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BEZERRA, HEDLENA MARIA DE ALMEIDA. "3D COLORIZING FOR 2D ANIMATION". PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2005. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=7715@1.
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COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIORFINANCIADORA DE ESTUDOS E PROJETOS
Esta dissertação discute a aplicação de efeitos de colorização 3D a animações 2D produzidas pela técnica quadro-a-quadro. Utilizando algoritmos de processamento de imagens, desenhos 2D são preparados para receber técnicas de sombreamento evitando a transformação da cena para uma geometria 3D. Esta preparação se dá através da obtenção de mapas de normais que aproximam a geometria do desenho. O sombreamento é obtido através de um conjunto de técnicas de renderização foto-realistas e não-foto-realistas, que podem ser adaptadas para utilização de normais aproximadas. Visando amenizar o trabalho exaustivo de colorir cada desenho, um método baseado no relacionamento entre imagens é apresentado para colorir automaticamente cada quadro numa seqüência de desenhos. Este processo de colorização considera a necessidade de possíveis intervenções humanas para garantir a qualidade final de cada imagem da animação. Um estudo sobre aproximação de normais, técnicas de sombreamento, segmentação de imagens e rastreamento de objetos é amplamente discutido nesta dissertação.
This dissertation discusses the 3D colorization effects usage over a 2d animation, which has been produced through frame-by-frame techniques. Normal vector maps approximates the drawing geometry and provide the ability to perform shading effects by applying digital image processing algorithms, avoiding 3D geometry scene transformation. A set of photorealistic and non-photorealistic renderization techniques, which can be adapted to normal approximation usage, is proposed in the colorization process. Also, a method based on interframe dependence is presented, aiming to reduce the thoroughgoing effort of colorizing each individual frame within an animation. This colorization process considers possible human interventions to ensure image´s result quality. Finally, this dissertation provides a comprehensive study regarding several topics, such as normal approximations, shading techniques, image segmentation and object tracking.
2
Chin, Min-Zhi. "Naga: Combining 2D and 3D Animation". Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/honors/119.
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Naga is an animated short about a lively dragon that roams about the lands embracing it’s surroundings dearly. It discovered a barren land while out exploring and was saddened by the sight. After pondering for a while, it then realized it could revive the land with it’s ability to summon rain using it's dragon ball. The short blends traditional animation and computer animation, where the look is similar to 2D animation but the character and a few environment elements are done in 3D. Software utilized to complete the short were Autodesk Maya, Adobe Photoshop, Clip Studio Paint, Adobe After Effects, and Adobe Premiere Pro. The short showcases a stylized Chinese traditional ink painting style, key frame animation, and particle effects.
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Even, Melvin. "Animation 2D esquissée assistée par ordinateur". Electronic Thesis or Diss., Bordeaux, 2024. http://www.theses.fr/2024BORD0457.
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L’animation 2D traditionnelle est un processus exigeant à la fois en temps et en expertise, étant donné que les animateurs doivent dessiner à la main des milliers d’images afin de créer une séquence d’animation complète. Avec l’avènement de l’animation par ordinateur, les artistes ont désormais la possibilité d’utiliser l’animation 3D et des techniques de type marionnettes en 2D, qui éliminent la nécessité de dessiner manuellement chaque image, mais sacrifient souvent les pratiques artistiques uniques et le style caractéristique de l’animation 2D traditionnelle. D’autre part, les outils numériques qui émulent l’animation 2D traditionnelle sur papier facilite certaines tâches telles que le dessin et le coloriage, mais obligent toujours les animateurs à dessiner chaque image à la main. Dans le monde académique, de nombreuses méthodes assistées par ordinateur ont été mises au point pour automatiser la génération de dessins intermédiaires “propres” (i.e.,non esquissé), à partir d’images clés. Cependant, ces méthodes ont tendance à être limitées par des processus de création rigides et un contrôle artistique limité, en grande partie à cause des défis que représentent la mise en correspondance et l’interpolation des traits. Dans cette thèse, nous adoptons une nouvelle approche pour répondre à ces limitations en nous concentrant sur une étape antérieure de l’animation en utilisant des dessins esquissés (i.e., des croquis). Notre principale innovation consiste à reformuler les problèmes de mise en correspondance et d’interpolation en utilisant des “transient embeddings”, qui consistent en des groupes de traits qui existent temporairement entre les images clés. Ces structures transportent les traits des images clés par le biais d’une grille de contrôle 2D. Notre système génère des images intermédiaires esquissées en temps réel, permettant aux artistes de prévisualiser et d’éditer leur animation à l’aide d’outils offrant un contrôle précis sur la dynamique de l’animation. Cela garantit une continuité fluide du mouvement, même lorsque des changements topologiques complexes sont introduits, et permet l’exploration de mouvements de manière non linéaire. Nous démontrons ces capacités sur des exemples classiques d’animation 2D. Une autre tâche notoirement complexe est la représentation des mouvements 3D et de la profondeur à travers des dessins animés en 2D. Les artistes doivent accorder une attention particulière aux effets d’occultation et à leur évolution dans le temps, ce qui en fait un processus fastidieux. Les méthodes de génération d’images intermédiaires assistées par ordinateur, telles que les outils d’animation type marionnette, permettent de traiter ces effets d’occultation à l’avance à l’aide d’un “rig” 2D, au détriment de la flexibilité et de l’expression artistique. Dans cette thèse, nous abordons également les effets d’occultation sans sacrifier le contrôle non linéaire de l’animation. Notre contribution sur ce sujet est double : une méthode rapide pour calculer des masques 2D à partir de dessins esquissés, avec un système semi-automatique pour l’agencement dynamique des parties du dessin ; et une méthode intuitive pour l’artiste permettant de contrôler automatiquement ou manuellement la visibilité dynamique des traits pour les auto-occultations. Notre système aide les artistes à produire des animations 2D avec des effets de profondeur convaincants, y compris des tours de tête, des effets de raccourci, des rotations, des volumes qui se chevauchent et même de la transparenceTraditional 2D animation is a time-intensive process requiring a high level of expertise, as animators must draw thousands of individual frames by hand to create a complete animation sequence. With the advent of computer animation, artists now have the option to use 3D animation or 2D puppet-style techniques, which eliminate the need to manually draw each frame but often sacrifice the unique workflows and artistic style characteristic of traditional 2D animation. Alternatively, digital tools that emulate traditional 2D animation streamline tasks like drawing and coloring, but still require animators to draw each frame by hand. In academia, many computer-assisted methods have been developed to automate the inbetweening of clean line drawings, in which intermediate frames are automatically generated from input key drawings. However, these methods tend to be constrained by rigid workflows and limited artistic control, largely due to the challenges of stroke matching and interpolation. In this thesis, we take a novel approach to address these limitations by focusing on an earlier stage of animation using rough drawings (i.e., sketches). Our key innovation is to recast the matching and interpolation problems using transient embeddings, which consist in groups of strokes that exist temporarily across keyframes. A transient embedding carries strokes between keyframes both forward and backward in time through a sequence of transformed lattices. Our system generates rough inbetweens in real-time allowing artists to preview and edit their animation using tools that offer precise artistic control over the dynamics of the animation. This ensures smooth continuity of motion, even when complex topological changes are introduced and enables non-linear exploration of movements. We demonstrate these capabilities on state-of-the-art 2D animation examples. Another notoriously difficult task is the representation 3D motion and depth through 2D animated drawings. Artists must pay particular attention to occlusions and how they evolve through time, a tedious process. Computer-assisted inbetweening methods such as cut-out animation tools allow for such occlusions to be handled beforehand using a 2D rig, at the expense of flexibility and artistic expression. We also address occlusion handling without sacrificing non-linear control. Our contribution in that matter is two-fold: a fast method to compute 2D masks from rough drawings with a semi-automatic dynamic layout system for occlusions between drawing parts; and an artist-friendly method to both automatically and manually control the dynamic visibility of strokes for self-occlusions. Our system helps artists produce convincing 3D-like 2D animations, including head turns, foreshortening effects, out-of-plane rotations, overlapping volumes and even transparency
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Jurvanen, Christin. "Japansk 2D grafisk animation : uppkomst och influenser". Thesis, Högskolan på Gotland, Institutionen för speldesign, teknik och lärande, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:hgo:diva-1490.
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In 1896, a French cinema pioneer named George Méliès demonstrated that an object could be set to motion by changing the objects shape or movement frame by frame. But it was not until the early 1900s that this specific genre of filmmaking became a great success. The animations were essentially short and were animated and published in The United States of America. The interest in animated movies began to increase, not only in the west, but also in Europe and Asia. The art of animation grew especially popular in Japan, and emerged as a parallel to Japanese comic books known more commonly as Manga.The history of Japanese animation is not as commonly known as the history of American animation. Most people know of Disney and how Walt Disney changed the world of animation. Most people also know that Disney was the first company to release an animated feature film in color- Snow White (1937). But there are not many people outside of the Asian countries that know the history of Japanese animation- How Japanese animation started out and later evolved and affected the Western form of animation.The aim of this thesis is to provide the reader with insight into the history of Japanese animation. To give the reader knowledge of where Japanese animation originated and why, and also to bring forth the factors that affected Japanese animators in the development of animated movies in the early 1900s and forward.A study of previous material on this subject was done in order to answer these questions. Both printed material and electronically downloaded material was collected and amazed in order to obtain information to specific background materials and information about the history of animation in Japan.It was concluded that in order to get an insight in the Japanese animation history, it was necessary to analyze the Japanese art traditions of Ukiyo-e, which according to many scientist, are the original roots of the Japanese art of anime and manga.Through the analysis it also becomes clear that manga and anime is not simply a copy if it’s western counterparts, but a combination of both Japanese and western styles. In this way the Japanese tradition of manga and anime have survived but undergone a form of renewal through the years.
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Au, Kristin C. "Animation : 2D versus 3D and their combined effect". Thesis, Massachusetts Institute of Technology, 2014. http://hdl.handle.net/1721.1/92640.
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Thesis: S.B., Massachusetts Institute of Technology, Department of Architecture, 2014.Cataloged from PDF version of thesis.
Includes bibliographical references (pages 53-54).
This thesis studies the differences in the perception of space and character movement between 2D and 3D animation. 2D animation is defined by elements constructed in a 2D environment while 3D animation by elements constructed in a 3D environment. Modern day animated films have been seen to mix the two forms for the sake of artistic effect, expedited production, and general convenience. Though some modern animations combine the two in the explorative quest to discover new animation forms, few films directly compare the forms to visualize the differences in their perceived qualities. Noticeably, the two animation methods differ in level of detail, dimension, realism, and artistic expression. In terms of lighting, the science of illumination dictates the 3D environment whereas in the 2D environment, lighting is an illusion created by coloring conventions. This study looks specifically at lighting as the controlling factor delineating the two forms. Two short mixed media films were created. One film had a 3D base while the other a 2D base. A varied set of subjects were shown one of the two short films produced and asked to complete a survey. The survey measured the subject's understanding of space and character movement as seen the film. Results show that in 3D there is an enhanced understanding of spatial perception while in 2D there is a lower sensitivity to character movement.
by Kristin C. Au.
S.B.
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Pan, Junjun. "Sketch-based skeleton-driven 2D animation and motion capture". Thesis, Bournemouth University, 2009. http://eprints.bournemouth.ac.uk/13990/.
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This research is concerned with the development of a set of novel sketch-based skeleton-driven 2D animation techniques, which allow the user to produce realistic 2D character animation efficiently. The technique consists of three parts: sketch-based skeleton-driven 2D animation production, 2D motion capture and a cartoon animation filter. For 2D animation production, the traditional way is drawing the key-frames by experienced animators manually. It is a laborious and time-consuming process. With the proposed techniques, the user only inputs one image ofa character and sketches a skeleton for each subsequent key-frame. The system then deforms the character according to the sketches and produces animation automatically. To perform 2D shape deformation, a variable-length needle model is developed, which divides the deformation into two stages: skeleton driven deformation and nonlinear deformation in joint areas. This approach preserves the local geometric features and global area during animation. Compared with existing 2D shape deformation algorithms, it reduces the computation complexity while still yielding plausible deformation results. To capture the motion of a character from exiting 2D image sequences, a 2D motion capture technique is presented. Since this technique is skeleton-driven, the motion of a 2D character is captured by tracking the joint positions. Using both geometric and visual features, this problem can be solved by ptimization, which prevents self-occlusion and feature disappearance. After tracking, the motion data are retargeted to a new character using the deformation algorithm proposed in the first part. This facilitates the reuse of the characteristics of motion contained in existing moving images, making the process of cartoon generation easy for artists and novices alike. Subsequent to the 2D animation production and motion capture,"Cartoon Animation Filter" is implemented and applied. Following the animation principles, this filter processes two types of cartoon input: a single frame of a cartoon character and motion capture data from an image sequence. It adds anticipation and follow-through to the motion with related squash and stretch effect.
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Albright, Laura Beth. "2D Spatial Design Principles Applied to 3D Animation: A Proposed Toolset for Filmmakers". The Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=osu1230703092.
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Albright, Laura Beth. "2D spatial design principles applied to 3D animation a proposed toolset for filmmakers /". Columbus, Ohio : Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1230703092.
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Putri, Dian Kemala. "Comprehension of complex animation : cueing, segmentation and 2D / 3D presentations". Phd thesis, Université de Bourgogne, 2011. http://tel.archives-ouvertes.fr/tel-00795026.
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The goal of our studies was to test the effect of segmentation, cueing, and 2D/3D presentations to foster complex animation rocessing. The material was an upright mechanical piano system. We used an eye tracking system which provides information about learners' attention direction during the animation processing. We analyzed the effect of the format presentations and the eye movements during learning. Based on animation and multimedia research background, four experiments were conducted. In the first experiment the effect of the presentation of simplified external representations on learning from complex animation was investigated. Experiment two and three aimed at studying the cognitive processes involved in learning to complex mechanism system with new cueing techniques with spatial-temporal colored tokens. In the fourth experiment, 2D and 3D presentation of the same animated content were compared. Results of these experiments showed that (1) the use of a dual format presentation is better for developing a dynamic mental model from the animation than a single format, (2) the signaling strategies using cued tokens of dual format can guide efficiently learner's building of mental model and can enhance learner's comprehension of complex system, (3) a sequential format presentation followed by an animation format presentation helps the learner to understand the key stages of a dynamic process and to create a high quality mental model, (4) 3D animation presentation is better than 2D animation presentation to direct attention on relevant component of the animation. For depth processing, comprehension with 3D animation presentation is better than 2D animation format. Eye tracking measures provided insights into how people understood and learned complex systems. The analysis of eye tracking also contributed to the understanding of the subject's perceptual processing during learning. Overall, results provide a significant contribution in the field of learning with complex animation. Recommendations in the ergonomics area for the design of animations are proposed.
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Costa, Paula Dornhofer Paro 1978. "Two-dimensional expressive speech animation = Animação 2D de fala expressiva". [s.n.], 2015. http://repositorio.unicamp.br/jspui/handle/REPOSIP/260903.
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Orientador: José Mario De MartinoTese (doutorado) - Universidade Estadual de Campinas, Faculdade de Engenharia Elétrica e de Computação
Made available in DSpace on 2018-08-26T21:43:57Z (GMT). No. of bitstreams: 1 Costa_PaulaDornhoferParo_D.pdf: 15894797 bytes, checksum: 194a20ae502dfc7198a008d576e23e4c (MD5) Previous issue date: 2015
Resumo: O desenvolvimento da tecnologia de animação facial busca atender uma demanda crescente por aplicações envolvendo assistentes, vendedores, tutores e apresentadores de notícias virtuais; personagens realistas de videogames, agentes sociais e ferramentas para experimentos científicos em psicologia e ciências comportamentais. Um aspecto relevante e desafiador no desenvolvimento de cabeças falantes, ou "talking heads", é a reprodução realista dos movimentos articulatórios da fala combinados aos elementos de comunicação não-verbal e de expressão de emoções. Este trabalho presenta uma metodologia de síntese de animação facial baseada em imagens, ou animação facial 2D, que permite a reprodução de uma ampla gama de estados emocionais de fala expressiva, além de suportar a modulação de movimentos da cabeça e o controle de elementos faciais tais como o piscar de olhos e o arqueamento de sobrancelhas. A síntese da animação utiliza uma base de imagens-protótipo que são processadas para obtenção dos quadros-chave da animação. Os pesos utilizados para a combinação das imagens-protótipo são derivados de um modelo estatístico de aparência e formas, construído a partir de um conjunto de imagens de treinamento extraídas de um corpus audiovisual de uma face real. A síntese das poses-chave é guiada pela transcrição fonética temporizada da fala a ser animada e pela informação do estado emocional almejado. As poses-chave representam visemas dependentes de contexto fonético que implicitamente modelam os efeitos da coarticulação na fala visual. A transição entre poses-chave adjacentes é realizada por um algoritmo de metamorfose não-linear entre imagens. As animações sintetizadas aplicando-se a metodologia proposta foram avaliadas por meio de avaliação perceptual de reconhecimento de emoções. Dentre as contribuições deste trabalho encontra-se a construção de uma base de dados de vídeo e captura de movimento para fala expressiva em português do Brasil
Abstract: The facial animation technology experiences an increasing demand for applications involving virtual assistants, sellers, tutors and newscasters; lifelike game characters, social agents, and tools for scientific experiments in psychology and behavioral sciences. A relevant and challenging aspect of the development of talking heads is the realistic reproduction of the speech articulatory movements combined with the elements of non-verbal communication and the expression of emotions. This work presents an image-based, or 2D, facial animation synthesis methodology that allows the reproduction of a wide range of expressive speech emotional states and also supports the modulation of head movements and the control of face elements, like the blinking of the eyes and the raising of the eyebrows. The synthesis of the animation uses a database of prototype images which are combined to produce animation keyframes. The weights used for combining the prototype images are derived from a statistical active appearance model (AAM), which is built from a set of sample images extracted from an audio-visual corpus of a real face. The generation of the animation keyframes is driven by the timed phonetic transcription of the speech to be animated and the desired emotional state. The keyposes consist of expressive context-dependent visemes that implicitly model the speech coarticulation effects. The transition between adjacent keyposes is performed through a non-linear image morphing algorithm. To evaluate the synthesized animations, a perceptual evaluation based on the recognition of emotions was performed. Among the contributions of the work is also the building of a database of expressive speech video and motion capture data for Brazilian Portuguese
Doutorado
Engenharia de Computação
Doutora em Engenharia Elétrica
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Nilsson, Morgan, i Andreas Lundmark. "2D Aesthetics with a 3D Pipeline : Achieving a 2D Aesthetic with 3D Geometry". Thesis, Uppsala universitet, Institutionen för speldesign, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-324678.
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This thesis evaluates and tests different methods utilized to produce a 2D aesthetic within a 3D pipeline, as in, converting 3D geometry to an aesthetic that is similar to hand-drawn classic films such as Snow White And The Seven Dwarfs. This thesis explores methods to produce both exterior and interior lines that indicate shape and form of 3D models, the conclusion from the tested methods leaves with the statement that it is unlikely the human factor will be ever entirely replaced by automated solutions, and instead a mixed approach with shader relied solutions and involvement of texturing techniques which provides artistic controls where necessary, is deemed to be the most effective way of preserving the hand-drawn 2D aesthetic within a 3D-pipeline.
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Corrigan, Nicholas C. "Outta This World: Merging Classic Animation Styles with Modern Technologies and Designs". Ohio University Honors Tutorial College / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1503320474232437.
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Larsson, Sandra. "Animerad realism : En studie om att representera en verklighet med animerad bild och om uppfattningen av dess indexikalitet". Thesis, Högskolan i Skövde, Institutionen för kommunikation och information, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-8202.
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Vart står vi och vårat förhållande till trovärdighet i en medial värld i ständig utveckling? Hur är det med det digitala inflytandet i en analog värld? Vad händer med upplevelsen och trovärdigheten i dokumentära filmsammanhang när bilden är animerad? Med hjälp utav två informationsmässigt likvärdiga filmer undersöks hur graden av trovärdighet upplevs i en animerad dokumentär kortfilm, i förhållande till en version med fotografisk bild. Ett antal respondenter får se filmerna och svara på tillhörande frågor i en enkätundersökning vars resultat redovisas och diskuteras i en större analys. Med hjälp av undersökningens resultat avgörs huruvida frågeställningen går att besvara samt vad dess slutsats föreslås ha för betydelse i framtida forskning inom ämnet.
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Triki-Bchir, Olfa. "Modélisation, reconstruction et animation de personnages virtuels 3D à partir de dessins manuels 2D". Phd thesis, Université René Descartes - Paris V, 2005. http://tel.archives-ouvertes.fr/tel-00273248.
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La production de dessins animés 2D, qui suit actuellement un schéma mis en place dans les années 1920, fait intervenir un très nombre de compétences humaines et de métiers différents. Par opposition à ce mode de travail traditionnel, la production de films de synthèse 3D, en exploitant les technologies et outils les plus récents de modélisation et d'animation 3D, s'affranchit pour une bonne part de cette composante artisanale et vient concurrencer l'industrie du dessin animé tradtionnel en termes de délais et de coûts de fabrication.Les défis à relever par l'industrie du dessin animé 2D se formulent donc en termes de:
1. Réutilisation des contenus selon le paradigme Create once, render many,
2. Facilité d'échange et de transmission des contenus, ce qui nécessite de disposer d'un unique format de représentation,
3. Production efficace et économique des contenus, requérant une animation automatisée par ordinateur.
Dans ce contexte compétitif, ce travail de thèse, réalisé dans le cadre du projet industriel TOON financé par la société Quadraxis avec le support de l' Agence Nationale de Valorisation de la Recherche (Oséo-ANVAR), a pour objectif de contribuer au développement d'une plate-forme de reconstruction, déformation et animation de modèles 3D pour les dessins animés 2D.
Un état de l'art des méthodes et outils contribuant à la reconstruction de modèles 3D et à leur animation est présenté et discuté au regard des contraintes spécifiques des règles de création des dessins animés 2D et de la chaîne de fabrication traditionnelle. Ayant identifié les verrous technologiques à lever, nos contributions ont porté sur :
* l'élaboration d'une méthode de reconstruction de personnages virtuels 3D à partir de dessins 2D,
* la mise au point d'une procédure de reconstruction surfacique par NURBS dotée d'une capacité de déformation interactive 2D/3D,
* la conception d'un module de modélisation 3D pour surfaces maillées, compatible avec le standard d'animation MPEG-4/AFX.
Les développements réalisés, intégrés dans un prototype de la plate-forme TOON, montrent un gain en temps de 20% sur l'ensemble de la chaîne de production tout en garantissant une complète interopérabilité des applications via le standard MPEG-4.
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Triki, Bchir Olfa. "Modélisation, reconstruction et animation de personnages virtuels 3D à partir de dessins manuels 2D". Paris 5, 2005. http://www.theses.fr/2005PA05S015.
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La production de dessins animés 2D qui suit actuellement un schéma mis en place dans les années 1920 fait intervenir un très grand nombre de compétences humaines. Par opposition à ce mode de travail traditionnel, la production de films 3D, en exploitant les technologies et outils les plus récents de modélisation et d'animation 3D, s'affranchit en bonne partie de cette composante artisanale et vient concurrencer l'industrie du dessin animé 2D en termes de temps et coûts de fabrication. Les enjeux à relever par l'industrie du dessin animé 2D se posent donc en termes de : 1. Réutilisation des contenus selon le célèbre paradigme du “Create once, render many”, 2. Facilité d'échange et transmission des contenus ce qui nécessite de disposer d'un unique format de représentation, 3. Production efficace et économique des contenus requérant alors une animation automatisée par ordinateur. Dans ce contexte compétitif, cette thèse, réalisée dans le cadre du projet industriel TOON financé par la société Quadraxis avec le support de l'Agence Nationale pour la Valorisation de la Recherche (ANVAR), a pour objectif de contribuer au développement d'une plate-forme de reconstruction, déformation et animation de modèles 3D pour les dessins animés 2D. Un état de l'art des méthodes et outils contribuant à la reconstruction de modèles 3D et à leur animation est présenté et discuté au regard des contraintes spécifiques des règles de création des dessins animés 2D et de la chaîne de fabrication 2D. Ayant identifié les verrous technologiques à lever, nos contributions ont porté sur : – L'élaboration d'une de reconstruction des personnages virtuels 3D àpartir de dessins 2D, – La mise au point d'une méthode de modélisation 3D par surfaces maillées, compatible avec le standard MPEG-4/AFX, Les développements réalisés, intégrés dans un premier prototype de la plate-forme TOON, montrent un gain en temps de 20% dans la chaîne de production et une complète interopérabilité des applications via le standard MPEG-4.
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Liu, Lu. "Using blocks to construct 3D shapes and create transformation animations". Texas A&M University, 2006. http://hdl.handle.net/1969.1/4869.
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The objective of this research is to develop methods by which we can use blocks to
approximate the shapes of 3D objects and to generate shape transformation animations.
Two graphic tools are developed. One assists the animator in constructing 3D shapes
with bricks of different sizes and matching up the different shapes. The other tool helps
the animator generate a transformation animation of those bricks. Using polygon shape
data, these tools can procedurally place the bricks and control their animation. Several
different methods for animation are introduced. Those methods provide different ways to
generate animation paths of the blocks. The no path animation and the straight path
animation are easy for the animator to create and the animation time is easily controlled.
The flocking animation will provide more interesting effect.
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Guay, Martin. "Sketching free-form poses and motions for expressive 3D character animation". Thesis, Université Grenoble Alpes (ComUE), 2015. http://www.theses.fr/2015GRENM016/document.
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L'animation expressive permet des styles de mouvements exagerés et artistiques comme l'étirement de parties du corps ou encore l'animation de créatures imaginaires comme un dragon. Créer ce genre d'animation nécessite des outils assez flexible afin de déformer les personnages en des poses quelconques, ainsi que de pouvoir contrôler l'animation à tout moment dans le temps. L'approche acutelle pour l'animation expressive est le keyframing: une approche manuelle avec laquelle les animateurs déforment leur personnage un moment spécifique dans le temps en cliquand et glissant la souris sur une partis spécifique du corps---un à la fois. Malgré le fait que cette approche soit flexible, il est difficile de créer des animations de qualité qui suivent les principes artistiques, puisque le keyframing permet seulement qu'un contrôle local spatiallement et temporellement. Lorsqu'ils dessinent des poses ou des mouvements, les artistes s'appuient sur différentes abstractions sous forme de croquis qui facillitent la réalisation de certain principes artistiques. Par example, certains animateurs dessinent des lignes d'action afin de créer une pose plus lisible et expressive. Afin de coordonner un mouvement, les animateurs vont souvent dessiner des abstractions de mouvement comme des demi-cercles pour des sauts, ou des boucles pour des pirouettes---leur permettant de pratiquer la coordination du mouvement. Malheureusement, ces outils artistiques ne font pas partis de l'ensemble d'outils de keyframing actuelle. Le fait que l'on ne puisse pas employer les même outils artistiques pour animater des personnages 3D a une forte conséquence: les outils d'animation 3D ne sont pas employés dans le processus créatif. Aujourd'hui, les animateurs créent sur du papier et utilisent le keyframing seulement à la fin pour réaliser leur animation. La raison pour laquelle nous n'avons pas ces outils artistiques (ligne d'action, abstractions de mouvement) en animation 3D, est parce qu'il manque une compréhension formelle de ceux-ci qui nous permettrais d'exprimer la forme du personnage---potentiellement au cours du temps---en fonction de la forme de ces croquis. Ainsi la contribution principale de cette thèse est une compréhension formelle et mathématique des abstractions de forme et de mouvement courrament employées par des artistes, ainsi qu'un ensemble d'algorithme qui permet l'utilisation de ces outils artistiques pour créer des animations expressives. C'est-à-dire que les outils développés dans cette thèse permettent d'étirer des parties du corps ainsi que d'animer des personnages de différentes morphologies. J'introduis aussi plusieurs extentions à ces outils. Par example, j'explore l'idée de sculpter du mouvement en permettant à l'artiste de dessigner plusieurs couches de mouvement une par dessus l'autre, de twister en 3D les croquis, ou encore d'animer un croquis ligne comme un élastique. Les contributions principales de cette thèse, aussi résumé ci-dessous: -La ligne d'action facilitant la création de poses expressives en dessinant directement le flow complet du personnage. -La courbe spatio-temporelle qui permet de spécifier un mouvement coordoné complet avec un seul geste (en dessinant une seule courbe), applicable à n'importe quel personnage 3D. -Un algorithme de matching rapide et robuste qui permet du ``squash and stretch''. -La ligne d'action élastique avec des attachements dynamiques à la ligne permettant d'animer un personnages à plusieurs jambes (bras) avec une seule ligne 2D animéeFree-form animation allows for exaggerated and artistic styles of motions such as stretching character limbs and animating imaginary creatures such as dragons. Creating these animations requires tools flexible enough to shape characters into arbitrary poses, and control motion at any instant in time. The current approach to free-form animation is keyframing: a manual task in which animators deform characters at individual instants in time by clicking-and-dragging individual body parts one at a time. While this approach is flexible, it is challenging to create quality animations that follow high-level artistic principles---as keyframing tools only provide localized control both spatially and temporally. When drawing poses and motions, artists rely on different sketch-based abstractions that help fulfill high-level aesthetic and artistic principles. For instance, animators will draw textit{lines of action} to create more readable and textit{expressive} poses. To coordinate movements, animators will sketch textit{motion abstractions} such as semi-circles and loops to coordinate a bouncing and rolling motions. Unfortunately, these drawing tools are not part of the free-form animation tool set today. The fact that we cannot use the same artistic tools for drawing when animating 3D characters has an important consequence: 3D animation tools are not involved in the creative process. Instead, animators create by first drawing on paper, and only later are 3D animation tools used to fulfill the pose or animation. The reason we do not have these artistic tools (the line of action, and motion abstractions) in the current animation tool set is because we lack a formal understanding relating the character's shape---possible over time---to the drawn abstraction's shape. Hence the main contribution of this thesis is a formal understanding of pose and motion abstractions (line of action and motion abstractions) together with a set of algorithms that allow using these tools in a free-form setting. As a result, the techniques described in this thesis allow exaggerated poses and movements that may include squash and stretch, and can be used with various character morphologies. These pose and animation drafting tools can be extended. For instance, an animator can sketch and compose different layers of motion on top of one another, add twist around strokes, or turning the strokes into elastic ribbons. The main contributions of this thesis are summarized as follows: -The line of action facilitating expressive posing by directly sketching the overall flow of the character's pose. -The space-time curve allowing to draft full coordinated movements with a single stroke---applicable to arbitrary characters. -A fast and robust skeletal line matching algorithm that supports squash-and-stretch. -Elastic lines of action with dynamically constrained bones for driving the motion of a multi-legged character with a single moving 2D line
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Barroso, Nicolas. "Génération d'images intermédiaires pour la création d'animations 2D stylisées à base de marques". Electronic Thesis or Diss., Université de Toulouse (2023-....), 2024. http://www.theses.fr/2024TLSES083.
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Dans le cadre de ma thèse, je m'intéresse à la problématique de la création d'animations 2D traditionnelles, où toutes les images sont réalisées à la main. Je cherche à explorer comment l'ordinateur peut aider les artistes à produire de manière plus efficace sans pour autant empiéter sur le spectre de la création artistique. Pour répondre à ce problème, mes travaux se placent dans le domaine des méthodes automatiques, où l'animateur travaille de manière itérative avec l'ordinateur. Je propose une méthode qui, à partir de deux images clés et d'une série de champs vectoriels 2D décrivant le mouvement dans l'espace image de l'animation, génère des images intermédiaires et reproduit le style donné en exemple. Ma méthode se situe à l'intersection de deux techniques manuelles d'animation : l'animation pose à pose et l'animation sous la caméra, et assure un contrôle fort en permettant d'éditer n'importe quelle image générée de la même manière que celles données en exemple. Mes travaux englobent plusieurs domaines, notamment l'analyse du mouvement, le contrôle de courbe 2D, le rendu à base de marques et la simulation de la peintureAs part of my thesis, I am interested in the issue of creating traditional 2D animations, where all the images are handcrafted. Specifically, I explore how computers can assist artists in producing animations efficiently without reducing the artistic creative process. To address this problem, my work falls within the scope of automatic methods, where the animator collaborates iteratively with the computer. I propose a method that takes two keyframe images and a series of 2D vector fields describing the motion in image space of the animation, and generates intermediate images while preserving the given style as an example. My method combines two manual animation techniques: pose-to-pose and frame-by-frame animation, providing strong control by allowing any generated image to be edited in the same way as the example images provided. My research covers several domains: motion analysis, 2D curve control, mark-based rendering, and paint simulation
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Byrne, Mark. "Perspective in 2D animation : Towards a working framework with reference to changing aspects of realism". Thesis, University of Ulster, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.514472.
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Léon, Pierre-François. "Animation et contrôle de structures topologiques : application à la simulation d'évolution en couches géologiques 2D". Poitiers, 2009. http://theses.edel.univ-poitiers.fr/theses/2009/Leon-Pierre-Francois/2009-Leon-Pierre-Francois-These.pdf.
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Cette thèse présente une nouvelle méthode d'animation basée sur la topologie. Elle consiste à animer une partition de l'espace et en assurer sa cohérence. Le système d'animation s’appuie sur un mécanisme événementiel qui détecte les incohérences topologiques. L'animation est générée à partir du traitement séquentiel de tous les événements. Lors du mouvement des entités, l'instant des collisions est calculé et des événements sont générés. Pour prendre en charge ces collisions, ces événements sont traités par rapport à leurs contextes locaux (géométrique, sémantique). Un traitement engendre des changements géométriques et topologiques et assure la cohérence entre le modèle géométrique et le modèle topologique. Cette thèse présente également une application en géologie permettant de générer l'animation de l'évolution du sous-sol à partir de phénomènes naturels décrits dans un scénario. Dans ce cadre, un scénario est composé d'une suite de phénomènes géologiques (sédimentation, érosion, création de failles et glissement) analysée par le système d’animation 2D. Un phénomène est traduit en un ensemble d’événements initiaux. Une fois l'animation générée, le géologue peut l'analyser et la valider grâce aux informations sémantiques et historiques fournies par le modèleThis thesis presents a new animation method based on topology. It consists in animating a space partition while ensuring its consistency. The scenes are described from a high-level language depending on the application. The animation system relies on an event approach which detects topological events. The animation is generated from the sequential processing of all events. During the motion of entities, the date of collisions is computed and events are generated. For processing those collisions, events are handled with respect to their local contexts (both geometrical and semantical). This thesis also presents an application in geology which allows the user to generate a subsoil evolution from some natural phenomena described by a scenario. A scenario is made of a sequence of geological phenomena (sedimentation, erosion, fault creation and sliding) analyzed by the animation system. A phenomenon is therefore translated into a set of initial events. After the animation has been generated, the geologist can analyze and validate it with the semantical and historical information given by the model
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Costa, Paula Dornhofer Paro 1978. "Animação facial 2D sincronizada com a fala baseada em imagens de visemas dependentes do contexto fonetico". [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/259368.
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Orientador: Jose Mario De MartinoDissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Engenharia Eletrica e de Computação
Made available in DSpace on 2018-08-14T03:40:13Z (GMT). No. of bitstreams: 1 Costa_PaulaDornhoferParo_M.pdf: 1768234 bytes, checksum: 4f592fb36058804db54ffed874fc1ca3 (MD5) Previous issue date: 2009
Resumo: A animação facial por computador sincronizada com a fala permite a implementação de cabeças virtuais que podem contribuir para tornar interfaces humano-computador mais eficientes e atraentes. O presente trabalho apresenta um método de síntese de animação facial 2D baseado em imagens cujo desenvolvimento foi guiado por dois objetivos principais: a reprodução realista da movimentação articulatória visível da fala, incluindo os efeitos da coarticulação, e a possibilidade de implementação do método mesmo em plataformas com capacidades limitadas de processamento e memória, tais como celulares e assistentes pessoais digitais. O método desenvolvido baseia-se em uma base de imagens de visemas dependentes de contexto para o Português do Brasil e adota a técnica de metamorfose entre visemas para a síntese da animação facial. A abordagem proposta representa uma estratégia de síntese alternativa e inovadora, capaz de reproduzir a movimentação articulatória visível da fala, incluindo os efeitos da coarticulação, a partir de uma base de apenas 34 imagens. O trabalho inclui a implementação de um sistema piloto integrado a conversor texto-fala. Adicionalmente, o método de síntese proposto é avaliado através de teste de inteligibilidade da fala. Os resultados desta avaliação indicam que a informação visual fornecida pelas animações geradas pelo sistema contribui para a inteligibilidade da fala em condições de áudio contaminado por ruído. Apesar do trabalho estar restrito ao Português do Brasil, a solução apresentada é aplicável a outras línguas. Palavras-chave: Computação Gráfica, Animação Facial, Visemas, Coarticulação, Metamorfose
Abstract: Speech synchronized facial animation allows the implementation of talking heads that potentially can improve human-computer interfaces making them more efficient and attractive. This work presentsan image based 2D facial animation synthesis method whose development was guided by two main goals: the realistic reproduction of visible speech articulatory movements, including coarticulation effects, and the possibility to implement the method also on limited processing and memory platforms, like mobile phones or personal digital assistants. The developed method is based on an image database of Brazilian Portuguese context dependent visemes and uses the morphing between visemes strategy as facial animation synthesis technique. The proposed approach represents an alternative and innovative synthesis strategy, capable of reproducing the visible speech articulatory movements, including coarticulation effects, from an image database of just 34 images. This work includes the implementation of a pilot system integrated to a text-to-speech synthesizer. Additionally, the proposed synthesis method is evaluated through a speech intelligibility test. The test results indicate that the animations generated by the system contribute to improve speech intelligibility when audio is degraded by noise. Despite the fact this work is restricted to Brazilian Portuguese, the presented solution is applicable to other languages. Keywords: Computer Graphics, Facial Animation, Visemes, Coarticulation, Morphing
Mestrado
Engenharia de Computação
Mestre em Engenharia Elétrica
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Hamilton, Maia D. "The Joy of Storytelling: Incorporating Classic Art Styles with Visual Storytelling Techniques". Ohio University Honors Tutorial College / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1566558927880888.
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Gustafsson, Therése. "JavaScripts animationer för en interaktiv lärplattform : En jämförelse av 2D animationer med JavaScriptsbiblioteken jQuery, VelocityJS och AnimeJS". Thesis, Högskolan i Skövde, Institutionen för informationsteknologi, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-17072.
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Allt eftersom undervisningsmaterialet utökas med nytt och reviderat material behöver lärarna hjälpa sina studenter att bli motiverade till att lära sig materialet. Genom att använda interaktiva verktyg blir undervisningen mer intressant och gör det enklare att visa komplext material i undervisningen. JavaScript är det mest använda programmeringsspråket på internet och användas för att skapa dynamiska webbsidor. Animationer är en sekvens av bilder som får ett objekt att röra på sig. Denna studies resultat visar på att AnimeJS är det JavaScriptsbibliotek med minst signifikanta skillnader i datan som har utvunnits från mätningar. Studien visar även att JavaScriptsbiblioteken blir påverkade av vilken webbläsare som används, både för att hålla sin fördefinierade animationslängd och för webbläsaren att exekvera animationens funktionen snabbare.
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Karlsson, Anna. "Dark Side of Wonderland : en kort 2D-animation med syfte att väcka intresse för en online serietidning". Thesis, Blekinge Tekniska Högskola, Sektionen för teknokultur, humaniora och samhällsbyggnad, 2005. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-1403.
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My objective for this project was to create a short but thrilling 2D-animation intended as promotion for an online comic book. The purpose of the project was to learn more about animation and graphics, to further my artistic skills and to learn how to work in Adobe After Effects. I also wanted to learn more about scheduling, project methods and how to handle stress. During the ten weeks of the project I have created the story, the storyboard, the character design, the backgrounds and the animation. The voice over was recorded with the help of a fellow student who also made the music and the sound effects. In all else I have worked on my own. During the work I have principally learned more about graphics and animation, both classic animation made on paper and digital animation. I have also gained more knowledge concerning technology as it is used in artistic processes, criticism and self criticism, personal development and learning, working alone as an opposite to working in a group, how to handle problems, setbacks and conflicts, time and planning, various ways of analyzing working processes and methods, the creative process and the balance between work and relaxation. I discuss and reflect on these and more phenomena in the end of this study. It has been a demanding but exciting journey.Detta är en reflektionsdel till en digital medieproduktion. You can mail me at: kippokippo@yahoo.se
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Svedhag, Carl. "Animated 2D Visualization of Evolving Trees : A Temporal Treemap Approach". Thesis, KTH, Skolan för elektroteknik och datavetenskap (EECS), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-291127.
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Time-dependently changing hierarchical data structures are commonly visualized with animated treemaps. Changes in the data structure produce correlated changes in the animation. While previous treemap animations exclusively consider hierarchical data where only the size of the data points are time-dependently changing, we present a novel method for animating treemaps where the hierarchy of the data structure is also evolving. A change in the hierarchy is referred to as a topological event of the animated treemap. Furthermore, animation stability is a quantitative indicator as to the visual quality of treemap animations. With the proposed method, the stability of animated Slice-and-Dice treemaps is maximized during topological events. Thus, the method produces topologically evolving Slice-and-Dice treemap animations of high visual quality. Inspiration for the proposed method was largely drawn from Köpp and Weinkauf’s recent work on the ordered visualization of time-dependently evolving nested graphs. The research question regarded whether their treemap method for spatially ordering hierarchical data could be translated to the 2D treemap space, in order to optimize the stability of animated Slice-and-Dice layouts. This study does not only report on the development of the proposed method, but also present an accompanying experimental evaluation. While evidence show that the proposed method is incapable of entirely mitigating decreasing stability scores, caused by any possible topological event in an evolving Slice-and-Dice hierarchy, the success of the proposed method has been proven for the most frequent topological events.Tidsberoende förändringar i hierarkiska datastrukturer visualiseras ofta med animerade trädkartor (efter engelskans treemap). Förändringar i datastrukturen producerar korrelerade förändringar i animationen. Medan tidigare trädkartsanimationer sett till hierarkisk data där endast storleken på datapunkterna förändras över tid, så presenterar vi en ny metod för animation av trädkartor där även datastrukturens hierarki förändras. En förändring av hierarkin kallas för en topologisk händelse i den animerade trädkartan. Animationsstabilitet är vidare en kvantitativ indikator för animerade trädkartors visuella kvalitet. Med den föreslagna metoden så har stabiliteten av animerade Slice-and-Dice-trädkartor optimerats under topologiska händelser. Metoden producerar följaktligen topologiskt föränderliga Slice-and-Dice-animationer med hög visuell kvalitet. Studien har huvudsakligen inspirerats av Köpp och Weinkaufs arbete med den sorterade visualiseringen av tidsföränderliga, nästlade grafer. Forskningsfrågan gällde huruvida deras metod för att ordna den hierarkiska datan kunde översättas till trädkartors tvådimensionella rymd, för att i ett vidare steg optimera stabiliteten av animerade Slice-and-Dice-trädkartor. Studien rapporterar ej enbart om utvecklingen av den föreslagna metoden, utan presenterar även en medföljande experimentell utvärdering. Medan man ur bevisen kan utläsa att metoden ej fullständigt kan mildra minskningar i animationsstabilitet, orsakat av alla de möjliga topologiska händelser som kan ske i en föränderlig Slice-and-Dice-hierarki, så har den föreslagna metoden varit framgångsrik i de mest frekventa fallen.
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Oh, Dongil. "Beautiful things in the world: a semiotic analysis on Disney and Japanese 2D feature-length animation through creative practice". Thesis, University of South Wales, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.591048.
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Disney and Japanese feature-length animations, which have led the world's animation markets for a long time, show their own unique, inherent characteristics in the representation of animated images. As such, the analysis on the characteristics of the signification system of Disney and Japanese feature length animations that this thesis centrally deals with eventually examines the aesthetic characteristics and value of these two animations. Moreover, this thesis examines how the animated representations of Disney and Japanese feature-length animations, which individually have their OV..r1l signification system and aesthetic characteristics, are accepted by the audience. This can be considered the analyses on 'the reality effect' that these two animations pursue. In general, most animation works focusing on characters and stories contain the signification systems related to 'denotation' and 'connotation'. However, the aesthetic representational tendency that appears differently, depending on the characteristics of the signification system that each animation work pursues, can be known through creative practice. In addition, noteworthy is the fact that the tendency of aesthetic representation shown in each work appears differently, depending on the signification system that the director and animator pursue even if the same theme is dealt with. From this point of view, the characteristic difference of the two animations' signification system and aesthetic representation can be explained through the terms 'denotative' for Disney and 'connotative' for Japanese animation. Disney animation strongly shows the tendency that makes the audience directly immersed in the theme and message of the work conveyed further in the myths by pursuing denotative signification system and aesthetic representation. So characters movements based on 'typified animation principles', 'the typified character design ', 'the realistic background design' , 'the application of camera techniques of Hollywood live-action film', and the entertainment-like 'musical elements' to embody hyper-reality in the animated representation of Disney animation can be said to be aesthetic techniques and elements to make the consciousness of the audience immersed and led into animation works eventually. On the other hand, Japanese feature-length animation emphasises connotative signification system and aesthetic representation. Unlike Disney animation, the tendency to make the audience contemplate and look for the connotation contained in the work by itself appears prominently. And, unlike Disney animation, in the case of Japanese animation, the 'dissenting and arbitrary interpretation' of the theme, the message that the animation work intends to convey and myths pursued is bound to appear diversely, depending on the audience's experiences and cultural and social backgrounds. Through not only theoretical discourse on the research theme but also Beautiful Things in the World produced as a creative practice related to the research theme, this thesis also more practically approaches the characteristics of the signification system that these two Disney and Japanese feature length animations have. Particularly, by attempting to materialise and compare the signification systems that each Disney and Japanese feature length animation pursues in the one work through creative practice, eventually this research thesis more practically compares and analyses the essential differences that the characteristics of aesthetic representations of these two animations have from a communicative point of view.
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Nordberg, Johan. "Contour". Thesis, Högskolan i Borås, Institutionen Textilhögskolan, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-17074.
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Traditional sketching with pen on paper can be seen as to visualize the memory. Limited to a framework of influences, experiences and ideas the outcome will result in something already known.In searching for knowledge an experimental sketch method counteracts this framework. The aim of this work is to explore morph animation of archetypical garments. Shape interpolation in Adobe Flash software makes it possible to calculate the way between two silhouettes. The result is a third silhouette, a morph of selected garments and depends on where the animation is paused. The work also deals with the gap between visualize(sketching) and making(construction/realization). In the investigation a new way of using animation as an sketch method have been found. Also how to use computer based 3D sketching in fashion design and an alternative construction method based on paper craft techniques have been developed. The collection consists of garments based on a morph between a classic skirt and a blazer to discuss new visions and possibility’s in fashion. Can the way we sketch, construct and produce affect garment definitions? And how could the findings in this work being used in a commercial industry.Program: Modedesignutbildningen
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Walker, Caitlin J. "The Art of the Silent Story". Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/honors/353.
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I created a one minute 2D, hand-drawn, frame-by-frame animation with an original music score utilizing Toon Boom to demonstrate my ability to convey an interesting story without the use of any dialogue.I relied instead on pantomime, expressions, and context clues to communicate the story to the viewer.
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Ramadan, Hadeel M. "Jan. 25 ( Story of a Girl )". Thesis, Virginia Tech, 2015. http://hdl.handle.net/10919/71871.
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The work presented in this thesis explores the possibility to integrate two dimensional drawings with three dimensional animated characters in 3D computer graphics. The goal was to preserve the effects of the cartoonish artistic style and produce a strong emotional and moving story without realistic animation feel.
Inspiration of the storyboard was based on a true story from the Arab Spring events that occurred in several Arab countries, I focused my work on the context of Egypt.Master of Fine Arts
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Galpin, Kennedy L. "DuIK Bassel in Usage in After Effects and an Animated Short Film". Digital Commons @ East Tennessee State University, 2019. https://dc.etsu.edu/honors/480.
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This thesis was made with the goal of creating a 2D short film in the end, with mainly using a program that is not normally used for character animation: Adobe After Effects. With the usage of an originally French plugin called DuIK Bassel (v16.0.9), I was able to create a model in Adobe Photoshop and then put it into After Effects. When the files were imported, the plugin would then assist in the rigging process, wherein I would be able to create the character’s rig and make the 2D model within the program. This document discusses the entire creation of the short film that I progressed through, from the storyboarding, character creation, rigging process, and putting the elements together.
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Ross, Karen C. "“Awake:” An Animated Exploration of Self-Discovery Through Mindfulness". The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1471826821.
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Rydin, Daniel. "Från ord till handling : reflektioner kring arbetsprocessen bakom trailern ”Gabriel Glömmer”". Thesis, University of Skövde, School of Humanities and Informatics, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-1119.
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Rapporten tar upp mina reflektioner dels angående projektarbetet både på ett personligt plan samt samarbetet mellan oss två som gjorde projektet. Vad har fungerat och vad har fungerat mindre bra under projekttiden? Från 2D till 3D är en röd tråd genom hela rapporten då vi gått från 2D-referernsbilder i barnboken Gabriel Glömmer till utrenderade 3D-sekvenser. Jag går igenom vad jag gjort och vad andra gjort under projekttiden då vi haft hjälp av lite olika människor. Dessa människor presenteras snabbt, något annat som presenteras är boken och min relation till densamma. Resultatet av projektarbetet blev att vi lyckades med de uppställde mål vi hade innan projektet startades.
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Ellsworth, Thomas Sterling. "The Bird and The Fish: Motion Field-Based Frame Interpolation in the Context of a Story". BYU ScholarsArchive, 2018. https://scholarsarchive.byu.edu/etd/7721.
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Animating by hand can be a long and challenging process in part because of the necessity of drawing every frame by hand. 3D animation media minimize this problem with the use of automatically interpolated frames, but despite significant research no universally acceptable techniques have been demonstrated for 2 dimensional interpolation. In this paper we explore computer-assisted optimizations to the animation pipeline. Specifically, we utilize 3D motion fields to create more realistic in-between frames for sets of 2D ``key frames.'' We demonstrate our method by using it to create 2D special effects for a 30-second clip of an animated short film.
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Hamilton, David. "An Exploration of Procedural Methods for Motion Design". Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/honors/522.
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This research aims to apply procedural techniques, similar to those employed in node-based modeling or compositing software packages, to the motion design workflow in Adobe After Effects. The purpose is to increase efficiency in the motion design process between pre-production and production stages. Systems Theory is referenced as a basis for breaking down problems in terms of inputs and outputs. All of this takes place within the context of a larger motion design project.
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Zunka, Ondřej. "Prezentace společnosti za využití animované infografiky". Master's thesis, Vysoké učení technické v Brně. Fakulta podnikatelská, 2014. http://www.nusl.cz/ntk/nusl-224721.
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The point of this dissertation is a creation of motion graphics video which functions as an in-depth presentation of Visual Unity services. The output is a video of approx. two minutes in length which the company will make use of as an information basis for prospective clients during international conference participation and other new business initiatives. The result is a functional proposal addressing spectrum of areas throughout the company.
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Martinsson, Peter. "Det digitala konstverket ”Eve”". Thesis, Blekinge Tekniska Högskola, Sektionen för teknokultur, humaniora och samhällsbyggnad, 2005. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-1613.
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Ambitionen och målet med mitt projekt var att visualisera delar av en berättelse med hjälp av den senaste datortekniken. Detta tog sin form av en 3d-animation. Målet var inte att producera en färdig kortfilm utan att arbeta med utvalda delar. Projektet var indelat i tre block; en planerings- och researchfas, en produktionsfas och en reflektionsfas. Stora delar av magisterarbetet har bestått av att producera innehåll som sedan ska analyseras. Med arbetet vill jag att folk ska få mer förståelse för 3d-tekniken som ett flexibelt och intressant konstverktyg. I denna reflektion som är beroende av produktresultatet försöker jag i ord beskriva den tekniska och estetiska vägen från koncept till produktion. För att få förståelse för mina resonemang i denna reflektion kommer jag att använda mig av bilder från min produktion. Resultatet av magistern är en del av en arbetsprocess som kan analyseras och reflekteras. Med projektet har jag lärt mig att 3d inte är ett likriktat grafiskt verktyg utan en fascinerande konstform som är mer flexibel och personlig än vad man kan tro. Jag har funderat mycket kring det konstnärliga värdet i det jag har skapat och funderat mycket kring vad digital konst egentligen är och hur jag ser på det.Detta är en reflektionsdel till en digital medieproduktion. cload@evilemail.com www.cloaddust.com
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Teixeira, Guilherme Araújo Cardoso. "Goiânia déco em animação: o amor entre formas geométricas e curvas ousadas". Universidade Federal de Goiás, 2017. http://repositorio.bc.ufg.br/tede/handle/tede/7428.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
This work explore the development of an digital 2D animation that presents a graphic and aesthetic deco with its geometrical and angular shapes, connected mainly with the 30´s Art deco posters. Building a visual narrative, within a historical context using a Goiania Architectural project in 40´s, the work consists to create a feeling of the birth of the city. The historical center of the capital, where the Art deco lives, will be the main attraction.
Essa pesquisa foi desenvolvida com o objetivo de produzir uma animação 2D digital que trabalhe uma estética gráfica e visual déco com suas formas geométricas e angulares, ligadas principalmente aos cartazes e pôsteres Art déco da década de 1930. Construindo uma narrativa visual, no contexto histórico e arquitetônico Art déco de Goiânia dos anos 40, pretende-se reavivar a euforia ligada ao nascimento da cidade. Propõe-se como atração principal a arquitetura do centro histórico da capital, onde o Art déco se faz mais presente.
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Tallevi-Diotallevi, Matteo. "Progettazione e sviluppo di un videogame PVP con personalizzazione dei giocatori". Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2018.
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Questa tesi documenta il design e la creazione di un videogioco del genere Picchiaduro per mezzo del game engine Game Maker Studio. Il gioco permette a due giocatori di sfidarsi sullo stesso PC in una serie di duelli mozzafiato ambientati in un Giappone feudale alternativo. E' anche possibile personalizzare l'aspetto del proprio samurai per mezzo di un editor grafico integrato nel gioco. La tesi documenta le fasi della progettazione e implementazione, con particolare attenzione al design delle meccaniche di gioco, all'organizzazione del codice, alle animazioni, gli effetti visivi e lo stile grafico.
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Чижиков, М. С. "2Д гра «Шлях до цілі» на Unity". Thesis, Чернігів, 2021. http://ir.stu.cn.ua/123456789/23083.
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Чижиков, М. С. 2D гра «Шлях до цілі» на Unity : випускна кваліфікаційна робота : 123 "Кoмп’ютepнa iнжeнepiя" / М. С. Чижиков ; керівник роботи В. М. Базилевич ; НУ "Чернігівська політехніка", кафедра iнфopмaцiйниx тa кoмп’ютepниx cиcтeм. – Чернігів, 2021. – 63 с.Об’єктом розробки дипломної роботи є 2Д гра «Шлях до цілі» на Unity, мовою програмування обрано C#. Гра повинна мати графічний інтерфейс користувача з базовим функціоналом. Повинні бути реалізовані елементи гри, як анімація, звук, дизайн рівнів, для того щоб гравець міг отримувати зворотний зв’язок. Ціллю проведеної роботи є розробка 2Д гру на платформі Unity. Поставлені наступні основні задачі: - Вибір популярного та зручного інструменту програмування; - Знайомство з аналогами та їх реалізацією; - Проєктування гри «Шлях до цілі»; - Реалізувати гру в жанрі платформер «Шлях до цілі» на Unity; Надалі проєкт може розвиватися в сторону збільшення контенту, а саме додати нових монстрів, босів, бонуси, нагороди, можливість зміни моделі головного персонажа на жіночого. Можна додати зміну мови для всіх вікон, розміру вікна гри.
The object of thesis development is a 2D game "The Way to the Goal" on Unity, the programming language is C#. The game must have a graphical user interface with basic functionality. Elements of the game, such as animation, sound and levels design, must be implemented in order for the player to receive feedback. The aim of this work is to develop a 2D game on the Unity platform. The following main tasks are set: - Choosing the popular and convinient programming language; - Familiarity with analogues and their implementation;Configuring DB; - Project design; - Implement the project; Further development is possible in the direction of increasing the content, namely to add new monsters, bosses, bonuses, rewards, the ability to change the model of the main character to a female. It is also possible to add languages change for all windows, the size of the game window.
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Ericsson, Duffy Mikael. "DRAWN TO LIFE: Exploring real-time manipulation of the digitally represented surface in comics on smartphones and tablets". Thesis, Malmö högskola, Fakulteten för kultur och samhälle (KS), 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-23439.
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This research thesis is an exploration into what possibilities lie beyond the representation of analog material when it transcends into the digital realm. Specifically, how printed comics can be altered in realtime by creator- allowed user interaction, when adapted for presentation within the digital sphere of mobile smartphones and computer tablets. Using legacy computer-game techniques like parallax scrolling with modern digital layer filters, device sensors and applying them in realtime to the comic creators digitally layered content, alternative forms of presentation arise.This is an investigation into the comic creator’s will of allowing possibilities of added depth perception, interactivity and alternative visual narratives in their comic, manga or graphic novels when employing new techniques based on sensor data input from a reader, like accelerometer-, gyroscope- or eye-tracking sensors. Several different techniques are evaluated. The focus is mainly on the context of creators of comics or manga who use digital tools and layer compositions when producing their work. Several aspects of the user-centered experience are also explored.Although mainly an interaction design project, most of the design methods are used from a service design approach, emphasizing co-design techniques like interviews, observations and user tests. The results are digital prototypes and proof-of-concepts featuring technology tests that support final design conclusions.The results will show both enthusiasm and reluctance from test subjects towards the new technologies presented. The professional craft of comic, manga and graphic novel creation has a deeply rooted aesthetic and production cycle in its history of the printed form. It could be difficult to alter its standard, reverence and nostalgia in the eyes of its readers and creators, when pursuing the digital format and narrative possibilities of the future. A video explaining the project’s “Drawn To Life” technology is available online.
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Chou, Yun-Feng, i 周芸鋒. "Statistical Approaches for 2D Character Animation". Thesis, 2010. http://ndltd.ncl.edu.tw/handle/19328675079997665600.
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博士國立交通大學
資訊科學與工程研究所
98
Traditionally, the production of 2D animation is a labor-intensive artisan process of building up sequences of drawn images by hand which, when shown one after the other one at a fixed rate, resemble a movement. Most work and hence time is spent on drawing, inking, and coloring the individual animated characters for each of the frames. Instead of the traditional animation generated by hand, we introduce a novel method by enhancing still pictures and making characters move in convincing ways. The proposed method is based on the statistical analysis and inference, while minimizing users’ intervention. We adopt nonparametric regression to efficiently analyze the displacements of the pre-sampled data from characters in still pictures and use it to generate 2D character animation directly. Furthermore, 2D character animation is regarded as 3D transformation problem, which consists of a 2D spatial displacement and a 1D shift in time. Hence, we focus on the temporal relationship of different poses of the same character in these still pictures. Time series is applied to analyze the character’s movement and forecast a sequence of the suitable limbs movement of the character. In this dissertation, 2D character animation involves novel view generation, expressive talking face simulation, and limbs movement synthesis. Considering characters in still pictures, we focus on nonparametric regression to generate a novel view and an expressive facial animation synchronized with the input speech of a character. Kernel regression with elliptic radial basis functions (ERBFs) is proposed to describe and deform the shape of the character in image space. Note that the novel parametric representation, ERBFs, can be applied to represent the observations of the shape on the unit ellipse. For preserving patterns within the deformed shape, locally weighted regression (LOESS) is applied to fit the details with local control. Furthermore, time series is used to analyze the limb movement of a character and represent the motion trajectory. Note that a character’s motion could be described by a series of non-continuous poses of a character from a sequence of contiguous frames. According to these poses, we investigate a nonparametric Bayesian approach to construct the time series model representing the character’s motion trajectory. Then we can synthesize a sequence of the motion by using the motion trajectory. Last but not the least, we also investigate how to adopt the proposed statistical approaches mentioned above to animate passive elements. The movements of passive elements involving natural movements that respond to natural forces in some fashion like trees swaying and water rippling could be synthesized. Given a picture of a tree, we make it sway. Given a picture of a pond, we make it ripple. The solutions are developed to animate photographs or paintings effectively. Experimental results show that our method effectively simulates plausible movements for 2D character animation. They also show that the estimated motion trajectory best matches the given still frames. In comparison to previous approaches, our proposed method synthesizes smooth animations, while minimizing unnatural distortion and having the advantages of being more controllable. Moreover, the proposed method is especially suitable for intelligent multimedia applications in virtual human generation. We believe that the provided solutions are easy to use, and empower a much quicker animation production.
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Lo, Yi-Chung, i 羅一翀. "High-Level 2D Animation Script and Transcoding". Thesis, 2002. http://ndltd.ncl.edu.tw/handle/11576931880735746377.
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Tsai, Hung-Wen, i 蔡鴻文. "The research and creation of blended animation by 2D handy-sketched animation and 3D computer animation". Thesis, 2008. http://ndltd.ncl.edu.tw/handle/kg4g6d.
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碩士國立臺灣師範大學
設計研究所
96
Abstract The technique of 2D handy-sketched animation is becoming matured; also the invention of 3D computer animation brings the animation a new era. Animation artists try to adopt two distinctive techniques/forms for artwork creation. 2D handy-sketched animation is superior both in presenting multi visual styles and character animation. Hopefully, the animation creation is expected to be more of sense-of-aesthetics by proper including the principles of 3D computer animation. The ability of objects simulating and virtual space constructing are primary merits of 3D computer animation. Camera manipulating is 3D-based which can not be accomplished under tradition animation operation mode. In stead of frame-by-frame drawing in 2D handy-sketched animation, 3D computer animation renders in-between frames by key frames. This assures the efficiency. From literature reviewing and video films analysis of 2D-included 3D computer animations, it is a tendency that character animation is usually completed by 2D handy-sketched whereas stuffs such as mechanic equipment, traffic facility are constructed mostly by 3D techniques. To be consistent with 2D handy-sketched characters, the scene should be rendered in cartoon fashion. Additionally, to coordinating with 3D virtual camera, the sketched background ought to be considered and represented in 3D manner. This study intends to extract the blending principle of two differential animations. By experiencing the harmony of traditional 2D handy-sketched and 3D computer, the researcher expects to provide the varieties of visual art styles.
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Chou, Jih-Chen, i 周日辰. "Optimization-based Pose Editing for 2D Character Animation". Thesis, 2009. http://ndltd.ncl.edu.tw/handle/28584414035371359623.
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碩士大同大學
資訊工程學系(所)
97
This paper presents a method to deform 2D shapes for character animation by optimization methods. It starts by generating a triangular mesh corresponding to the shape of character in pictures. Nonlinear least squares optimization is then applied to deform the mesh to get the desired results. In addition, the change of character’s movement usually involves the movement between the joints and the bones. Therefore, inverse kinematics techniques are used to augment the deformation process.
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Wu, Chung-Jung, i 吳崇榮. "The Discourse on the 2D Computer Animation,“Present”". Thesis, 2009. http://ndltd.ncl.edu.tw/handle/25696339015270642848.
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碩士國立臺灣藝術大學
應用媒體藝術研究所
97
Adversity will make people feel lost, losing goals, not knowing where to go, only through the courage one can make farewell to the shadow and adversity in life. This animation "Present" is the adversity dimensions of the author's personal experience, through the creation of image one can find the courage, reflects the life-attitude when facing dark side of life. In the film, a little boy received a flower wizard as a present, the ego of the little boy meet the needs of self satisfying, benefiting others , and has generated great energy to life, with great strength and courage, he made himself as a hero in the adversity. The first chapter of this thesis claims background, the purpose of motivation and creativity. In the second chapter of the thesis, as a result of the film talks about a little boy, in the literature describes the establishment of children's friendship relations and development, and analysis of children's sense of loneliness caused by the impact of interpersonal relationships, and uses personality theory to explain the existence of self - demand and value The third chapter describes the concept of creative work, creative style, character and scene setting, presentation authoring tool. The fourth chapter is public demonstration and the forum works, which record the reaction between the audiences’ feed back and the director. Finally, the fifth chapter carried out the conclusions and recommendations of the entire creation, and reflects on the issue of the review process.
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Wang, Jing-Zheng, i 王京政. "Using Meshless Shape Deformation in 2D Character Animation". Thesis, 2011. http://ndltd.ncl.edu.tw/handle/44118757268467951891.
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碩士大同大學
資訊工程學系(所)
100
In traditional 2D animation production, animators must generate lots of similar images just for little changes of character’s posture, which is bothersome and time consuming. The aim of the current study is to develop an easily manipulated and interactive animation program. People using this program can effortlessly make the character deform and obtain sequences of images simultaneously, so that the production time can be saved. It starts by covering the image of character with a mesh, getting a set of nodes corresponding to the structure of character, applying a physical simulation algorithm based on the mesh-free method and using optimization solver to obtain realistic deformations. We have developed a program to simplify the animation production process, which supply an easier way to general users. Users who utilize this program can edit poses of 2D characters by simple steps and output results to animation video in real time.
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HUANG, HAN-JIE, i 黃翰杰. "The Creation Discourse of the 2D Animation “The Stranger”". Thesis, 2013. http://ndltd.ncl.edu.tw/handle/bz7y9d.
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碩士國立臺灣藝術大學
多媒體動畫藝術學系動畫藝術碩士班
101
Realism is a view of artistic creation rise in nineteenth Century continued until now，which is characterized with civilian consciousness, focus on small character portrayal, with deep humanitarian concern. Realism has a great influence on the art field of painting, literature, drama, film. In Europe and the United States and Japan animation great nation, there are many excellent animation works are based on realistic creation ideas. This paper studies mainly divided into two parts: the first part is the realism from related fields, analyzes its characteristics and aesthetics. he second part return to animation, which is to sort out the realistic elements in animation creation application.
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liao, chun-yen, i 廖俊彥. "Watermarking MPEG-4 2D Mesh Animation in Multiresolution Analysis". Thesis, 2002. http://ndltd.ncl.edu.tw/handle/03076636946121023481.
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碩士國立臺北科技大學
資訊工程系碩士班
90
Although watermarking techniques have been successfully applied to natural images and videos, little progress is made in the area of synthetic videos. In particular, the MPEG-4 2D mesh that provides efficient coding for animated graphics data imposes new challenges for watermarking. In this paper, we propose a robust watermarking technique for MPEG-4 2D mesh animation. A multiresolution analysis is applied to locate feature motions of the animated mesh. The watermark signal is inserted based on a spread-spectrum approach by perturbing the extracted feature motions. We have also incorporated a spatial-domain registration technique to restore geometrically transformed mesh data. A variety of attacks, including the affine transformation, smoothing, enhancement and attenuation, random noise, and a combination of the above, are used to verify the robustness of the proposed system. Experimental results show that our watermarks can withstand the aforementioned attacks. We also evaluate the performance of several common integer-to-integer wavelet transforms under the proposed framework.
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CHANG, Chia-Chen, i 張嘉真. "2D Flash animation design, with actual animation movie titled “Murmur the Chipmunk” as a case study". Thesis, 2009. http://ndltd.ncl.edu.tw/handle/69215483700437619813.
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碩士國立臺灣師範大學
設計研究所在職進修碩士班
97
Recent growing interest in cultural innovation related businesses has shifted significant focus towards the moving arts industry. Consequently it is one of eight key areas of development in Taiwan’s digital content industry, and was recognized as an important national development sector in 2008. As a result there will be a great increase in demand for professional animation designers. The revolution of moving animation and multimedia has dramatically changed how we publish and access new ideas. Furthermore with the convenience of the World Wide Web, the audience and the creator is simply one-click away from sharing and interacting. Thus it is important from a designer’s perspective to understand and fully utilize the convenience of modern technologies, such as hyperlinks and other multimedia features, to communicate information or teaching content to the target audience. This research paper delves into the fundamental concepts of cinematography and visual art theories, in which the findings will further be used as preliminary concepts for moving animation creation. When referring to moving animations, we look specifically at Flash animations and the theories and techniques behind their creations. The study probes into ways to utilize a normally limited 2D flash animation to create a more intricate 3rd, 4th and 5th dimension impression. A selection of popular flash animation found on the internet are further examined, looking at reasons for their success as well as potential products that can be developed based on these works, aimed at gaining some insight into character design selection. The study concludes with the making of a personal animation clip titled “Murmur the Chipmunk”. The piece is inspired by other Flash works reviewed during the course of the study, bringing together classic animation and visual composition methods, with combined 2-dimensional rhythmic object displacement and backdrop editing, to allow for various types of spatial composition. Through this design work, it is hoped that this material and knowledge can be recycled and used to help educate primary school students about 2D animation and its origin.
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Li, YEN-JUNG, i 李彥融. "“Monster” Creation Discourse－Animation Synthesis and Lens Application of 2D Animation Combined with Live Action Video". Thesis, 2018. http://ndltd.ncl.edu.tw/handle/26t9v3.
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碩士國立臺南大學
動畫媒體設計研究所碩士班
106
The combination of animation and reality has become a commom form of image expression today. 2D animation can show strong visual charm and exaggerated role movements. Its style and characteristics show great visual differences with real live performances and live action video. In order to integrate 2D animations into the live action videos, this study takes three American live-action animated films as a case study to organize five animation synthesis elements:(1) Space position, (2) Visual focus, (3) Light brightness, (4) Action collocation, (5) Track motion. Whether 2D animations or live action videos, there are different ways of using lenses. This study is based on the three items of lens movement, lens view and lens perspective, and through case analysis, respectively, to explore the integration and application effect of the 2D animation combined with the live action video. This study mainly explores the synthetic elements and technical aspects of 2D animation and live action video, discusses the application and influence between lens operation and 2D animation production during the shooting, and provides the reference for this research creation "Monster." This study hopes to be a reference for the related research on "2D animation" combined with " live action video."