan teknik rotoscope dalam produksi film animasi ini dikarenakan gagasan atau konsep yang ingin disampaikan dalam cerita mempunyai kesesuaian. Cerita yang disampaikan merupakan kehidupan nyatan dan teknik rotoscope menghasilkan visual yang cukup realis. Teknik ini juha mempunyai kelebihan efisiensi waktu produksi karena teknik ini merupakan teknik menjiplak gambar dari video aslinya. Penggunaan teknik ini pada karya film ini dapat menambah keberagaman teknik pada produksi film khusunya animasi di Indonesia.Produksi film animasi Burnout ini menceritakan tentang pelarian seseorang terhadap masalah-masalah pribadinya yang hanya ada didalam pikirannya. Membangun motivasi diri untuk menghadai masalah ayng ada menjadi tujuan dalam film animasi Burnout ini. Kata kunci: Film, Animasi, Rotoscope, Burnout Abstract Film as a medium of mass communication has a considerable share in this digital era society. Animation is an upgraded movie type as an alternative to a live shot movie. Making animated films as an interesting communication media is expected to convey the idea of the story as well as make a positive contribution to the audience.The use of rotoscope techniques in the production of animated film is because the idea or concept to be conveyed in the story has a suitability. The story delivered is a life nyotos and rotoscope techniques produce fairly realistic visuals. This technique has the advantage of efficiency time juha production because this technique is a technique to trace the image of the original video. The use of this technique in the work of this film can increase the diversity of techniques in film production especially animation in Indonesia.Burnout animated film production is about a person's escape to his personal problems that only exist in his mind. Building your self-motivation to come into trouble is a goal in this Burnout animated film. Keywords: Film, Animation, Rotoscope, Burnout
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Cartwright, Lisa. "The Hands of the Animator: Rotoscopic Projection, Condensation, and Repetition Automatism in the Fleischer Apparatus." Body & Society 18, no. 1 (2012): 47–78. http://dx.doi.org/10.1177/1357034x11432562.

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This article is concerned with the affective relationship among bodies and film technologies in the process of building and using filmmaking instruments, taking as its object the early Rotoscope, a device patented by the legendary American animator Max Fleischer that entailed the projection of live-action film for use as a template in the drawing of animated figures, to which the live-action trace was thought to impart life-like, normative patterns of movement. Drawing from media archaeology, psychoanalytic theories of repetition, projection, and condensation, and object relations theory, this article offers an interpretation of some of the kinds of psychic interactions offered in animated film through traces of the Rotoscope’s production history found in the device’s patent drawings, its patent embodiments, and its published family legend. It is proposed that the device was the locus of a collective fraternal performance, serving as a shared ground for an array of condensations and displacements and enactments of repetition compulsion among the multiple bodies engaged in the production of the device, as well as among the multiple animated and live-action film bodies that crossed its production screens and patent pages. One objective of this article is to shift the interpretive and analytic focus in film studies from the filmstrip and the projected screen image to the relationship between bodies and technologies in the experience of making films, and making the filmic apparatus. A secondary objective of this article is to suggest that the approach to bodily movement embedded in the design of the Rotoscope was hardly normative. The device offered a means to stretch and distort both norms and stereotypes of human expression through movement. The rotoscoped body sometimes performed in ways that pushed the limits of viewer expectations about how a given body will, or should, move, in space or across the screen.
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Mulyani, Neni. "PERANCANGAN PROSES PRA PRODUKSI FILM ANIMASI 3D LEGENDA PUTRI MERAK JINGGA." JURTEKSI (Jurnal Teknologi dan Sistem Informasi) 5, no. 2 (2019): 183–92. http://dx.doi.org/10.33330/jurteksi.v5i2.361.

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Abstrack:To produce a 3D animated film requires a long process flow so that the processing time of manufacture is also prolonged. This is a constraint in the development of the local animation film in Indonesia for a long time will lead to high production costs making it difficult to compete commercially with animated films from abroad who have abundant funds and the support of various parties in the country. Therefore, efforts to improve the competitiveness of local animated film and one of these efforts is by analyzing the stages of the manufacturing process and apply it to the process of making the actual 3D animated film.In general there are three stages of the filmmaking process, namely the 3D animation pre-production, production and post-production. Although this time the animation industry in Indonesia has not been detailed separates each of these stages, but still be important for designing detail the activities of these stages, in order to see the strengths and weaknesses of each process that existed at that stage. Therefore, this study was conducted with the hope to provide recommendations to improve the local animation industry. Keywords: 3D Animation, Animation Film Pre-Production Stage, Princess Peacock Orange Abstak: Untuk menghasilkan sebuah film animasi 3D membutuhkan alur proses yang panjang sehingga waktu pembuatannya juga berlangsung lama. Ini yang menjadi kendala dalam perkembangan film animasi lokal di Indonesia karena waktu yang yang panjang akan mengakibatkan tingginya cost production sehingga sulit untuk bersaing secara komersial dengan film animasi dari luar negeri yang memiliki dana berlimpah dan dukungan dari berbagai pihak di negaranya. Untuk itu diperlukan upaya untuk meningkatkan daya saing film animasi lokal dan salah satu upaya tersebut adalah dengan menganalisa tahapan-tahapan proses pembuatan dan menerapkannya pada proses pembuatan film animasi 3D yang sebenarnya.Secara umum ada 3 tahapan proses pembuatan film animasi 3D yaitu pra produksi, produksi dan paska produksi. Meskipun saat ini industri animasi di Indonesia belum secara detail memisahkan setiap tahapan tersebut, namun tetap menjadi penting untuk merancang detail aktifitas dari tahapan tersebut, dengan tujuan untuk melihat kekuatan dan kelemahan dari setiap proses yang ada pada tahapan tersebut. Kata Kunci: Animasi 3D, Tahap Pra Produksi Film Animasi, Putri Merak Jingga
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Sulistiyono, Arif. "Punakawan Sebagai Inspirasi Penciptaan Film Pendek Animasi Bertema Pendidikan Karakter." Journal of Animation & Games Studies 2, no. 2 (2017): 173. http://dx.doi.org/10.24821/jags.v2i2.1420.

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Educational animation is an animated product produced specifically for the purpose of learning. Its popularity in helping students understand and remember information presented increased since the advent of computer graphics technology. The lack of an increase in the production of animated short films in Indonesia resulted in at least encountered the works of domestically-made animation education. Stimulation of creation of animated works based on the local culture should be a concern for creators to produce Indonesian animated film. This has encouraged the idea of research and the creation of the works to add alternative work spectacle for children to be more varied. The work produced will be expected to become one of the benchmarks for the creators of short animated films in Indonesia. The short animated film themed character education and have the characterization and design characteristics based on local wisdom is still a little bit. Production work is still dominated by elements that showed the humorous aspects of violence as like a common thing to do. It is extremely dangerous due to the development of the child's personality or character will indirectly entertained spectacle dominated by the less educated. Therefore bring back figures Punakawan as "teacher" character education in the form of short animated films for the sake of growth is necessary to be realized next generation character education in Indonesia.Keywords: educational animation, punakawan, moral educationAbstrakAnimasi edukasi adalah sebuah produk animasi yang diproduksi khusus untuk tujuan pembelajaran. Popularitasnya dalam membantu peserta didik memahami dan mengingat informasi yang disajikan meningkat sejak munculnya teknologi komputer grafis. Kurangnya peningkatan produksi karya film pendek animasi di Indonesia mengakibatkan sedikitnya dijumpai karya-karya animasi edukasi buatan anak negeri. Rangsangan penciptaan karya animasi berbasis pada budaya lokal sepatutnya menjadi perhatian bagi para kreator dalam menghasilkan film animasi Indonesia. Hal inilah yang mendorong ide penelitian dan penciptaan karya guna menambahkan karya alternatif tontonan bagi anak-anak supaya lebih bervariatif. Karya yang dihasilkan nantinya diharapkan mampu menjadi salah satu tolok ukur bagi pencipta-pencipta film pendek animasi di Indonesia.Film pendek animasi yang bertemakan pendidikan karakter dan memiliki ciri penokohan dan desain berbasis kearifan lokal masih sangat sedikit. Produksi karya masih didominasi oleh unsur-unsur humoris yang mempertontonkan aspek kekerasan sebagai layaknya hal yang umum dilakukan. Hal ini sangat berbahaya dikarenakan perkembangan kepribadian atau karakter sang anak secara tidak langsung akan didominasi oleh tontonan hiburan yang kurang mendidik. Oleh karena itu memunculkan kembali tokoh-tokoh Punakawan selaku “guru” pendidikan karakter dalam wujud karya film pendek animasi sangatlah perlu direalisasikan demi pertumbuhan pendidikan karakter generasi penerus bangsa Indonesia dikemudian hari. Kata kunci: Animasi edukasi, punakawan, pendidikan karakter
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Safitri, Meidiana, Tanto Harthoko, and Andri Nur Patrio. "Produksi Film Animasi 2D Pool." Journal of Animation and Games Studies 6, no. 2 (2020): 141–50. http://dx.doi.org/10.24821/jags.v6i2.4405.

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The story of a boy named Boy who is trying to overcome his trauma to a swimming pool. Trauma is the result of a terrible experience that has occurred during life. With a long recovery time, a trauma sufferer always imagines bad events and some traumatic symptoms that is difficult to overcome. Therefore, the character needs the support of the closest people to recover slowly. The creation of 2D animated film "Pool" using direct frame by frame technique in animation creation software. All manufacturing processes from production to post-production use digital media and produce an animated film with duration of 2 minutes.
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Yoga Antara, I. Made, Padma Nyoman Crisnapati, I. Made Agus Wirawan, and I. Made Gede Sunarya. "PENGEMBANGAN FILM ANIMASI 3 DIMENSI “TUDE THE MOVIE – PETUALANGAN SI RINA (TERTANGKAPNYA BURUNG JALAK BALI)”." Kumpulan Artikel Mahasiswa Pendidikan Teknik Informatika (KARMAPATI) 7, no. 3 (2019): 214. http://dx.doi.org/10.23887/karmapati.v7i3.19788.

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The development of this 3d animation movie called “Tude The Movie – Petualangan Si Rina” (Tertangkapnya Burung Jalak Bali), is second part of five parts on 3d animation movie called “Tude The Movie – Petualangan Si Rina”. The story of these series are not only about the preparation of Pandu to hangout with his friends but also about bad guy that catches Jalak Bali in a wild and the bad guy also want to sell the Jalak Bali to a buyer that already ordered it. The objective of this research : 1) To design 3d animated film “Tude The Movie – Petualangan Si Rina (Tertangkapnya Burung Jalak Bali)”. 2) To implement 3d animated film “Tude The Movie – Petualangan Si Rina (Tertangkapnya Burung Jalak Bali)”.In making this movie, the method of the research or the movie designed using Block Diagram. Block Diagram explain the steps of creating the 3d animated film Tude The Movie from beginning until finishing. In Block Diagram, there were 3 main stages 1) Pre Production (Story Idea, Writing and Creating the Storyboard), 2) Production (Modeling, Texturing, Rigging, Skinning, Acting/Animation, Lighting, Andrendering) 3) Post Production (Vioce Recond and Editing)The result of this research was 3d animated film on DVD format. This movie has been successfully completed in accordance with the design made earlier.
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Winarja, Winarja, M. Suyanto, and Asro Nasiri. "Analisis Dan Optimasi Rendering Pada Autodesk Maya Dengan Menggunakan UE4." Creative Information Technology Journal 7, no. 2 (2021): 142. http://dx.doi.org/10.24076/citec.2020v7i2.260.

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Proses rendering pada pembuatan film 3D animasi merupakan pekerjaan yang sangat memakan banyak waktu dikarenakan banyaknya frame yang diperlukan untuk membuat film 3D animasi. Pada proses rendering satu frame dalam film 3D animasi biasanya membutuhkan waktu hingga beberapa jam dikarenakan proses kalkulasi render yang terdiri dari data model, data shader, data texture, dan data lighting dalam sebuah shot pada adegan 3D animasi. Dengan menggunakan proses render secara frame per frame maka proses render akan memerlukan waktu yang lama sehingga penulis akan melakukan penelitian pada proses rendering dengan menggunakan software game engine pada Unreal Engine 4 sebagai kalkulasi render secara realtime. Dari data yang semula dilakukan proses render pada software maya dan selanjutnya akan dilakukan perubahan data dari file maya diubah menjadi FBX file sebagai data yang akan di proses pada software Unreal Engine 4 (UE4). Dengan penggunaan game engine sebagai hasil akhir dalam menampilkan hasil render secara realtime sangatlah membantu dalam mendapatkan kelancaran pada sebuah proses produksi pada film 3D animasi. Kata Kunci—animasi 3D, rendering, real time render, game engine.The rendering process in making animated 3D movies is a very time-consuming job due to the large number of frames needed to make animated 3D films. In the rendering process one frame in an animated 3D movie usually takes up to several hours because the rendering calculation process consists of model data, shader data, texture data, and lighting data in a shot on a 3D animated scene. By using the rendering process in a frame per frame, the rendering process will require a long time so the writer will conduct research on the rendering process by using the game engine software on Unreal Engine 4 as a realtime rendering calculation. From the data that was originally done in the virtual software rendering process and then the data will be changed from the virtual file to be converted into FBX file as data that will be processed in the Unreal Engine 4 software (UE4). Using the game engine as the final result in displaying rendering results in realtime is very helpful in getting fluency in a production process in 3D animated films.Keywords—3D animation, rendering, real time rendering, game engine.
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Dissertations / Theses on the topic "Production of animated film"

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Kochan, Elizaveta. "Creating a Short Animated Film with Cloth Characters." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/honors/526.

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This creative thesis involved making an animated short film from scratch, dubbed “Laundry Day” for the time being. The film follows two sentient clothing characters, a hoodie and a pair of pants, who need to get out of their owner’s room to get to the laundry room after accidentally being left behind. Please watch the short here and use the password “goodiehoodie”: https://vimeo.com/415387205 This was a time consuming, challenging, and multifaceted project, but provided an accurate glimpse into how feature animation is made. The process of making any project like this is commonly called a pipeline, and can be simplified to seven categories: Story, Character, Environment, Animation, Effects, and Rendering. This paper will go into each of these and explain the technical and creative challenges I had to overcome to reach the final product.
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Carter-Hansen, Jill, University of Western Sydney, and of Performance Fine Arts and Design Faculty. "Travelling light - with a case for discovery : the making of the film Songs of the Immigrant Bride." THESIS_FVPA_XXX_CarterHansen_J.xml, 1997. http://handle.uws.edu.au:8081/1959.7/680.

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This paper examines the background, development and production of the film ‘Songs of the immigrant bride’ and explains the general decisions made throughout the creation of the film. It proposes the idea that visuals, combined in an abstract narrative with music/sound, can create a language outside that generally accepted in real-time film (generally) and animation (specifically) to create a communicating ‘mythopoetic’ film-style from combined, selected elements, of both genres. Some of the issues presented and examined are: how relevant background experiences and influences directed the image-making in the production of the film; the experimental use of symbols and metaphor for an ‘evocative’ narrative in both visuals and sound, and the use of these within the film; the relevance of the theme of journey to viewers of the film; the part played by ‘Chance’ as an accepted phenomenon in shaping the direction of the film; production considerations, other than those of image and sound, to enhance audience perception and understanding of the film; ‘understanding’, as a physical as well as an intellectual phenomenon<br>Master of Arts (Hons)
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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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Amir, Shahkarami Sayed Najmedin. "The pre-production phase in the making of Iranian full-length animated films 1979-2012." Thesis, University of West London, 2013. https://repository.uwl.ac.uk/id/eprint/611/.

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As the pre-production phase is a vital process in feature-length animation filmmaking, this study focuses on the arrangement of this phase in Iranian animation film projects. They are Mouse and Cat, Tak Taz, Namaki & The Giant, The Sun of Egypt, Jamshid & Khorshid, Simorq’s Heart and Tehran 2121. In support of the investigation of these, the research reviews the background of Iranian cinema, television and animation. It looks also at the emergence and evolution of the pre-production phase in Disney and Pixar studios. Moreover, comparisons of pre-production phases implemented by Japanese, British and Pixar filmmakers are complementary contexts highlighting this process. It comprises four key stages: writing stages e.g. script; visualization stages e.g. concept design; scene setting e.g. storyboard, and a rough version of a film in the form of a story reel (Yun Mou et al, 2013). Implementation of these stages needs strategies to be employed by successful filmmakers. Based on such facts, a theoretical comparison analyses the arrangement of the pre-production phase in the seven projects. The findings indicate two types of factors affecting the arrangement of this phase. Indirect factors such as the dependency on management by government and its financial support constitutes issues influencing productions. Direct factors include filmmakers’ abilities and their direct actions on production.
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Aguas, Alexandra. "Tesla's Totally True Adventures." Digital Commons at Loyola Marymount University and Loyola Law School, 2021. https://digitalcommons.lmu.edu/etd/977.

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A half-hour adult animated pilot partially based on eccentric inventor Nikola Tesla. Logline: Brilliant engineering student Dot must keep her boss, famed eccentric inventor Nikola Tesla, out of trouble as his unhinged contraptions wreak havoc on 1920s New York City while he battles his longtime rival, Thomas Edison.
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Finkelstein, Seth. "Toonmates." Digital Commons at Loyola Marymount University and Loyola Law School, 2021. https://digitalcommons.lmu.edu/etd/987.

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It's a dream come true when flesh-and-blood fanboy Alex Kepple moves in with cartoon former child star Roy Thompson. Now, he just has to hide that his family are the ones gentrifying the toon town he now calls home.
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Hamonic, Wynn Gerald. ""Disney is the Tiffany's and I am the Woolworth's of the business" : a critical re-analysis of the business philosophies, production values and studio practices of animator-producer Paul Houlton Terry." Thesis, Brunel University, 2011. http://bura.brunel.ac.uk/handle/2438/6436.

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Animator-producer Paul Houlton Terry has been portrayed as having little passion for the animation he produced and being more concerned with making a profit than producing entertaining cartoons with high production values. The purpose of the dissertation is to re-evaluate Terry‘s legacy to animated cartooning by analyzing his business philosophies, production values, and studio practices. Application of four psychodynamic factors to the early life and career of Terry, 1887-1929, found that his economic decision making was characterized by: an external locus of control, risk-averse financial behaviour, extreme saving behaviour through precaution, and shrewd money management practices. Based on Terry‘s historical responses to twelve major economic, technological, or institutional forces of change for the period 1929-1955, the psychodynamic factors were found to provide accurate explanations for his studio practices and production decisions. There was no evidence to support the conclusion that three early career disappointments undermined Terry‘s intrinsic motivation to create animated cartoons. Rather, Terry‘s lack of risk taking, external locus of control, tight studio production schedule, desire to compete with neighbour studio Fleischer, difficulty in separating financial rewards from creative processes in animation, and practice of undertaking surveillance measures on staff may have undermined his and his studio‘s creativity. Archival research found Terry to possess strong passions for and to have made significant creative contributions to the field of animation. Biographical research found that Terry retained a stable nucleus of highly talented artists who dedicated a significant portion of their working careers to the studio. An analysis of the cel aesthetics of a random sample of animated cartoons produced during the years 1930-1955 found that Terry created animated cartoons with above average cel aesthetics when compared to the other studios thereby supporting an inference that Terry was motivated to producing quality crafted animation. Further research is suggested into the role psychodynamic factors and economic decision-making play in the film production process and a clarification of Terry‘s legacy to the field of animated cartoons.
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Montañez-Arica, Jimena-del-Rosario. "Largometrajes animados digitalmente en el Perú. Los casos de Red Animation, Origami Studio y Aronnax." Bachelor's thesis, Universidad de Lima, 2017. http://repositorio.ulima.edu.pe/handle/ulima/4547.

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Esta investigación analiza el panorama de largometrajes animados digitalmente en la ciudad de Lima, Perú, durante los años 2004-2016. Se aborda el proceso de realización de las películas, sus dificultades y características primordiales, a través del estudio de tres productoras: Origami Studio, Red Animation y Aronnax. El presente texto ofrece una perspectiva de la industria de la animación en Lima y desagrega tanto sus capacidades como sus posibilidades de desarrollo<br>The aim of this research is to analyze the feature film digital animation scene, in the city of Lima, Peru, between the years of 2005-2016. To achieve this, the realization process of the animated movies made in the present, along with its main characteristics and difficulties, is investigated through the study of three different production companies: Origami Studio, Red Animation and Aronnax. The text offers an outlook of the animated movie industry and it divides both their capabilities and their development possibilities.<br>Trabajo de investigación
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Thornton, Andrew. "Ces't la vie : an animated film /." Online version of thesis, 1993. http://hdl.handle.net/1850/11773.

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Edgren, Justin. "ANIMATING DYSTOPIA: AN ANALYSIS OF MY ANIMATED FILM, P19." OpenSIUC, 2013. https://opensiuc.lib.siu.edu/theses/1099.

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In this paper, I discuss the modern socio-technological state of global social control and its representation in my stop motion animated film P19. I will compare the ways in which social control has changed and remained the same from September 11, 2001 to the present. I will discuss the surveillance and control grids permeating all communication networks and how humans are interacting with them. I will conclude with an analysis of some of my techniques and processes in stop motion animation.
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Books on the topic "Production of animated film"

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Woolverton, Linda. Beauty & the Beast: Production 0254. 2nd ed. Hollywood Scripts, 1990.

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Disney's Aladdin: The making of the animated film. Hyperion, 1992.

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Scott, Elaine. Look alive: Behind the scenes of an animated film. Morrow Junior Books, 1992.

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Cosandey, Roland. Langages et imaginaire dans le cinéma suisse d'animation, avec un répertoire de la production 1977-1988. Groupement suisse du film d'animation, 1988.

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Murray, Joe. Creating animated cartoons with character: A guide to developing and producing your own series for tv, the web, or short film. Watson-Guptill Publications, 2010.

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Murray, Joe. Creating animated cartoons with character: A guide to developing and producing your own series for TV, the web, and short film. Watson-Guptill Publications, 2010.

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Animated realism: A behind the scenes look at the animated documentary genre. Focal, 2012.

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Muir, Shannon. Gardner's guide to animation writing & production. GGC/Pub., 2006.

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Corps, langage, technologie: Textes 1985-2004. Les 400 coups, 2006.

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Scaramozzino, Michael. Creating a 3D animated CGI short: The making of The audition. Jones and Bartlett, 2011.

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Book chapters on the topic "Production of animated film"

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Surdyk, Augustyn. "Culture in translation: A comparative analysis of English originals and Polish dubbed versions of computer-animated film productions." In Angewandte Linguistik – Neue Herausforderungen und Konzepte. V&R unipress, 2021. http://dx.doi.org/10.14220/9783737011860.399.

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Boukary, Sawadogo. "The African animated film." In African Film Studies. Routledge, 2018. http://dx.doi.org/10.4324/9780429508066-6.

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Plympton, Bill. "Making an Animated Film." In Make Toons That Sell Without Selling Out, 10th ed. CRC Press, 2021. http://dx.doi.org/10.1201/9781003205098-3.

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Lee, Newton, and Krystina Madej. "Capturing Life in Animated Film." In Disney Stories. Springer New York, 2012. http://dx.doi.org/10.1007/978-1-4614-2101-6_7.

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Madej, Krystina, and Newton Lee. "Capturing Life in Animated Film." In Disney Stories. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-42738-2_6.

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Glynne, Andy. "Drawn From Life: The Animated Documentary." In The Documentary Film Book. British Film Institute, 2013. http://dx.doi.org/10.1007/978-1-349-92625-1_7.

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Richter, Johanna. "Film production." In Human Rights Education Through Ciné Débat. Springer Fachmedien Wiesbaden, 2016. http://dx.doi.org/10.1007/978-3-658-12723-7_7.

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Tang, Rui, and David Whitley. "From Dogpower to Ratropolis: London in Animated Film." In London on Film. Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-64979-5_12.

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Parry, Becky. "Film in Children’s Film Production." In Children, Film and Literacy. Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137294333_8.

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Rawle, Steven. "Transnational Film Production." In Transnational Cinema. Macmillan Education UK, 2017. http://dx.doi.org/10.1057/978-1-137-53014-1_6.

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Conference papers on the topic "Production of animated film"

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Neuman, Robert. "Concurrent monoscopic and stereoscopic animated film production." In SIGGRAPH 2009: Talks. ACM Press, 2009. http://dx.doi.org/10.1145/1597990.1598028.

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Sharma, Rajesh, and Brian Wherry. "Software Development for Disney Animated Feature Film Production." In 2009 Agile Conference (AGILE). IEEE, 2009. http://dx.doi.org/10.1109/agile.2009.60.

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"Research on Production and Innovation of Contemporary Chinese Animated Films." In 2018 4th International Conference on Education & Training, Management and Humanities Science. Clausius Scientific Press, 2018. http://dx.doi.org/10.23977/etmhs.2018.29153.

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Kusumawardhani, Mega Iranti, and Muhammad Cahy Daulay. "Indonesian Traditional Story Content in Animated Short Film: Case Study Students’ Animated Short Film Final Project." In International Moving Image Cultures Conference. Film Department Universitas Multimedia Nusantara, 2019. http://dx.doi.org/10.31937/imov-18.

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KUSUMAWARDHANI, MEGA IRANTI, and MUHAMMAD CAHYA DAULAY. "Indonesian Traditional Story Content in Animated Short Film: Case Study Students’ Animated Short Film Final Project." In International Moving Image Cultures Conference. Film Department Universitas Multimedia Nusantara, 2019. http://dx.doi.org/10.31937/imoviccon-18.

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Bennett, Joel, and Chris Carter. "Adopting Virtual Production For Animated Filmaking." In Annual International Conference on Computer Games Multimedia and Allied Technologies (CGAT 2014). Global Science and Technology Forum, 2014. http://dx.doi.org/10.5176/2251-1679_cgat14.21.

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Abadia, Juan, Alun Evans, Eduard Gonzales, et al. "Assisted animated production creation and programme generation." In the International Conference. ACM Press, 2009. http://dx.doi.org/10.1145/1690388.1690423.

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Wang, Cong, Dale Mayeda, Jacob Rice, Thom Whicks, and Benjamin Huang. "Cooking Southeast Asia-inspired Soup in Animated film." In SIGGRAPH '21: Special Interest Group on Computer Graphics and Interactive Techniques Conference. ACM, 2021. http://dx.doi.org/10.1145/3450623.3464651.

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Qin, Jianbo. "The Music Aesthetic Analysis of the Animated Film “Coco”." In Proceedings of the 5th International Conference on Arts, Design and Contemporary Education (ICADCE 2019). Atlantis Press, 2019. http://dx.doi.org/10.2991/icadce-19.2019.76.

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Ambarsih, Yully, Imam Santosa, Hafiz Azis Ahmad, and Irfansyah Irfansyah. "Identified Characters, Dialogue of Ethnicity in Indonesia Animated Film." In Proceedings of the International Conference on Business, Economic, Social Science and Humanities (ICOBEST 2018). Atlantis Press, 2018. http://dx.doi.org/10.2991/icobest-18.2018.58.

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Reports on the topic "Production of animated film"

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Woodcock, Leslie V. A Mesoscale Model for Thin Film Production Processes. Defense Technical Information Center, 2000. http://dx.doi.org/10.21236/ada397789.

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McCamy, James, Cheng-Hung Hung, and Zhixun Ma. Low Cost Production of Thin-Film Photovoltaic Cells Final Report. Office of Scientific and Technical Information (OSTI), 2015. http://dx.doi.org/10.2172/1342514.

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Brog, T. K. Commercial production of thin-film CdTe photovoltaic modules. Final report. Office of Scientific and Technical Information (OSTI), 1997. http://dx.doi.org/10.2172/544696.

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Brog, T. K. Commercial production of thin-film CdTe photovoltaic modules. 1995 annual report. Office of Scientific and Technical Information (OSTI), 1997. http://dx.doi.org/10.2172/459336.

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Bożek, Małgorzata. FILM PRODUCTION IN POLAND. STAGES: FROM AN IDEA TO THE SCREEN. Ivan Franko National University of Lviv, 2021. http://dx.doi.org/10.30970/vjo.2021.50.11112.

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The Polish film system is characterized by a variety of forms. Michał Zabłocki, the author of the comprehensive study of the «Organization of the production of feature film in Poland», isolates two models of world cinema: a producer and a producer – director. The first one features the dominant role of the producer, which means the person who is responsible for the work of all the film departments – direction, cinematography, production management, scenography and costume design. The second one, the model which is still the most popular in Poland, assumes close cooperation between the producer and the director.
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Yue Kuo. A NOVEL LOW THERMAL BUDGET THIN-FILM POLYSILICON FABRICATION PROCESS FOR LARGE-AREA, HIGH-THROUGHPUT SOLAR CELL PRODUCTION. Office of Scientific and Technical Information (OSTI), 2010. http://dx.doi.org/10.2172/992272.

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Toney, Michael F., and Maikel F. A. M. van Hest. In-situ X-Ray Analysis of Rapid Thermal Processing for Thin-Film Solar Cells: Closing the Gap between Production and Laboratory Efficiency. Office of Scientific and Technical Information (OSTI), 2017. http://dx.doi.org/10.2172/1395583.

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Sun, Sey-Shing. Development of a Manufacturable Blue Electroluminescent (EL) Phosphor Process for the Production of White Monochrome Thin Film Electroluminescent (TFEL) and Full Color Active Matrix Electroluminescent (AMEL) Displays. Defense Technical Information Center, 2002. http://dx.doi.org/10.21236/ada408952.

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Galili, Naftali, Roger P. Rohrbach, Itzhak Shmulevich, Yoram Fuchs, and Giora Zauberman. Non-Destructive Quality Sensing of High-Value Agricultural Commodities Through Response Analysis. United States Department of Agriculture, 1994. http://dx.doi.org/10.32747/1994.7570549.bard.

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The objectives of this project were to develop nondestructive methods for detection of internal properties and firmness of fruits and vegetables. One method was based on a soft piezoelectric film transducer developed in the Technion, for analysis of fruit response to low-energy excitation. The second method was a dot-matrix piezoelectric transducer of North Carolina State University, developed for contact-pressure analysis of fruit during impact. Two research teams, one in Israel and the other in North Carolina, coordinated their research effort according to the specific objectives of the project, to develop and apply the two complementary methods for quality control of agricultural commodities. In Israel: An improved firmness testing system was developed and tested with tropical fruits. The new system included an instrumented fruit-bed of three flexible piezoelectric sensors and miniature electromagnetic hammers, which served as fruit support and low-energy excitation device, respectively. Resonant frequencies were detected for determination of firmness index. Two new acoustic parameters were developed for evaluation of fruit firmness and maturity: a dumping-ratio and a centeroid of the frequency response. Experiments were performed with avocado and mango fruits. The internal damping ratio, which may indicate fruit ripeness, increased monotonically with time, while resonant frequencies and firmness indices decreased with time. Fruit samples were tested daily by destructive penetration test. A fairy high correlation was found in tropical fruits between the penetration force and the new acoustic parameters; a lower correlation was found between this parameter and the conventional firmness index. Improved table-top firmness testing units, Firmalon, with data-logging system and on-line data analysis capacity have been built. The new device was used for the full-scale experiments in the next two years, ahead of the original program and BARD timetable. Close cooperation was initiated with local industry for development of both off-line and on-line sorting and quality control of more agricultural commodities. Firmalon units were produced and operated in major packaging houses in Israel, Belgium and Washington State, on mango and avocado, apples, pears, tomatoes, melons and some other fruits, to gain field experience with the new method. The accumulated experimental data from all these activities is still analyzed, to improve firmness sorting criteria and shelf-life predicting curves for the different fruits. The test program in commercial CA storage facilities in Washington State included seven apple varieties: Fuji, Braeburn, Gala, Granny Smith, Jonagold, Red Delicious, Golden Delicious, and D'Anjou pear variety. FI master-curves could be developed for the Braeburn, Gala, Granny Smith and Jonagold apples. These fruits showed a steady ripening process during the test period. Yet, more work should be conducted to reduce scattering of the data and to determine the confidence limits of the method. Nearly constant FI in Red Delicious and the fluctuations of FI in the Fuji apples should be re-examined. Three sets of experiment were performed with Flandria tomatoes. Despite the complex structure of the tomatoes, the acoustic method could be used for firmness evaluation and to follow the ripening evolution with time. Close agreement was achieved between the auction expert evaluation and that of the nondestructive acoustic test, where firmness index of 4.0 and more indicated grade-A tomatoes. More work is performed to refine the sorting algorithm and to develop a general ripening scale for automatic grading of tomatoes for the fresh fruit market. Galia melons were tested in Israel, in simulated export conditions. It was concluded that the Firmalon is capable of detecting the ripening of melons nondestructively, and sorted out the defective fruits from the export shipment. The cooperation with local industry resulted in development of automatic on-line prototype of the acoustic sensor, that may be incorporated with the export quality control system for melons. More interesting is the development of the remote firmness sensing method for sealed CA cool-rooms, where most of the full-year fruit yield in stored for off-season consumption. Hundreds of ripening monitor systems have been installed in major fruit storage facilities, and being evaluated now by the consumers. If successful, the new method may cause a major change in long-term fruit storage technology. More uses of the acoustic test method have been considered, for monitoring fruit maturity and harvest time, testing fruit samples or each individual fruit when entering the storage facilities, packaging house and auction, and in the supermarket. This approach may result in a full line of equipment for nondestructive quality control of fruits and vegetables, from the orchard or the greenhouse, through the entire sorting, grading and storage process, up to the consumer table. The developed technology offers a tool to determine the maturity of the fruits nondestructively by monitoring their acoustic response to mechanical impulse on the tree. A special device was built and preliminary tested in mango fruit. More development is needed to develop a portable, hand operated sensing method for this purpose. In North Carolina: Analysis method based on an Auto-Regressive (AR) model was developed for detecting the first resonance of fruit from their response to mechanical impulse. The algorithm included a routine that detects the first resonant frequency from as many sensors as possible. Experiments on Red Delicious apples were performed and their firmness was determined. The AR method allowed the detection of the first resonance. The method could be fast enough to be utilized in a real time sorting machine. Yet, further study is needed to look for improvement of the search algorithm of the methods. An impact contact-pressure measurement system and Neural Network (NN) identification method were developed to investigate the relationships between surface pressure distributions on selected fruits and their respective internal textural qualities. A piezoelectric dot-matrix pressure transducer was developed for the purpose of acquiring time-sampled pressure profiles during impact. The acquired data was transferred into a personal computer and accurate visualization of animated data were presented. Preliminary test with 10 apples has been performed. Measurement were made by the contact-pressure transducer in two different positions. Complementary measurements were made on the same apples by using the Firmalon and Magness Taylor (MT) testers. Three-layer neural network was designed. 2/3 of the contact-pressure data were used as training input data and corresponding MT data as training target data. The remaining data were used as NN checking data. Six samples randomly chosen from the ten measured samples and their corresponding Firmalon values were used as the NN training and target data, respectively. The remaining four samples' data were input to the NN. The NN results consistent with the Firmness Tester values. So, if more training data would be obtained, the output should be more accurate. In addition, the Firmness Tester values do not consistent with MT firmness tester values. The NN method developed in this study appears to be a useful tool to emulate the MT Firmness test results without destroying the apple samples. To get more accurate estimation of MT firmness a much larger training data set is required. When the larger sensitive area of the pressure sensor being developed in this project becomes available, the entire contact 'shape' will provide additional information and the neural network results would be more accurate. It has been shown that the impact information can be utilized in the determination of internal quality factors of fruit. Until now,
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Cameron, Arthur, Shimshon Ben-Yehoshua, and Rebecca Hernandez. Design and Function of Modified Atmosphere Packaging Systems for Fresh Produce: a Unified Approach for Optimizing Oxygen, Carbon Dioxide and Relative Humidity. United States Department of Agriculture, 1996. http://dx.doi.org/10.32747/1996.7613019.bard.

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Oxygen uptake, CO2 production and respiratory quotient (RQ) of strawberry, raspberry and cherry were measured as functions of temperature and oxygen level. The effect of cultivar was studied in strawberry ('Honey' and 'Allstar'). The effect of harvest date was studied for raspberry. The lower O2 limit increased markedly with incraqsing temperature for all fruits studied. Red bell pepper O2 uptake was measured as a function of O2 at 20o C. Lowering the inpackage humidity using NaCl reduced decay of bell pepper sealed in low-density polyethylene packages when stored at 8o C. Analyses of a model developed for MA-packaged red bell pepper fruit demonstrated that when RQ was near one and when CO2 exceeded O2 permeability, transient CO2 levels increased to a maximum before dropping to steady-state levels. An isothermal model of O2, CO2 and water vapor exchange in MA packages was developed for red bell pepper and tested empirically. A comprehensive model was developed for small fruits that also incorporated water vapor and the effects of changing temperature. Variation in package O2 levels was measured and modeled as a function of variation in respiration and film permeability.
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