Academic literature on the topic 'Technology of animated films production'
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Journal articles on the topic "Technology of animated films production"
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Krivulya, Natalia G. "Education Genres Animated Poster in the Second Half of the 20th Century." Journal of Flm Arts and Film Studies 8, no. 4 (2016): 28–42. http://dx.doi.org/10.17816/vgik8428-42.
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After WWII the genre of the animated poster was predominantly presented as advertisment films. The movie posters imagery in the 1950s tended to have an illustrative and spatial-pictorial artistic propensity. Grotesque and satire gave way to the dominance of realistic images, and the artistic design had gained coloration and splendor, creating the image of a cheerful world, affluence and prosperity. Films with propaganda and ideological orientations appeared along with the advertisement films, as the political and social poster developed. A special role in the poster genre development was played by the emergence of television as a major customer and distributor of this product. Unlike Western animation, the production of advertisement and social film-posters in the USSR was a state tool of the planned economy. Animated posters played an important role in the formation of new social strategies, behavior patterns and consumption. As a result, in the animated posters of the Soviet period, especially during the 1950s and 1960s, a didactic tone and an optimistic pathos in the presentation of the material dominated. The stylistics of film-posters changed in the 1960s. Their artistic image was characterized by conciseness and expressiveness, inclination towards iconic symbolism, and the metaphoric and graphic quality of the imagery. The poster aesthetics influenced the entire animation development in this period. The development of advertisement and social posters continued in the 1970s-1980s. The clipping principles of the material presentation began to develop in the advertisement poster, however, in the social and political poster there was a tendency towards narration. Computer technology usage in animation and the emergence of the Internet as a new communicative environment contributed to a new stage in the development of the animated poster genre. Means of expression experienced a qualitative upgrade under the influence of digital technologies in animated posters. While creating an animated posters artistic appearance the attraction and collage tendencies intensify due to the compilation of computer graphics and photographic images, furthermore, simulacrum-images are actively utilized as well. Since the 2000s, digital technologies are actively used for the development of social, instructional and educational posters. The advent of new technologies has led to modifications of the animated poster genre, changed the way it functions and converted its form. Along with cinematic and television forms - new types of animated posters have appeared which are used in outdoor advertising (billboards) as well as dynamic interactive banners and animated posters on web sites.
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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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Krivulya, Natalia G. "Development of the Animated Poster in the First Half of the XX century." Journal of Flm Arts and Film Studies 8, no. 3 (2016): 19–33. http://dx.doi.org/10.17816/vgik8319-33.
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The genre of animated posters emerged at the dawn of animation. In 1899, A. Cooper an English director created one of the first movie-posters in the history of world animation. The need for movie-posters with propaganda characteristics arose during the period of the WW1. During that time, the genre of the animated poster had been developed and had even become a stimulus to the development of the animation and film industry. It had achieved its greatest success in the UK due to the advanced level of printed graphics, as well as the fact that the British pioneered the development of systematic promotion approaches. German animators also worked in the genre of animated posters, but they filmed mostly instructional movies which presented technical or military information in a clear and simple form. By the end of the WW1 the structure of movie posters had evolved from transparent to narrative. During the war the genre of the animated poster was not developed in Russia. After the war, propaganda film-posters disappeared from the screens. Their place was taken by mostly political, educational and promotional posters. The time of experimentation with figurative language, technology, and structure of the animated poster was in 1920-1930s. Themes, targets and the form of presentation had changed, but the function remained the same - informational and visual propaganda. As the commercial poster had developed predominantly in European and American animation, the release of political posters initiated the development of Soviet animation. Sentiment changes in global politics and the situation in Europe during the late 1930s which evolved into the WW2, once again stimulated the entertainers interest for the genres of political-propaganda, patriotic, and instructive posters. During the war the production of animated posters formed a considerable portion of all the animation filmed in Soviet as well as American studios. With the cessation of hostilities films in the poster animation genre almost disappeared from the screens.
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Zhao, Wei Jun, and Ying Ying Wu. "The Impacts of CG Technology on Architectural Designs in Animated Films of the U.S.A." Advanced Materials Research 468-471 (February 2012): 2806–11. http://dx.doi.org/10.4028/www.scientific.net/amr.468-471.2806.
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In the digital animated films of the U.S.A, the frontier technology is CG (Computer Graphics). This paper, based on the study of American CG animated films, analyzes the unique architectural designs in these films and further points out that CG has brought unprecedented impacts on the traditional animated films. Thus, the architectural designs have been changing in the animated films of the U.S.A..
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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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Zhang, Rong. "Computer Vision-Based Art Color in the Animation Film Performance Characteristics and Techniques." Journal of Sensors 2021 (September 13, 2021): 1–12. http://dx.doi.org/10.1155/2021/5445940.
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If an animated film wants to present extraordinary visual effects, the successful use of art colors is the key to the success or failure of an animated film. Although our country’s animated film started a short time ago, its development has been slow. In modern times, it is difficult to compete with excellent animation works of other countries; animation is an art form that requires the combination of modern technology and traditional cultural areas. Chinese cartoons are gradually declining today when the technology is taking off. The reason is that the traditional culture of the country has not been thoroughly explored. In today’s diversified world, if you want to revive the brilliance of Chinese animation, you must deeply and systematically study various elements of national art and form your own creative thinking and creation system. Particularly under computer vision, the gap is very obvious. Under the computer vision, in order to study the characteristics and techniques of the use of fine art colors in animated films, to promote the development of animated films in China, this article analyzes the role of art color in the animation of excellent Chinese and foreign animation works in recent years, through literature analysis, comprehensive qualitative and quantitative analysis, etc., to study the meaning and application of color symbols, hoping to be a Chinese animation providing useful help for film creation and development. Studies have shown that color has a strong influence on animated films. A good use of artistic color can add a lot of color to an animated film. According to statistics, art colors account for at least 20% of excellent animation works, which can be integrated into animation colors. Animation works with domestic characteristics are easier to succeed. This shows that the use of artistic colors can play a key role in animated films.
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Kalmakurki, Maarit. "Snow White and the Seven Dwarfs, Cinderella and Sleeping Beauty: The Components of Costume Design in Disney’s Early Hand-Drawn Animated Feature Films." Animation 13, no. 1 (2018): 7–19. http://dx.doi.org/10.1177/1746847718754758.
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Costumes in feature films can be deliberately used for narrative purposes to reveal or conceal something related to the plot, functioning as a key element for cinematic storytelling. Costume design in animation is an integral part of character creation; however, relatively little is known about the design process. Previous research concentrates on either the history of hand-drawn animation, the principles of making animated films or character construction. This article presents several key components of the animators’ costume design process in Walt Disney’s animated feature films Snow White and the Seven Dwarfs (1937), Cinderella (1950) and Sleeping Beauty (1959). The author demonstrates that the costume design in these films was a multi-layered process. For example, for Snow White, the costume silhouette of the final animation is visible in the early conceptual designs whereas, for Cinderella or Princess Aurora, the principal character animators designed the final costume. Additionally, the slow production time influenced the style of the costumes: small details on costumes and complex constructions were not used as it would have taken too long for them to be drawn. The article also reveals that animators used live-action filming and rotoscoping as tools for designing costumes. Furthermore, costumes that were used in pre-production filming for rotoscope were different in their construction from everyday garments. The work of a costume designer existed in the character design process, although not as a separate profession. This article aims to highlight the importance of characters’ costumes in Disney’s early hand-drawn animated films and the different ways costumes have been designed for animated characters.
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Pikkov, Ülo. "On the Topics and Style of Soviet Animated Films." Baltic Screen Media Review 4, no. 1 (2016): 16–37. http://dx.doi.org/10.1515/bsmr-2017-0002.
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Abstract This article provides a survey of Soviet animation and analyses the thematic and stylistic course of its development. Soviet animated film emerged and materialised in synch with the fluctuations of the region’s political climate and was directly shaped by it. A number of trends and currents of Soviet animation also pertain to other Eastern European countries. After all, Eastern Europe constituted an integrated cultural space that functioned as a single market for the films produced across it by filmmakers who interacted in a professional regional network of film education, events, festivals, publications etc. Initially experimental, post-revolutionary Russian animation soon fell under the sway of the Socialist Realist discourse, along with the rest of Soviet art, and quickly crystallised as a didactic genre for children. Disney’s paradigm became its major source of inspiration both in terms of visual style and thematic scope, despite the fact that Soviet Union was regarded as the ideological opposite of the Western way of life and mindset. The Soviet animation industry was spread across different studios and republics that adopted slightly varied production practices and tolerated different degrees of artistic freedom. Studios in the smaller republics, such as Estonia, Latvia and Lithuania in particular, stood out for making films that were more ideologically complicated than those produced in Moscow.
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Pikkov, Ülo. "On the Links between Caricatures and Animated Films in Communist Eastern Europe." Baltic Screen Media Review 5, no. 1 (2017): 28–41. http://dx.doi.org/10.1515/bsmr-2017-0010.
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AbstractThis article analyses and maps the links between caricature and animated film, as well as their development during the post-World War II era, in communist Eastern Europe. The article also deals with the specific nature of animation production under the conditions of political censorship and the utilisation of Aesopian language as an Eastern European phenomenon for outmanoeuvring censorship.
Dissertations / Theses on the topic "Technology of animated films production"
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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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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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Caplan, Elizabeth A. "The Effects Of Animated Textual Instruction On Learners' Written Production Of German Modal Verb Sentences." Scholar Commons, 2002. http://purl.fcla.edu/fcla/etd/SFE0000042.
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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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Ankerfors, Mikael. "Microfibrillated cellulose : Energy-efficient preparation techniques and key properties." Licentiate thesis, KTH, Fiberteknologi, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-102949.
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This work describes three alternative processes for producing microfibrillated cellulose (MFC) in which pulp fibres are first pre-treated and then homogenized using a high-pressure homogenizer. In one process, fibre cell wall delamination was facilitated with a combined enzymatic and mechanical pre-treatment. In the two other processes, cell wall delamination was facilitated by pre-treatments that introduced anionically charged groups into the fibre wall, by means of either a carboxymethylation reaction or irreversibly attaching carboxymethyl cellulose (CMC) onto the fibres. All three processes are industrially feasible and enable production with low energy consumption. Using these methods, MFC can be produced with an energy consumption of 500–2300 kWh/tonne, which corresponds to a 91–98% reduction in energy consumption from that presented in earlier studies. These materials have been characterized in various ways and it has been demonstrated that the produced MFCs are approximately 5–30 nm wide and up to several microns long.<br><p>QC 20120928</p>
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Margolis, Hanna. "Filmy animowane kobiet w (męskich) strukturach kinematografii w Polsce w perspektywie komparatystycznej." Doctoral thesis, 2021. https://depotuw.ceon.pl/handle/item/4089.
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Przedmiotem dysertacji są autorskie filmy animowane realizowane przez kobiety w strukturach polskiej kinematografii. Są one badane jako odrębne w całości polskiej filmowej produkcji w technice animacji (autorka nie bada filmów dla dzieci, propagandowych, reklamowych, oświatowych), stąd w istocie przedmiot badań stanowi niewielki procent filmów animowanych realizowanych w Polsce. Badania prowadzone są dwutorowo, łącząc analizę filmów z analizą instytucji kinematograficznej i kultury produkcji autorskiego filmu animowanego w Polsce.
Dysertacja składa się z czterech rozdziałów. Rozdział I, pt. Rozpoznanie problematyki pracy wprowadza w podstawowe problemy związane z przyjętą w tekście terminologią, wprowadza także w ogólny kontekst genderowy specyficznych dla filmu animowanego problemów związanych z jego produkcją, projektowaniem i dystrybucją.
Zasadniczy korpus pracy stanowią rozdziały, które w porządku chronologicznym analizują ewolucję strategii wchodzenia polskich twórczyń na pozycje samodzielnych reżyserek animacji autorskiej. Proces ten pokazany jest jako element ewolucji pola polskiego filmu animowanego (w znaczeniu jakie polu kulturowemu nadał Pierre Bourdieu) – przy założeniu, że autorskie filmy animowane w swoich strategiach artystycznych nie różniły się diametralne od tych realizowanych w rozwiniętych kinematografiach. Analizowane jest także miejsce animacji w instytucji kinematograficznej, problematyka genologii i separacji/odrębności filmu animowanego w Polsce i na świecie. W historii polskiej animacji wyróżniono trzy okresy, każdemu z nich odpowiada rozdział dysertacji. Są to: czasy Polski Ludowej (1944-89), czasy kryzysu i transformacji (1989-2005), oraz współczesność (od 2005). Taką periodyzację można uznać za typową dla analiz dotyczących historii polskiego filmu (cezury dwóch pierwszych okresów stanowią wydarzenia polityczno-ustrojowe, w trzecim przypadku cezura ma charakter instytucjonalny – powołanie Polskiego Instytutu Sztuki Filmowej). Dla tematu dysertacji i przedmiotu jej badań periodyzacja ta ma znaczenie przede wszystkim ze względu na to, iż w historii filmu animowanego każdy z wymienionych okresów oznacza inną technologię (okres 1944-1989 to technologia analogowa, 1989-2005 to okres łączenia technologii analogowej z początkami cyfrowej, od roku 2005 branża przechodzi na zaawansowaną technologię cyfrową). A konkretnie – w okresie, którego dotyczy każdy z trzech rozdziałów inaczej przebiegały procesy i procedury developmentu, produkcji i dystrybucji filmów. Autorka analizuje, jak w każdym z tych okresów technologia wpływała na obraz genderowy branży – nie tylko poprzez stosunki pracy tworzące zawodowe hierarchie, ale także poprzez ewolucje procesów produkcji kapitału symbolicznego.
Cechą szczególną rozprawy jest poprzedzenie każdego z rozdziałów podrozdziałem wstępnym, zarysowującym międzynarodowe tło, czyli pozycję i osiągnięcia kobiet w filmie animowanym na świecie w okresie, którego dany rozdział dotyczy. Podrozdziały te zawierają pogłębione analizy twórczości i strategii artystycznych kobiet z różnych rejonów geograficznych (zarówno z państwach demokracji ludowej, jak i z Zachodu, z krajów wolnorynkowych), które wówczas w filmie animowanym stały się liderkami, bądź twórczyniami „credited alone”. Zabieg taki jest badawczą protezą, która ma za zadanie ukazanie szerokiego spektrum problemów instytucjonalnych i technologicznych towarzyszących wchodzeniu kobiet na pozycje mistrzowskie w przypadkach, które - w przeciwieństwie do polskich reżyserek - są dobrze udokumentowane, przede wszystkim poprzez rekonstrukcję cyfrową i dostępność ich filmów.<br>The subject of the dissertation are original animated films made by women in the structures of Polish cinematography. They are studied as separate from the whole of Polish film production in the animation technique (the authoress does not study films for children, propaganda, advertising, or educational films), thus in fact the subject of the research constitutes a small percentage of animated films made in Poland. The research is conducted in a bilateral manner, combining the analysis of films with an analysis of the cinematographic institution and the culture of original animated film production in Poland. The dissertation consists of four chapters. Chapter I, Identification of the problematic of the work, introduces basic issues related to the terminology adopted in the text, as well as the general gender context of the specific problems of animated film production, design and distribution.
The main body of the work consists of chapters which, in chronological order, analyse the evolution of the strategy of Polish female filmmakers' ascent to the position of independent directors of auteur animation. This process is shown as an element of the evolution of the Polish animated film field (in the sense given to the cultural field by Pierre Bourdieu) - with the assumption that auteur animated films in their artistic strategies were not diametrically different from those produced in developed cinematographies. The place of animation in the cinematographic institution, the issue of genology and the separation/individuality of animated film in Poland and the world are also analysed. In the history of Polish animation, three periods have been distinguished, each of which corresponds to a chapter of the dissertation. These are: the times of People's Poland (1944-89), the times of crisis and transformation (1989-2005), and the present day (from 2005). Such periodisation may be considered as typical for analyses concerning the history of Polish film (the caesuras of the first two periods are political and political events, while in the third case the caesura is of institutional nature - the establishment of the Polish Film Institute). For the topic of the dissertation and the subject of its research, this periodisation is of significance primarily due to the fact that in the history of animated film, each of the periods mentioned signifies a different technology (the period between 1944 and 1989 was analogue technology, 1989-2005 was a period of combining analogue technology with the beginnings of digital technology, and since 2005 the industry has been moving towards advanced digital technology). More specifically, the processes and procedures of film development, production and distribution were different in the period covered by each of the three chapters. The authoress analyses how, in each of these periods, technology influenced the gender image of the industry - not only through labour relations forming professional hierarchies, but also through the evolution of processes of symbolic capital production.
The distinctive feature of the dissertation is that each chapter is preceded by an introductory subchapter, outlining the international background, i.e. the position and achievements of women in animated film worldwide during the period to which the chapter relates. These sub-chapters contain in-depth analyses of the work and artistic strategies of women from different geographical regions (both from the countries of popular democracy and from the West, from free-market countries), who became leaders or 'credited alone' creators in animated film at the time. Such a procedure is a research prosthesis, which aims to show the broad spectrum of institutional and technological problems accompanying women's ascension to master positions in cases which, unlike Polish female directors, are well documented, above all through digital reconstruction and the availability of their films.
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Ramos, Luís António Gomes Tarrafa. "Production of 3D animated short films in Unity 5 : can game engines replace the traditional methods?" Master's thesis, 2017. http://hdl.handle.net/10400.14/22820.
Full textAbstract:
In 3D animation cinema, the elements of a scene are created by artists using computer
software. To generate the final result, there must be a conversion (rendering) of the threedimensional
models to two-dimensional images (frames) that will later be joined together and
edited into a video format.
3D animation films have traditionally been rendered using pre-rendering engines, a time
consuming and expensive process that usually requires the use of multiple computers rendering
at the same time (render farms), renders which may need to be repeated if the results are not
ideal.
Videogames, on the other hand, are reactive applications where the player may have
different possible courses of action that will generate distinct results. In those cases, it is
necessary that the engine waits for the player’s input before it calculates the following frames.
To allow for fast calculations in real time, 3D game developers use game engines that
incorporate real time rendering methods which can generate images much faster than the prerendering
engines mentioned above.
To be able to generate a large number of frames per second, there must be an
optimization of the entire scene, in order to reduce the number of necessary calculations. That
optimization is created by using techniques, practices and tools that are not commonly used by
animation cinema professionals.
Due to that optimization necessity, videogames always had a lower graphic quality than
that of animated films, where each frame is rendered separately and takes as long as necessary
to obtain the required result.
Physically Based Rendering (PBR) technology is one of the methods incorporated by
some rendering engines for the generation of physically accurate results, using calculations that
follow the laws of physics as it happens in the real world and creating more realistic images
which require less effort, not only from the artist but also from the equipment. The incorporation
of PBR in game engines allowed for high graphic quality generated results in real time,
gradually closing the visual quality gap between videogames and animated cinema.
Recently, game engines such as Unity and Unreal Engine started to be used – mostly by
the companies that created the engine, as a proof of concept – for rendering 3D animated films.
This could lead to changes in the animation cinema production methods by the studios that,
until now, have used traditional pre-rendering methods.<br>No cinema de animação 3D, os elementos de uma cena são criados por artistas através
da utilização de programas de computador. Para gerar o resultado final, é necessário fazer-se
uma conversão (render) dos modelos tri-dimensionais para imagens bi-dimensionais (frames),
que posteriormente serão unidas e editadas para um formato de vídeo.
Tradicionalmente, o rendering de filmes de animação 3D é feita através de motores de
pre-rendering, um processo demorado e dispendioso que geralmente requer a utilização de
múltiplos computadores a trabalhar em simultâneo (render farms), e que poderá ter que ser
repetido caso os resultados obtidos não sejam ideais.
Os videojogos, por outro lado, são aplicações reactivas, onde o jogador pode ter várias
sequências de acções, que poderão gerar resultados distintos. Nesses casos, é necessário o motor
de jogo esperar pela acção do jogador antes de calcular as imagens seguintes. Para possibilitar
cálculos rápidos em tempo-real, os criadores de jogos 3D usam motores de jogo que incorporam
métodos de renderização em tempo-real que conseguem gerar imagens muito mais rápido do
que os motores de pre-rendering mencionados acima.
Para conseguir gerar um grande número de imagens por segundo, é necessário existir
uma optimização de toda a cena, para reduzir o número de cálculos necessários. Essa
optimização é criada através da utilização de técnicas, práticas e ferramentas que, geralmente,
não são utiliadas por profissionais da área de cinema de animação.
Devido a essa necessidade de optimização, os videojogos sempre tiveram uma
qualidade gráfica inferior à dos filmes de animação, onde o render de cada imagem é gerado
separadamente e pode levar tanto tempo quanto for necessário para obter o resultado desejado.
A tecnologia de Rendering Baseado em Física (Physically Based Rendering – PBR) é
um dos métodos incorporados por alguns motores de rendering para a geração de resultados
físicamente correctos, usando cálculos que seguem as leis da física, tal como acontece no
mundo real e criando imagens mais realistas necessitando de menos esforço, não só da parte do
artista mas também do equipamento. A incorporação de PBR em motores de jogo possibilitou
resultados gerados em tempo-real com grande qualidade gráfica, o que gradualmente vai
aproximando a qualidade visual dos videojogos à do cinema de animação.
Recentemente, motores de jogo como o Unity e o Unreal Engine começaram a ser
utilizados – maioritariamente pelas companhias que criaram o motor de jogo, como prova de
conceito – para renderização de filmes de animação 3D. Este passo poderá levar a mudanças
nos métodos de produção do cinema de animação em estúdios que, até agora, utilizaram
métodos de pré-renderização tradicionais.
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Vejvodová, Iva. "Vyobrazení rasových a etnických stereotypů v amerických kreslených filmech." Master's thesis, 2013. http://www.nusl.cz/ntk/nusl-329110.
Full textAbstract:
This thesis deals with the depiction of racial and ethnic stereotypes in American animated cartoons particularly from the first half of the twentieth century. It studies the relationship between animation and American culture and examines how animation reflects and shapes American identity in terms of race and how it critiques and promotes American values and attitudes regarding race and ethnicity in particular. Considering the historical, political, legal and cultural background of the contemporary eras of American animation, the thesis analyses the portrayal of racial and ethnic features in animated cartoons from the 1920s to the 1960s. Such stereotypes represent, in my opinion, significant aspects of societal and cultural changes in American society of the examined eras of animation. The beginnings of the entertainment industry affected the booming era of animation by implementing commonly recognised literary stereotypes of the African-Americans into animated cartoons. This thesis strives to study the development of animated features of the racial stereotypes throughout the contemporary eras. It provides a brief systematic overview of the main eras that have significantly highlighted the start of animation as markers of race and ethnicity. Simultaneously, it discusses the problematic...
Books on the topic "Technology of animated films production"
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Animated realism: A behind the scenes look at the animated documentary genre. Focal, 2012.
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Woolverton, Linda. Beauty & the Beast: Production 0254. 2nd ed. Hollywood Scripts, 1990.
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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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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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Scaramozzino, Michael. Creating a 3D animated CGI short: The making of The Autiton Archives- fault effect. Jones and Bartlett, 2011.
Find full textBook chapters on the topic "Technology of animated films production"
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Kitano, Masaaki, Masato Takeuchi, Masaya Matsuoka, Michio Ueshima, and Masakazu Anpo. "Photocatalytic Hydrogen Production from Water on Visible Light-Responsive TiO2 Thin Films Under Solar Light Irradiation." In Nanostructure Science and Technology. Springer New York, 2010. http://dx.doi.org/10.1007/978-0-387-48444-0_23.
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Jing, Fan. "Accurate Teaching Data Analysis of “Special Effects Production for Digital Films and TV Programmes” Based on Big Data." In Business Intelligence and Information Technology. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-92632-8_16.
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Holliday, Christopher. "Notes on a Luxo World." In The Computer-Animated Film. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474427883.003.0004.
Full textAbstract:
This chapter advances the term ‘Luxo’ as a useful descriptor that awards definition to the unique fictional worlds of the computer-animated feature film. The main body of writing in the initial stages outlines how the Luxo worlds of computer-animated films intersect with (and depart from) other forms of animation and digital world construction, situating computer-animated films against scholarship dealing with world creation. Emphasis is paid to the multiplicity of cinema’s ‘computer-animated’ worlds across popular Hollywood cinema, drawing in comparisons with Rotoscoping and the current effects industry via the virtual backlot. A significant discrimination made here is the idea that a Luxo world operates as a computer-animated film fiction achieved through the act of production, not as a fictional world crafted separately in post-production. Animatedness becomes a term that is developed throughout the chapter, invoked to promote the specificities of this new digital cinema and the richness of its film worlds. By exploring the particular “animatedness” of a Luxo world against other types and traditions of animated fictions, this chapter distinguishes the ways in which technology is harnessed through the spectacle of the digital multitude and how computer-animated films operate in dialogue with the formal style of “open world” videogames.
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Kornhaber, Donna. "5. The secret afterlife of silent film." In Silent Film: A Very Short Introduction. Oxford University Press, 2020. http://dx.doi.org/10.1093/actrade/9780190852528.003.0006.
Full textAbstract:
The year 1929 is often seen as marking the end of silent film. “The secret afterlife of silent film” questions this date, demonstrating how that year only signaled the end of production in major studios in the United States. Once the technology for synchronization and amplification became available, the transition to sound in the motion picture industry was smoother than is often depicted. Silent film production continued in pockets around the globe until nearly the middle of the century, as did silent film exhibition. Elements of silent film persist even in the early twenty-first century, from avant-garde to animated films. Silent film is still beloved by critics and cinephiles, and the innovations of the silent period arguably contribute to the ongoing appeal of cinema itself.
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Yamamura, Koji. "Transforming the Intangible into the Real." In Animating the Spirited. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496826268.003.0003.
Full textAbstract:
Seven short animated films are examined by the auteur-animator as he self-reflects on their creations. Making animation is not only an extension of the pictorial and comic-like expression, but also the act of mystically creating movement to be perceived in the real. The artist shares his personal experiences during the animation making process including the unconscious imaginative realm that creeps into his creative thoughts. Technology may play an important part of the animation production but the author maintains that there is a deeper spiritual world where he is somehow drawn into when he is making animation. Spiritually, he feels the transcendence of the dualism of mind and matter during the creative process, and is able to unite the subconscious with reality. Citing motifs including natural, inorganic, or imaginative entities, the author demonstrates the influence of the psyche in his artistic expressions. To the artist, the spiritual assimilation aspects of his work are profound, complex, and illuminating.
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"Exposure Sheets and Production Folders1." In How to Make Animated Films. Elsevier, 2009. http://dx.doi.org/10.1016/b978-0-240-81033-1.00043-1.
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Brown, Ross, and Rune Rasmussen. "Virtual Environment Visualisation of Executable Business Process Models." In Virtual Technologies for Business and Industrial Applications. IGI Global, 2011. http://dx.doi.org/10.4018/978-1-61520-631-5.ch004.
Full textAbstract:
Business Process Modelling is a fast growing field in business and information technology, which uses visual grammars to model and execute processes within an organisation. However, many analysts present such models in a 2D static and iconic manner that is difficult to understand by many stakeholders. Difficulties in understanding such grammars can impede the improvement of processes within an enterprise due to communication problems. In this chapter, we present a novel framework for intuitively visualising animated business process models in 3D Virtual Environments. We also show that virtual environment visualisations can be performed with present 2D business process modelling technology, thus providing a low barrier to entry for business process practitioners. Two case studies are presented from film production and healthcare domains that illustrate the ease with which these visualisations can be created. This approach can be generalised to other executable workflow systems, for any application domain being modelled.
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"About the DigiPen Institute of Technology." In How to Make Animated Films. Elsevier, 2009. http://dx.doi.org/10.1016/b978-0-240-81033-1.00041-8.
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Sofian, Sheila M. "Creative Challenges in the Production of Documentary Animation." In Drawn from Life. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9780748694112.003.0014.
Full textAbstract:
In this chapter, Sheila M. Sofian examines animated documentary from a filmmaker’s perspective. This chapter explores the appropriateness of animation’s use within nonfiction film. This chapter also asks how and when animation’s use might enhance audience understanding of a given documentary topic, and how and when it might distract from the same. The chapter also examines whether animation’s use in documentary reveals the filmmaking process in a more overt fashion than witnessed within live action documentary, and what controversies arise as a result. This chapter discusses these and other issues through reflective accounts of the production and exhibition of Sofian’s own animated documentary films. In discussing these works, this chapter examines the creative process of animated documentary production and the unique challenges faced when producing non-fiction animated films. The relationship between sound and image, choice of animation technique, and the effectiveness of literal versus abstract imagery are all topics explored.
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Holliday, Christopher. "Satisfying a Spirit of Adventure." In The Computer-Animated Film. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474427883.003.0012.
Full textAbstract:
The conclusion reflects on the meaningfulness of genre analysis as paving the way for more rigorously formalist approaches to computer-animated films, but also as a way of positioning industry, technology and textuality in relation to each other. The conclusion also argues that the features of the computer-animated film identified in the book engage with discourses of juvenile behaviour to stretch the terms of the adult/child distinction, with many computer-animated films demonstrating a notable fascination with the vicissitudes and values of the childhood experience. The narratives of computer-animated films invite a specific consideration of what it means to be a child within contemporary culture. I challenge directly Judith Halberstam’s notion that certain children’s films appeal to the “disorderly child” and instead look to the fuzzy distinction between adolescents and adults engendered in portmanteau terms pertaining to cultural categories such as “kidult,” “manchild” and “adultescents.” The child/adult distinction is thus not fixed or ‘frozen,’ but flowing, and the conclusion identifies how computer-animated films offer future opportunity to examine how, as a genre, they mobilise questions about the cultural experience and significance of childhood, at the same time as their narratives redefine adulthood.
Conference papers on the topic "Technology of animated films production"
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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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Schur, Dmitry V., Eduard M. Shpilevsky, Mykola M. Baklanov, and Oleksander O. Lobodyuk. "Production and study of metal-fullerene films." In International Symposium on Optical Science and Technology, edited by Akhlesh Lakhtakia, Graeme Dewar, and Martin W. McCall. SPIE, 2002. http://dx.doi.org/10.1117/12.472995.
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Bian, Yi'nan, and Tianxing Jin. "A Prediction Model of Domestic Animated Films and Audience Psychology Based on Facial Expression Recognition." In 2021 5th International Conference on Electronics, Communication and Aerospace Technology (ICECA). IEEE, 2021. http://dx.doi.org/10.1109/iceca52323.2021.9675893.
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Telis, V., K. Wolf, and P. Sobral. "Characterizations of Collagen Fibers for Biodegradable Films Production." In 13th World Congress of Food Science & Technology. EDP Sciences, 2006. http://dx.doi.org/10.1051/iufost:20060929.
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Fernandez, A. M., and John A. Turner. "Preparation and photoelectrochemical characterization of GaN thin films for hydrogen production." In SPIE Solar Energy + Technology, edited by Hicham Idriss and Heli Wang. SPIE, 2010. http://dx.doi.org/10.1117/12.860829.
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Guglietta, Glenn, Timon Wanga, Ranjan Pati, Sheryl Ehrman, and Raymond A. Adomaitis. "Chemical vapor deposition of copper oxide films for photoelectrochemical hydrogen production." In SPIE Solar Energy + Technology, edited by Frank E. Osterloh. SPIE, 2009. http://dx.doi.org/10.1117/12.826711.
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Stadler, A. W., A. Kolek, K. Mleczko, D. Zak, Z. Zawislak, and P. Szatanski. "Magnetoresistance of RuO/sub 2/-glass films." In 26th International Spring Seminar on Electronics Technology: Integrated Management of Electronic Materials Production, 2003. IEEE, 2003. http://dx.doi.org/10.1109/isse.2003.1260530.
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Camilo, Mauricio Eiji, Vanessa Duarte Del Cacho, Thiago Alexandre Alves de Assumpcao, Luciana Reyes Pires Kassab, and Marco Isaias Alayo. "Production of TeO2-WO3-Bi2O3 thin films for fabrication of integrated optical sensors." In 2013 Symposium on Microelectronics Technology and Devices (SBMicro). IEEE, 2013. http://dx.doi.org/10.1109/sbmicro.2013.6676134.
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Hrovat, M., J. Holc, S. Drnovsek, et al. "Ferroelectric thick films on LTCC substrates - preliminary results." In 26th International Spring Seminar on Electronics Technology: Integrated Management of Electronic Materials Production, 2003. IEEE, 2003. http://dx.doi.org/10.1109/isse.2003.1260511.
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Xuan Dung Dang, M. Schneider, C. M. Intelmann, U. Rammelt, and W. Plieth. "Films of intrinsically conducting polymers for applications in sensors." In 26th International Spring Seminar on Electronics Technology: Integrated Management of Electronic Materials Production, 2003. IEEE, 2003. http://dx.doi.org/10.1109/isse.2003.1260518.
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