Bibliografías temáticas / 3D computer animation

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Literatura académica sobre el tema "3D computer animation"

Autor: Grafiati
Publicado: 4 de junio de 2021
Última modificación: 20 de febrero de 2023

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Artículos de revistas sobre el tema "3D computer animation"

1

Zhang, Yang. "Computer Technology-Based Three-Dimensional Animation Production System Management". Journal of Physics: Conference Series 2146, n.º 1 (1 de enero de 2022): 012018. http://dx.doi.org/10.1088/1742-6596/2146/1/012018.

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Abstract Animation is one of the most fascinating industries in recent years. Nowadays, the most popular three-dimensional animation creation design, three-dimensional animation creation is to rely on CG technology to simulate and realize through the powerful computing power of computers. As designers have higher and higher requirements for animation, the animation creation process has become more complicated, so the skill-based management of the 3D animation creation process will be a problem. This article will study the management of the 3D animation creation system based on computer technology. On the basis of the literature, the relevant theory of the 3D animation creation system is understood, and then the computer technology-based 3D animation creation management system is designed, and the designed system is tested. The test results show that the maximum concurrency of the system in this article The number is 400. After 400, the delay time and packet loss of the system start to rise.
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Mohd Suki, Norbayah, Norazah Mohd Suki, Mohamed Mustafa Ishak, Rosliza Ahmad y Kamal Bahrin Sudin. "Discovering the Global Landscape of 3D Animation: A Bibliometric Analysis". International Journal of Interactive Mobile Technologies (iJIM) 16, n.º 09 (10 de mayo de 2022): 41–54. http://dx.doi.org/10.3991/ijim.v16i09.30371.

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The purpose of this study is to conduct a bibliometric analysis of publications on 3D animation in the Scopus database. Microsoft Excel, VOSviewer for data visualisation, and Harzing's Publish or Perish for citation metrics and analysis were employed to conduct the bibliometric analysis. Data were analysed among a sample of 305 publications on 3D animation published between 1984 and 2021 available in the Scopus database. The bibliometric analysis reveals that the number of publications on 3D animation research has been constantly increasing since 2002. In 2020, the total number of documents published in 3D animation reached 29 articles. China was named the most active country in the field of 3D animation. A total of 888 researchers from 43 different countries and 31 different institutions published 3D animations in multiple languages, including multi-author collaboration. Computer Science and Engineering are the two disciplines that are most prominently represented in the study of 3D animation. The most active institutions that published key publications linked to 3D animation research were Universitas Diponegoro and the University of Sharjah. This research is unique and significant to contribute to advancing the body of knowledge on 3D animation to add value to the complexities of scientific narratives. Future research direction is also furnished.
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Sun, Zhen Tao. "Animation Type Analysis after Using Computer 3D Animation Technology". Advanced Materials Research 971-973 (junio de 2014): 1553–56. http://dx.doi.org/10.4028/www.scientific.net/amr.971-973.1553.

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Type of computer animation using 3D technology can be divided under three seeds that mimic 2D animation, imitating traditional 3D animation, imitating real movie. Mimic 2D animation and imitating real movie are infinitely close with 2D animation and real film movie. Imitating traditional 3D animation is completely different from the traditional three-dimensional animation, which won the visual realism. "Visual realism" to get that 3D animation and real film movie stood on the same competition platform.
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Gao, Xin Rui. "Research of Efficiency of Computer 3D Animation". Applied Mechanics and Materials 421 (septiembre de 2013): 672–75. http://dx.doi.org/10.4028/www.scientific.net/amm.421.672.

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3D animation is an application of computer graphics. The factors that affect the efficiency of 3D animation include animation algorithms, 3D models, materials and textures, rendering, and LOD (level of detail). This thesis discusses these technologies separately. By using these technologies properly, we could reduce the complexity of algorithms and the overall data quantity and then enhance the efficiency of 3D animation.
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Kobayashi, Masahiro, Tatsuo Nakajima, Ayako Mori, Daigo Tanaka, Toyomi Fujino y Hiroaki Chiyokura. "Three-Dimensional Computer Graphics for Surgical Procedure Learning: Web Three-Dimensional Application for Cleft Lip Repair". Cleft Palate-Craniofacial Journal 43, n.º 3 (mayo de 2006): 266–71. http://dx.doi.org/10.1597/04-009.1.

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Objective In surgical procedures for cleft lip, surgeons attempt to use various skin incisions and small flaps to achieve a better and more natural shape postoperatively. They must understand the three-dimensional (3D) structure of the lips. However, they may have difficulty learning the surgical procedures precisely from normal textbooks with two-dimensional illustrations. Recent developments in 3D computed tomography (3D-CT) and laser stereolithography have enabled surgeons to visualize the structures of cleft lips from desired viewpoints. However, this method cannot reflect the advantages offered by specific surgical procedures. To solve this problem, we used the benefits offered by 3D computer graphics (3D-CG) and 3D animation. Design and Results By using scanning 3D-CT image data of patients with cleft lips, 3D-CG models of the cleft lips were created. Several animations for surgical procedures such as incision designs, rotation of small skin flaps, and sutures were made. This system can recognize the details of an operation procedure clearly from any viewpoint, which cannot be acquired from the usual textbook illustrations. This animation system can be used for developing new skin-flap design, understanding the operational procedure, and using tools in case presentations. The 3D animations can also be uploaded to the World Wide Web for use in teleconferencing.
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Jing, Yang y Yang Song. "Application of 3D Reality Technology Combined with CAD in Animation Modeling Design". Computer-Aided Design and Applications 18, S3 (20 de octubre de 2020): 164–75. http://dx.doi.org/10.14733/cadaps.2021.s3.164-175.

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Computer three-dimensional animation is a new type of animation with the development of computer software and hardware technology in recent years. Three-dimensional animation should apply the software of three-dimensional animation technology to establish a virtual world in the computer. In this virtual three-dimensional world, designers build animated character models and scene models according to the shape and scale of the objects to be represented. Then set the motion trajectory of the character model, the motion of the virtual camera and other animation parameters according to the requirements, and then assign specific materials to the model and add lights to the model. Then the computer can automatically calculate and generate the final continuous picture. Under this background, the research on 3D animation character shaping in this paper is to analyze and study the market situation from the standpoint of small-scale 3D animation companies (teams) with relatively weak technology, and through the author's own creative practice, this paper summarizes some principles for the design and production of 3D animation characters, and tries to improve the education system of 3D animation character design. It promotes the production and dissemination of 3D animation and distinct 3D animation characters. Starting with the comparative research method, this paper summarizes the differences of 3D animation character shaping from the comparison of the characteristics of 3D animation and traditional animation, and then summarizes the efficient ways and methods of how to shape 3D animation characters by combining practice with theory.
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Lasseter, John. "Principles of traditional animation applied to 3D computer animation". ACM SIGGRAPH Computer Graphics 21, n.º 4 (agosto de 1987): 35–44. http://dx.doi.org/10.1145/37402.37407.

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Liu, Kai, Qinghan Yang, Yuhao Lu, Taoyu Zhang y Shuo Chen. "Research on the Computer Case Design of 3D Human Animation Visual Experience". Wireless Communications and Mobile Computing 2021 (3 de noviembre de 2021): 1–7. http://dx.doi.org/10.1155/2021/8809036.

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In the animation industry, with the development of computer software and hardware technology, a new technology began to emerge, that is, three-dimensional animation. Three-dimensional animation software first creates a virtual world in the computer. In this virtual three-dimensional world, the designer builds the model and scene according to the shape and size of the object to be represented and then sets the motion trajectory of the model, the motion of the virtual camera, and the scene according to the requirements. When setting other animation parameters, we need to assign specific materials to the model and turn on lights. When all this is completed, the computer can automatically calculate and generate the final picture. The software Maya can just help animators to complete this work. When using Maya, we can apply many professional courses such as action design, scene design, and storyboarding script design that we have learned. Maya is a 3D software with convenient operability. It can combine the rendered sequence frames with AE to show unique animations. Therefore, the three-dimensional production method is preferred in the production method. The production of animation based on the 3D software Maya brings infinite challenges. At the same time, it also helps everyone grow and has a good position for our employment direction.
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9

Gao, Xin Rui. "Key Technologies and Efficiency in Computer 3D Animation". Applied Mechanics and Materials 421 (septiembre de 2013): 676–80. http://dx.doi.org/10.4028/www.scientific.net/amm.421.676.

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In 3D animation, there are several key technologies used to make the 3D characters, scene, and environments look much real and alive. The key technologies include motion capture, 3D fur and hair design, particle system, clothes design, and Billboard etc. These technologies are related with the efficiency of 3D animation. This thesis discusses these technologies separately and suggests methods to enhance the efficiency of 3D animation.
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Fang, Jie. "An Analysis on Virtual Material Making and its Application in 3D Animation Designs". Advanced Materials Research 211-212 (febrero de 2011): 1172–75. http://dx.doi.org/10.4028/www.scientific.net/amr.211-212.1172.

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Three-dimensional animation is one of the greatest contributions made by computer sciences to the animation industry. The 3D animation has been widely used in movie special effects, commercials, computer games and computer-based education (CBE), and has become a well-known form of art in the world's pop culture. The rapid development of 3D animation also brings about fundamental changes in the materials used in animation production. This paper gives an introduction of the virtual materials in 3D animation, as well as the tools needed and methods of making the materials using 3D animation design software, especially Maya.
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Tesis sobre el tema "3D computer animation"

1

Ottosson, Joakim y Stefan Eriksson. "3D Animation Karlshamns AB". Thesis, Blekinge Tekniska Högskola, Sektionen för teknokultur, humaniora och samhällsbyggnad, 2005. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-1524.

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A project produced for Karlshamns AB. This project is a 3D-visualization for a industrial process that shows how to clean oil from a special raw material. In this case we want with the sheanuts help show how the nut harvests, carry and then clean to be used in quality products.
Industriell animation som visar en komplicerad process på ett enkelt och pedagogiskt sätt.
Detta är en reflektionsdel till en digital medieproduktion.
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2

Crow, Trent Fielding. "Stylized Hatching for 3D Animation". BYU ScholarsArchive, 2007. https://scholarsarchive.byu.edu/etd/1046.

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Much research has been done in creating non-photorealistic renderings of objects that mimic the look of hand-made drawings by traditional artists. This thesis extends work in this area by presenting an NPR hatching method that can be applied to 3D animated films to help them feel more hand drawn. In contrast to most other NPR methods, this method preserves the 3D lighting and effects of the film that make it interesting to watch. This process includes a procedural algorithm to create a hatching pattern that can be easily integrated into any film's pipeline that uses Renderman. In addition, we create a set of controls to adjust the hatching that are easy to use and allow our style to be applied to many different objects in many shots of a film in an efficient manner. To show the success of our method, we will discuss the implementation and results of applying it to an actual 3D animated short film.
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Karlsson, Tobias. "Kroppsspråk i 3d-animation : Lögner hos 3d-karaktärer". Thesis, Högskolan i Skövde, Institutionen för kommunikation och information, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-5022.

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Detta arbete undersöker huruvida vi kan uppfatta lögn och nervositet hos en avskalad virtuell karaktär. Utifrån forskning om beteendevetenskap, kroppsspråk och icke-verbala signaler har lögnsignaler och nervositetstecken animerats hos en avskalad virtuell karaktär. Dessa animationer visades utan audiella ledtrådar, såsom tal, för urvalsgrupper och en kvantitativ undersökning genomfördes för att besvara arbetets frågeställning. Undersökningens resultat gav emellertid inget konkret svar på frågeställningen. För att respondenterna skulle uppfatta lögnsignaler hos en avskalad virtuell karaktär krävdes att ett flertal aspekter togs i beaktning, exempelvis behövde lögnsignalerna vara tydliga och inte överskuggas av starkare känslor eller signaler. Nervositetstecken avlästes dock enkelt av respondenterna i undersökningen vilket kan betyda att en avskalad virtuell karaktär kan gestalta ett nervöst tillstånd utan audiella ledtrådar. Resultatet som undersökningen gav har ställts mot insamlad data och tidigare forskning för att diskutera undersökningens brister och lämpliga framtida justeringar för att åtgärda dessa. Slutligen har även möjligheter för framtida arbete diskuterats och spekulationer kring användningsområden för en liknande undersökning i ett branschperspektiv har genomförts.
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Harvey, Louise y n/a. "The Best of Both Worlds: The Application of Traditional Animation Principles in 3D Animation Software". Griffith University. Griffith Film School, 2007. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20070810.105026.

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This research assesses the skills and knowledge necessary for the creation of animation in the 3D computer medium. It responds to the argument that students of this new form of animation must learn to apply principles and theories of animation that had their genesis in the early years of traditional, hand-drawn animation (Kroyer, 2002). Many industry notables argue for the use of traditional animation principles in 3D computer animation. John Lasseter, executive vice president at Pixar studios in the United States, represents one such example. He states that 'These principles were developed to make animation, especially character animation, more realistic and entertaining. These principles can and should be applied to 3D computer animation' (Lasseter 1987). The importance of animation principles in all animation mediums is stressed by Oscar-winning traditional animator Gene Deitch. He states that 'Every animated film made today uses those same basic principles developed at the Walt Disney studios during the 1930s. They still apply, no matter which technology is used' (2001). This research report examines the validity of this argument and identifies the tools, principles, and procedures that professional 3D animators are using. Central to this research is the dynamic of the contemporary relevance of traditional animation as an aesthetic, craft and economic entity. Most importantly this research considers how that dynamic might translate into the teaching of 3D animation courses. It is claimed that the findings of this research benefits 3D animation teachers, students, and those who employ them. To conduct on-site research with professional animators, this study enlisted the participation of a small number of animation studios in south-east Queensland, Australia by ensuring the protection of their Intellectual Property. Close observation of their working practices was made and numerous secondary sources of information (3D animation tutorials, books, DVDs, software manuals etc.) examined in order to locate the tools, processes, and principles that CG animators engaged. The findings were applied and critically assessed by means of a practical project (a seven-minute 3D-animated film) which was created concurrently with the research. Recommendations were formulated as to the most useful tools, processes, and principles for the student of computer animation by way of a revision of the existing Queensland College of Art syllabus for teaching computing animation. What follows is an account of the development and context of the project, the research methods applied, and critical analyses of the findings. The research concludes that it is necessary and advantageous to apply traditional animation skills to 3D computer work.
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5

Harvey, Louise. "The Best of Both Worlds: The Application of Traditional Animation Principles in 3D Animation Software". Thesis, Griffith University, 2007. http://hdl.handle.net/10072/365586.

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This research assesses the skills and knowledge necessary for the creation of animation in the 3D computer medium. It responds to the argument that students of this new form of animation must learn to apply principles and theories of animation that had their genesis in the early years of traditional, hand-drawn animation (Kroyer, 2002). Many industry notables argue for the use of traditional animation principles in 3D computer animation. John Lasseter, executive vice president at Pixar studios in the United States, represents one such example. He states that 'These principles were developed to make animation, especially character animation, more realistic and entertaining. These principles can and should be applied to 3D computer animation' (Lasseter 1987). The importance of animation principles in all animation mediums is stressed by Oscar-winning traditional animator Gene Deitch. He states that 'Every animated film made today uses those same basic principles developed at the Walt Disney studios during the 1930s. They still apply, no matter which technology is used' (2001). This research report examines the validity of this argument and identifies the tools, principles, and procedures that professional 3D animators are using. Central to this research is the dynamic of the contemporary relevance of traditional animation as an aesthetic, craft and economic entity. Most importantly this research considers how that dynamic might translate into the teaching of 3D animation courses. It is claimed that the findings of this research benefits 3D animation teachers, students, and those who employ them. To conduct on-site research with professional animators, this study enlisted the participation of a small number of animation studios in south-east Queensland, Australia by ensuring the protection of their Intellectual Property. Close observation of their working practices was made and numerous secondary sources of information (3D animation tutorials, books, DVDs, software manuals etc.) examined in order to locate the tools, processes, and principles that CG animators engaged. The findings were applied and critically assessed by means of a practical project (a seven-minute 3D-animated film) which was created concurrently with the research. Recommendations were formulated as to the most useful tools, processes, and principles for the student of computer animation by way of a revision of the existing Queensland College of Art syllabus for teaching computing animation. What follows is an account of the development and context of the project, the research methods applied, and critical analyses of the findings. The research concludes that it is necessary and advantageous to apply traditional animation skills to 3D computer work.
Thesis (Professional Doctorate)
Doctor of Visual Arts (DVA)
Griffith Film School
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Han, Ching-Pei B. "3D alchemy : a guide to 3D realistic computer graphics /". Online version of thesis, 1993. http://hdl.handle.net/1850/11747.

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Ghys, Charlotte. "Analyse, Reconstruction 3D, & Animation du Visage". Phd thesis, Ecole des Ponts ParisTech, 2010. http://pastel.archives-ouvertes.fr/pastel-00555140.

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L'analyse du visage est un sujet très étudié dans de nombreux domaines : Interaction Homme Machine, sécurité, post-production cinématographique, jeux video. . . Cela comprend la détection, la reconnaissance, la reconstruction 3D, l'animation et l'analyse d'émotions. L'animation du visage a été la motivation principale durant toute la thèse. Nous nous intéressons à la plupart des domaines liés au visage : tout d'abord la reconstruction 3D et la modélisation de visage, avec un nouveau modèle de visage. Ensuite, nous introduisons des contraintes anthropométriques par champs de Markov pour la détection globale de points d'intérêts. Partant de contraintes anthropométriques, nous sommes capables d'estimer la pose 3D du visage à partir d'une seule image, et de l'étendre au suivi du visage. L'analyse d'émotion conclut notre travail : nous présentons une technique de modélisation d'expression définie comme une série temporelle et proposons de l'utiliser pour la prédiction d'émotions.
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Marcusson, Oscar. "Algoritmiska Animationer : En studie av automatisering av animation". Thesis, Högskolan i Skövde, Institutionen för informationsteknologi, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-16560.

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Att utveckla 3D-animeringar till dataspel är kostsamt eftersom det tar mycket tid och resurser för att uppnå den kvalitet som dagens spelare kräver. För att både spara arbetstid och göra det lättare för ovana animatörer att skapa animationer av tillräckligt hög kvalitet undersöker detta arbete hur ett verktyg för regelbaserad procedurell animering kan utformas, vad spelare anser om resultatet och vad utvecklare anser om både resultat och användning. För att testa detta skapades en artefakt (ett rymdspel) bestående av 3D-modeller och programmering (C# i Unity) av script, API, klasser och metoder. Arte­fakten animerar procedurellt utifrån algoritmer baserade på variabler. Utvärderingen av artefakten genomfördes med stöd av funktionsprotokoll, enkät och intervjuer. Slutsatsen är att regelbaserad procedurell animering är användbar för mekaniska delar utifrån synpunkter från dataspelsutvecklare och spelare. Framtida arbete kan bestå av en utökad undersökning med fler respondenter, tillförande av ett grafiskt gränssnitt, produktutveckling tillsammans med företag, skapande av fler verktyg och användade av AI.
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Rivera, Fiona MacDonald. "An improved computational model for effective 3D animation". Thesis, Queen Mary, University of London, 2017. http://qmro.qmul.ac.uk/xmlui/handle/123456789/25937.

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As humans, our fascination with recreating images of ourselves began with parietal art many thousands of years ago, and has continued throughout the ages. However, we also now strive to create moving, thinking, believable, virtual humans, rather than focus entirely on static images. Moreover, computer generated humans are now integral to the digital world that encompasses us, yet 3D animation remains rife with challenges. The overarching objective of the thesis, therefore, is to systematically investigate and design a comprehensive computational model that leverages the effect of natural motion from the real-world to mediate enhanced 3D animation production. Thus natural motion is simulated to support user engagement, leveraged through real-time mapping, and for control of digital characters through enabling devices for markerless capture. Captured data is analysed offline to identify potential creative enhancements. As a result of the comprehensive investigation, contributions include an innovative animation framework to support real and virtual engagement within immersive environments. The novel approach simulates motion, through combining elements of real-time game technology with facets of behaviour simulation from Embodied Conversational Agents. Contributions are also proposed towards bridging the gap between realistic motion capture and authoring more stylised 3D cartoon animations. Shortcomings of transferring natural motion to exaggerated cartoon styled animation are systematically studied and a solution based on parametric motion curve optimization is proposed. Intelligent reasoning for validation of temporal sequencing of animation assets using a structured knowledge model, further contributes towards animation production through facilitating sharing animation planning across different domains. The computational model, thus embodies the concept that through systematic investigation of synergies and differences between natural motion and keyframe animation, the benefits of both can be fused together to target more efficient, yet believable, and even creative animation authoring.
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Fonseca, Jose Antonio dos Santos. "Character body expression in 3D computer animation : a new posing approach". Thesis, Bournemouth University, 2015. http://eprints.bournemouth.ac.uk/24898/.

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Creation of 3D character animations is a complex and time-consuming process, and the character animator has to simultaneously consider a multitude of factors in order to create high quality expressive animation. The 12 Principles of Animation are traditionally considered as the main guidelines for creating high-grade character animation. The main focus of this research is the process of animating the 3D character’s body expression and the animator’s practice, particularly the Posing phase of the animation process. Although posing is not one of the 12 Principles of Animation, it can be considered as the superposition of a subset of those principles that the animator has to keep in mind, while creating key-poses for any specific movement of an animated character. Additional factors that should be considered by the animator during the Posing stage are body language and acting, along with the technicalities of the 3D character manipulation. Hence, Posing is regarded as an intricate process, making it rather challenging for the animator to avoid involuntary neglect of the large number of the aforementioned characteristics. This aspect of the 3D animation process is extremely important for the final creative result of the animation, in terms of character's expression, because if the key-poses are not well defined, the computer may not be able to generate sufficiently expressive animation. This would often result in work that may be subjectively judged as lower quality animations. This research developed the hypothesis that the key to create more expressive 3D character animation is located within Posing, in the Animation Blocking phase of the process. This thesis proposes that a systematisation of the Posing procedure taking advantage of certain Traditional Animation, Fine Arts and Acting concepts and their underlying rationale, can greatly benefit the animator. This thesis presents a new posing approach to 3D character animation, as a conceptual guideline which promotes the arrangement of the body parts into naturalistic patterns of expression. This is achieved by combining the concepts of Power Centre, Line of Action, Contrapposto and Serpentine Line in a systematic way, around a conceptual flow of force. These comprehensible high-level concepts make Posing and the animation process less complicated and more accessible. This allows animators of different levels to create more believable character body expressions in an easier and less time-consuming fashion, introducing better methods of more efficient workflows resulting in improved creative results over shorter periods of time. It is also demonstrated how the aforementioned concepts can be applied to a variety of animation styles – ranging from the more realistic to the more cartoonish ones. A prototype of a 3D Pose Tool was also developed, based on the rationale of the proposed approach, with the objective of being used as a visual guide for generation of new poses to be included in the case studies. Additionally, this tool produces visual evidence in the analysis of specific good and bad examples of character posing. This thesis, therefore, makes the argument that the proposed solution – whether accompanied with the complementary 3D Pose Tool or not – gives the animator the possibility to work the character body expression as a whole. Thus, avoiding stiffness and ensuring that the essential steps of posing are not neglected in the process. This was demonstrated with several cases, which give evidence of the usefulness of the approach as a contribution to create more expressive character animation and to produce it in a more efficient way.
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Libros sobre el tema "3D computer animation"

1

Albee, Timothy. Lightwave 3D character animation. Plano, Tex: Wordware Pub., 2002.

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2

Albee, Timothy. LightWave 3D 8 character animation. Plano, Tex: Wordware Pub., 2005.

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3

Roberts, Steve. Character Animation in 3D. San Diego: Elsevier Science & Technology, 2010.

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Corporation, Ebooks, ed. Flash 3D: Animation, interactivity, and games. Burlington: Elsevier, 2006.

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3D game animation for dummies. Hoboken, N.J: Wiley, 2005.

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6

Character animation with 3D Studio MAX. Scottsdale, Ariz: Coriolis Group Books, 1996.

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3D Studio Max 3 media animation. Indianapolis, IN: New Riders, 1999.

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8

Byl, Leigh Van der. LightWave 3D 8 texturing. Plano, Tex: Wordware Pub., 2004.

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3D human modeling and animation. 2a ed. Hoboken, N.J: J. Wiley, 2003.

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10

Kelly, Doug. Lightwave 3D 5 character animation f/x. Research Triangle Park, NC: Ventana, 1996.

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Capítulos de libros sobre el tema "3D computer animation"

1

Paquette, Andrew. "3D Animation". En An Introduction to Computer Graphics for Artists, 239–46. London: Springer London, 2013. http://dx.doi.org/10.1007/978-1-4471-5100-5_13.

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Vince, John. "3D Computer Graphics". En Essential Computer Animation fast, 15–61. London: Springer London, 2000. http://dx.doi.org/10.1007/978-1-4471-0489-6_3.

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Thalmann, Nadia Magnenat y Daniel Thalmann. "Object Modeling in 3D Animation". En Computer Animation, 61–70. Tokyo: Springer Japan, 1990. http://dx.doi.org/10.1007/978-4-431-68105-2_6.

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Thalmann, Nadia Magnenat y Daniel Thalmann. "Motion Control in 3D Animation". En Computer Animation, 71–86. Tokyo: Springer Japan, 1990. http://dx.doi.org/10.1007/978-4-431-68105-2_7.

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Nahas, Monique, Hervé Huitric, Marc Rioux y Jacques Domey. "Registered 3D-Texture Imaging". En Computer Animation ’90, 81–91. Tokyo: Springer Japan, 1990. http://dx.doi.org/10.1007/978-4-431-68296-7_6.

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Vince, John. "3D Transforms". En Matrix Transforms for Computer Games and Animation, 83–115. London: Springer London, 2012. http://dx.doi.org/10.1007/978-1-4471-4321-5_6.

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Dadfar, Oscar y Nancy Pollard. "3A2A: A Character Animation Pipeline for 3D-Assisted 2D-Animation". En Lecture Notes in Computer Science, 557–68. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-87361-5_46.

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Gouvatsos, Alexandros y Zhidong Xiao. "Sketch-Based Posing for 3D Animation". En Encyclopedia of Computer Graphics and Games, 1–10. Cham: Springer International Publishing, 2015. http://dx.doi.org/10.1007/978-3-319-08234-9_47-1.

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Blain, John M. "3D Text". En The Complete Guide to Blender Graphics Computer Modeling & Animation, 205–14. 7a ed. Boca Raton: A K Peters/CRC Press, 2022. http://dx.doi.org/10.1201/9781003226420-13.

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Guo, Jiechang, Yigang Wang, Peng Du y Lingyun Yu. "A Novel Multi-touch Approach for 3D Object Free Manipulation". En Next Generation Computer Animation Techniques, 159–72. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-69487-0_12.

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Actas de conferencias sobre el tema "3D computer animation"

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Lasseter, John. "Principles of traditional animation applied to 3D computer animation". En the 14th annual conference. New York, New York, USA: ACM Press, 1987. http://dx.doi.org/10.1145/37401.37407.

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Shi Min, Mao Tianlu y Wang Zhaoqi. "3D interactive clothing animation". En 2010 International Conference on Computer Application and System Modeling (ICCASM 2010). IEEE, 2010. http://dx.doi.org/10.1109/iccasm.2010.5623169.

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Werzinski, Florian. "Luigi's pizzaride 3D". En SIGGRAPH Asia 2012 Computer Animation Festival. New York, New York, USA: ACM Press, 2012. http://dx.doi.org/10.1145/2407603.2407615.

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Leow, Yee Siong. "3D illusion in motion". En ACM SIGGRAPH 2006 Computer animation festival. New York, New York, USA: ACM Press, 2006. http://dx.doi.org/10.1145/1179196.1179198.

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Summers, Frank. "IMAX Hubble 3D visualization excerpt". En ACM SIGGRAPH 2011 Computer Animation Festival. New York, New York, USA: ACM Press, 2011. http://dx.doi.org/10.1145/2019001.2019042.

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Suffern, Kevin G. "Effective instructional animation in 3D computer graphics education". En the Australasian conference. New York, New York, USA: ACM Press, 2000. http://dx.doi.org/10.1145/359369.359404.

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Turner, Pamela. "The language of cinema and traditional animation in the 3D computer animation classroom". En ACM SIGGRAPH 98 Conference abstracts and applications. New York, New York, USA: ACM Press, 1998. http://dx.doi.org/10.1145/280953.281010.

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Chang, Yu-Ching y Shu-Wei Chang. "From Comic Storyboard to 3D Animatic: Discussing the Visual Composition in Computer Animation". En 2018 1st IEEE International Conference on Knowledge Innovation and Invention (ICKII). IEEE, 2018. http://dx.doi.org/10.1109/ickii.2018.8569068.

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Luntraru, Chris, Victor Asavei, Alin Moldoveanu y Florica Moldoveanu. "Harmonizing 2D and 3D in Modern Animation". En RoCHI - International Conference on Human-Computer Interaction. MATRIX ROM, 2022. http://dx.doi.org/10.37789/rochi.2022.1.1.11.

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Zhong, Yongmin y Bijan Shirinzadeh. "An Approach for 3D Visualization of Discrete Event Simulation". En ASME 2004 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. ASMEDC, 2004. http://dx.doi.org/10.1115/detc2004-57669.

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Resumen
This paper presents a new approach to create 3D visualization from discrete simulation results. This approach connects discrete event simulation directly to 3D animation with its novel methods of analyzing and converting discrete simulation results into animation events to trigger 3D animation. In addition, it constructs a 3D animation framework for the visualization of discrete simulation results. This framework supports the reuse of both the existing 3D animation objects and behavior components, and allows the rapid development of new 3D animation objects by users with no special knowledge in computer graphics but average computer skills. This approach has been implemented with the software component technology, and successfully applied in industry. Results from its practice in an electronics assembly factory are also provided in the paper to demonstrate the performance of this new approach.
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Informes sobre el tema "3D computer animation"

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Kiv, Arnold E., Vladyslav V. Bilous, Dmytro M. Bodnenko, Dmytro V. Horbatovskyi, Oksana S. Lytvyn y Volodymyr V. Proshkin. The development and use of mobile app AR Physics in physics teaching at the university. [б. в.], julio de 2021. http://dx.doi.org/10.31812/123456789/4629.

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This paper outlines the importance of using Augmented Reality (AR) in physics education at the university as a valuable tool for visualization and increasing the attention and motivation of students to study, solving educational problems related to future professional activities, improving the interaction of teachers and students. Provided an analysis of the types of AR technology and software for developing AR apps. The sequences of actions for developing the mobile application AR Physics in the study of topics: “Direct electronic current”, “Fundamentals of the theory of electronic circuits”. The software tools for mobile application development (Android Studio, SDK, NDK, Google Sceneform, 3Ds MAX, Core Animation, Asset Media Recorder, Ashampoo Music Studio, Google Translate Plugin) are described. The bank of 3D models of elements of electrical circuits (sources of current, consumers, measuring devices, conductors) is created. Because of the students’ and teachers’ surveys, the advantages and disadvantages of using AR in the teaching process are discussed. Mann-Whitney U-test proved the effectiveness of the use of AR for laboratory works in physics by students majoring in “Mathematics”, “Computer Science”, and “Cybersecurity”.
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