Journal articles on the topic '3D animated film'
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Jonison, Muhammad Adha Fajri, and Anggy Trisnadoli. "Implementation of Rotoscoping Technique in the making of the Hang Tuah Ksatria Melayu 3D Animated Film." Jurnal RESTI (Rekayasa Sistem dan Teknologi Informasi) 4, no. 5 (October 30, 2020): 943–50. http://dx.doi.org/10.29207/resti.v4i5.2404.
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The development of information technology in the multimedia field is growing very rapidly today. Multimedia development is often found in making animated films. Animation is an image that moves and is arranged so that it makes inanimate objects appear to be moving. Animation initially has a problem, where it is difficult for an animator to create animation with complex movements to imagine directly and sometimes the results will look stiff. Max Fleischer also saw it as a problem, so he invented rotoscoping. Rotoscoping is a technique for making animation by tracing the movements of an actor. This technique is used to create movements that are complex to imagine directly so that the animation movement is realistic. In implementing rotoscoping techniques in an animated film, a folk tale entitled Hang Tuah Ksatria Melayu was adopted. This folktale will be packaged into a 3D animated film using rotoscoping techniques. With the creation of a 3D animated film, the folklore of Hang Tuah Ksatria Melayu, an animated film was created with realistic character movements and people get moral messages of Hang Tuah Ksatria Melayu.
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Frølunde, Lisbeth. "Animated war." Convergence: The International Journal of Research into New Media Technologies 18, no. 1 (January 31, 2012): 93–103. http://dx.doi.org/10.1177/1354856511419918.
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In this feature article two DIY (do-it-yourself) film projects are examined from perspectives of resemiosis (transformations in meaning-making) and the textual production practices of contemporary multimedia authorship. These practices are considered as evolving in a complex media ecology. The two films analysed are Gzim Rewind (Sweden, 2011) by Knutte Wester, and In-World War (USA, expected 2011) by DJ Bad Vegan. The films are currently in production and involve many collaborators. Both films have themes of war and include film scenes that are ‘machinima’ – real-time animation made in 3D graphic environments – within live action film scenes. Machinima harnesses the possibilities of reappropriating digital software, game engines, and other tools available in digital media. War-related stories are resemiotized in the machinima film scenes as meanings are transformed in the story’s shift from a war game context to a film context. Thus machinima exemplifies how DIY multimedia storytellers explore new ways to tell and to ‘animate’ stories. The article contains four parts: an introduction to machinima and the notions of resemiosis and authorial practice; a presentation of DIY filmmaking as a practice that intertwines with new networked economics; an analysis of the two DIY film projects; and a discussion of implications including issues relating to IP (intellectual property) and copyrights when reappropriating digital assets from commercial media platforms.
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Apriliyanti, Desy, Juniardi Nur Fadila, and Fresy Nugroho. "3D ANIMATION DESIGN "SCIENCE, LANTERNS TO HEAVEN" USING THE POSE-TO-POSE METHOD." JITK (Jurnal Ilmu Pengetahuan dan Teknologi Komputer) 8, no. 1 (January 9, 2023): 46–55. http://dx.doi.org/10.33480/jitk.v8i1.2231.
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In today's era, technology and communication have experienced very rapid development. Islamic values raised through the media are an effort in people's lives today. Including through the media of 3D animated films that rely on entertaining audio-visuals and messages conveyed through animated films can also be easily captured by the audience. In addition, the selection of animated films is based on the number of animated films circulating on social media such as YouTube and other electronic media, and this film can affect the attention of many people. Animated film designed by the author with the theme of the importance of studying can lead to Allah SWT's heaven. Making this animated film will use Blender software version 2.80. The method used is "Pose-to-Pose" by determining each key pose movement to produce a good movement. Using this method makes the work more effective or faster; if there is an error in the pose, it can be easily corrected. The design of the 3D animated film entitled "Science, Lantern Towards Heaven" is expected to be useful for the audience and take the moral message in it, which is to increase enthusiasm for learning or studying
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Winarja, Winarja, M. Suyanto, and Asro Nasiri. "Analisis Dan Optimasi Rendering Pada Autodesk Maya Dengan Menggunakan UE4." Creative Information Technology Journal 7, no. 2 (March 31, 2021): 142. http://dx.doi.org/10.24076/citec.2020v7i2.260.
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Proses rendering pada pembuatan film 3D animasi merupakan pekerjaan yang sangat memakan banyak waktu dikarenakan banyaknya frame yang diperlukan untuk membuat film 3D animasi. Pada proses rendering satu frame dalam film 3D animasi biasanya membutuhkan waktu hingga beberapa jam dikarenakan proses kalkulasi render yang terdiri dari data model, data shader, data texture, dan data lighting dalam sebuah shot pada adegan 3D animasi. Dengan menggunakan proses render secara frame per frame maka proses render akan memerlukan waktu yang lama sehingga penulis akan melakukan penelitian pada proses rendering dengan menggunakan software game engine pada Unreal Engine 4 sebagai kalkulasi render secara realtime. Dari data yang semula dilakukan proses render pada software maya dan selanjutnya akan dilakukan perubahan data dari file maya diubah menjadi FBX file sebagai data yang akan di proses pada software Unreal Engine 4 (UE4). Dengan penggunaan game engine sebagai hasil akhir dalam menampilkan hasil render secara realtime sangatlah membantu dalam mendapatkan kelancaran pada sebuah proses produksi pada film 3D animasi. Kata Kunci—animasi 3D, rendering, real time render, game engine.The rendering process in making animated 3D movies is a very time-consuming job due to the large number of frames needed to make animated 3D films. In the rendering process one frame in an animated 3D movie usually takes up to several hours because the rendering calculation process consists of model data, shader data, texture data, and lighting data in a shot on a 3D animated scene. By using the rendering process in a frame per frame, the rendering process will require a long time so the writer will conduct research on the rendering process by using the game engine software on Unreal Engine 4 as a realtime rendering calculation. From the data that was originally done in the virtual software rendering process and then the data will be changed from the virtual file to be converted into FBX file as data that will be processed in the Unreal Engine 4 software (UE4). Using the game engine as the final result in displaying rendering results in realtime is very helpful in getting fluency in a production process in 3D animated films.Keywords—3D animation, rendering, real time rendering, game engine.
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Mulyani, Neni. "PERANCANGAN PROSES PRA PRODUKSI FILM ANIMASI 3D LEGENDA PUTRI MERAK JINGGA." JURTEKSI (Jurnal Teknologi dan Sistem Informasi) 5, no. 2 (July 4, 2019): 183–92. http://dx.doi.org/10.33330/jurteksi.v5i2.361.
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Abstrack:To produce a 3D animated film requires a long process flow so that the processing time of manufacture is also prolonged. This is a constraint in the development of the local animation film in Indonesia for a long time will lead to high production costs making it difficult to compete commercially with animated films from abroad who have abundant funds and the support of various parties in the country. Therefore, efforts to improve the competitiveness of local animated film and one of these efforts is by analyzing the stages of the manufacturing process and apply it to the process of making the actual 3D animated film.In general there are three stages of the filmmaking process, namely the 3D animation pre-production, production and post-production. Although this time the animation industry in Indonesia has not been detailed separates each of these stages, but still be important for designing detail the activities of these stages, in order to see the strengths and weaknesses of each process that existed at that stage. Therefore, this study was conducted with the hope to provide recommendations to improve the local animation industry. Keywords: 3D Animation, Animation Film Pre-Production Stage, Princess Peacock Orange Abstak: Untuk menghasilkan sebuah film animasi 3D membutuhkan alur proses yang panjang sehingga waktu pembuatannya juga berlangsung lama. Ini yang menjadi kendala dalam perkembangan film animasi lokal di Indonesia karena waktu yang yang panjang akan mengakibatkan tingginya cost production sehingga sulit untuk bersaing secara komersial dengan film animasi dari luar negeri yang memiliki dana berlimpah dan dukungan dari berbagai pihak di negaranya. Untuk itu diperlukan upaya untuk meningkatkan daya saing film animasi lokal dan salah satu upaya tersebut adalah dengan menganalisa tahapan-tahapan proses pembuatan dan menerapkannya pada proses pembuatan film animasi 3D yang sebenarnya.Secara umum ada 3 tahapan proses pembuatan film animasi 3D yaitu pra produksi, produksi dan paska produksi. Meskipun saat ini industri animasi di Indonesia belum secara detail memisahkan setiap tahapan tersebut, namun tetap menjadi penting untuk merancang detail aktifitas dari tahapan tersebut, dengan tujuan untuk melihat kekuatan dan kelemahan dari setiap proses yang ada pada tahapan tersebut. Kata Kunci: Animasi 3D, Tahap Pra Produksi Film Animasi, Putri Merak Jingga
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Ainiyah, Kurniyatul, Nurul Hidayah, Faradilah Putri Damayanti, Indana Nuril Hidayah, Juniardi Nur Fadila, and Fresy Nugroho. "Rancang Bangun Film Animasi 3D Sejarah Terbentuknya Kerajaan Samudra Pasai Menggunakan Software Blender." JISKA (Jurnal Informatika Sunan Kalijaga) 5, no. 3 (November 10, 2020): 164. http://dx.doi.org/10.14421/jiska.2020.53-04.
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Indonesian people's knowledge about the history of kingdoms in Indonesia was decreased. Now the existence of history books was shifted by the rapid development of technology. Realized this, many educational institutions were involved in technology to their learning media. To support that, the writer will use technology to create a learning media, named 3D short animated films. This kind of film turned out to attract the publics' attention, ranging from children to adolescents. The animated film will be designed with the theme of the first Islamic kingdom in Indonesia, named the Samudra Pasai kingdom with a duration of approximately 3 minutes. this animated film was made by Blender software version 2.79. The design of this animation aims to increase knowledge as well as learning media for students about the history of the Indonesian people, especially the history of Samudra Pasai kingdom.
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Yoga Antara, I. Made, Padma Nyoman Crisnapati, I. Made Agus Wirawan, and I. Made Gede Sunarya. "PENGEMBANGAN FILM ANIMASI 3 DIMENSI “TUDE THE MOVIE – PETUALANGAN SI RINA (TERTANGKAPNYA BURUNG JALAK BALI)”." Kumpulan Artikel Mahasiswa Pendidikan Teknik Informatika (KARMAPATI) 7, no. 3 (September 2, 2019): 214. http://dx.doi.org/10.23887/karmapati.v7i3.19788.
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The development of this 3d animation movie called “Tude The Movie – Petualangan Si Rina” (Tertangkapnya Burung Jalak Bali), is second part of five parts on 3d animation movie called “Tude The Movie – Petualangan Si Rina”. The story of these series are not only about the preparation of Pandu to hangout with his friends but also about bad guy that catches Jalak Bali in a wild and the bad guy also want to sell the Jalak Bali to a buyer that already ordered it. The objective of this research : 1) To design 3d animated film “Tude The Movie – Petualangan Si Rina (Tertangkapnya Burung Jalak Bali)”. 2) To implement 3d animated film “Tude The Movie – Petualangan Si Rina (Tertangkapnya Burung Jalak Bali)”.In making this movie, the method of the research or the movie designed using Block Diagram. Block Diagram explain the steps of creating the 3d animated film Tude The Movie from beginning until finishing. In Block Diagram, there were 3 main stages 1) Pre Production (Story Idea, Writing and Creating the Storyboard), 2) Production (Modeling, Texturing, Rigging, Skinning, Acting/Animation, Lighting, Andrendering) 3) Post Production (Vioce Recond and Editing)The result of this research was 3d animated film on DVD format. This movie has been successfully completed in accordance with the design made earlier.
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SURASA, SURASA, SUDARMAN SUDARMAN, SUPARNA SUPARNA, and MUHAMMAD IQBAR FATIRDZUL HAJ. "PENERAPAN SINEMATOGRAFI PADA FILM ANIMASI 3D BERJUDUL TAMIYA." KNOWLEDGE: Jurnal Inovasi Hasil Penelitian dan Pengembangan 2, no. 3 (November 19, 2022): 261–69. http://dx.doi.org/10.51878/knowledge.v2i3.1673.
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3D animation is often relied on for entertainment media purposes ranging from movies, video games, and advertising. However, in making 3D animated films, it is certainly not much different from filmmaking in general, especially in shooting techniques or cinematography techniques. The application of good cinematography techniques in a 3-dimensional animated film will be able to improve the quality in terms of graphics and storytelling. choosing a random point of view can make the audience confused, so that the selection of a clear point of view can make a film bring out its best potential and make the audience become it is easy to understand the storyline that the filmmaker wants to convey. In the 3D animated film “Tamiya”, this emphasizes the quality in the field of cinematography. Cinematography is not just about tools like cameras, cranes or anything else, but the concept of cinematography is what the filmmaker really wants to deliver. There are several important aspects that can affect the quality of a cinematography including composition, light and color, movement, and storytelling. The cinematography of a film will be better if all these aspects are fulfilled and mastered by a cinematographer. ABSTRAKAnimasi 3D sering diandalkan dalam keperluan media hiburan mulai dari film, video game, dan periklanan. Namun dalam pembuatan film animasi 3D tentu tidaklah berbeda jauh dengan pembuatan film pada umumnya, terutama pada teknik pengambilan gambar atau teknik sinematografi. Penerapan Teknik sinematografi yang baik pada sebuah film animasi 3 dimensi akan mampu meningkatkan kualitas dari sisi grafis dan storytelling.pemilihan sudut pandang yang serabutan dapat membuat penonton menjadi bingung, sehingga pemilihan sudut pandang yang jelas dapat membuat sebuah film mengeluarkan potensi terbaiknya dan membuat para penonton menjadi mudah dalam memahami alur cerita yang ingin disampaikan sang pembuat film.Dalam film animasi 3D “Tamiya”, ini lebih menonjolkan kualitas dalam bidang sinematografinya. sinematografi tidak hanya tentang tool seperti kamera, crane, atau lainnya, tapi konsep sinematografi ialah apa yang sebenarnya sang pembuat film ingin berikan. Ada beberapa aspek penting yang dapat mempengaruhi kualitas sebuah sinematografi diantaranya komposisi, light and color, movement, dan storytelling. Sinematografi sebuah film akan semakin baik apabila semua aspek tersebut dipenuhi dan dikuasai oleh seorang sinematografer.
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Desrianti, Dewi Immaniar, Ahmad Nur Firdaus, and Deny Pangestu Gunawan. "ANIMASI DENGAN GAMBAR BERGERAK MENINGKATKAN DAYA TARIK PROGRAM PROMOSI." CCIT Journal 10, no. 1 (February 1, 2017): 114–26. http://dx.doi.org/10.33050/ccit.v10i1.526.
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The development of creative industries is growing, as evidenced by the many industry-emerging creative industry. The media campaign is currently very helpful in supporting the information and communication All of that is because of the many interests of the creative industry services. Many competitors require companies to do promotions to attract customers. Penyajiaan media ads interesting and entertaining will encourage the general public to find out more detail and have an interest to join a company or institute of technology is so rapid in PT.Movio Screen as a company engaged in the creative industry. Have a good portfolio will make promotion and enhance the corporate image. 3D animation movie series is a very good portfolio and attractive for media promotion for a company in the field of creative industries, in addition to the 3D animated film can enhance a company's image. In the 3D animation movie of the series can also be a support to increase the creation of the nation of the 3D animated film, to be more creative again in making animated films in 3D and can inspire people to work in the creative industries in order to generate industry local animation, based on a story in this animation.
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Uzuegbunam, Chikezie, and Chinedu Richard Ononiwu. "Highlighting Racial Demonization in 3D Animated Films and Its Implications: A Semiotic Analysis of Frankenweenie." Romanian Journal of Communication and Public Relations 20, no. 2 (July 1, 2018): 5. http://dx.doi.org/10.21018/rjcpr.2018.2.256.
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This article focuses on a semiotic analysis of Frankenweenie, one of Disney Picture’s 3D animated films. Anchored within the psychoanalytic film theory, the aim was to highlight how animated films, as colorful and comic as they are, can demonize a certain group of people. Studying how animated films can do this can lead to an important understanding because children’s exposure to modelled behavior on television and in movies has the potential to influence a wide range of attitudes and behaviors, cause victimization, alter their perceptions of reality, reinforce stereotypes and make them acquire such negative emotions as fear and anxiety, and behaviors like retaliation and passivity. The possibility of these adverse effects is even of greater concern in Africa and similar contexts which are at the receiving end of cultural products such as films that emanate from the West. The findings suggest that the negative portrayal of ‘people of color’ or other characters that represent them, by American film producers and directors seems to be a reoccurring phenomenon. Significantly, from an African perspective, this study corroborates scholars’ position that Disney has continued to portray ‘people of color’ negatively over the years.
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Virginia, Prima. "Karakter Animasi Kecerdasan Emosional sebagai Media Komunikasi Interaksionisme Simbolik." Jurnal Komunikasi Global 11, no. 1 (June 28, 2022): 112–38. http://dx.doi.org/10.24815/jkg.v11i1.24717.
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Animasi tidak lagi sekedar menampilkan karikatur lucu berteknologi 3D, tapi juga karakter yang biasanya sulit dilihat kasat mata, yakni Emotional Intelligence atau kecerdasan emosional yang digambarkan di film animasi Inside Out dan drama Korea Selatan Yumi’s Cells. Karakter animasi kecerdasan emosional yang menghuni otak manusia mampu divisualisasikan saling berkomunikasi dan berinteraksi sehingga merepresentasikan konsep teori Interaksionisme Simbolik. Penelitian kualitatif dengan pendekatan analisis percakapan ini menawarkan hal baru tentang hubungan dan urutan proses terbentuknya komunikasi interaksionisme simbolik dari tiga konsep dalam teori interaksionisme simbolik dari dua versi yakni George Herbert Mead dan Herbert Blummer melalui interaksi karakter animasi dalam film Inside Out dan drama Yumi’s Cells. Hasil penelitian menunjukkan bahwa karakter animasi sel kecerdasan emosional yang digambarkan pada film Inside Out dan drama Yumi’s Cells mampu mendominasi representasi konsep interaksionis simbolik dengan memberikan visualisasi perasan dan emosi.Animation is not only about the presentation of 3D caricatures but also about something beyond the scope of aesthetics, such as Emotional Intelligence which is portrayed in the animated film Inside Out and South Korean drama series Yumi’s Cells. The animated emotional intelligence characters who ‘lives inside the human brain’ are visualized as communicating and interacting with each other, representing the concept of Symbolic Interactionism Theory. This qualitative research, with a conversation analysis approach, offered a new point about the relationship and sequence process in the formation of three concepts in symbolic interactionism theory from George Herbert Mead and Herbert Blummer through the interactions of the animated characters in the film Inside Out and drama Yumi’s Cells. The results of the study showed that the characters of animated cells with emotional intelligence in the animated films Inside Out and Yumi's Cells could dominate the representation of the symbolic interactionist concepts by visualizing emotions and feelings.
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Novela, Chanel Maria, and Andrew Willis. "Procedural Animation Algorithm For Sasandu Playing Performance in 3D Animated Film 'Bako'." IMOVICCON Conference Proceeding 1, no. 1 (July 3, 2019): 229–43. http://dx.doi.org/10.37312/imoviccon.v1i1.25.
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Many techniques can be implemented to create a 3D animation; one of them is procedural animation. Procedural animation is a type of animation in which all movements are created using programming
languages or scripting. This technique is very effective to animate repetitive movements. Therefore, the motion created using procedural algorithms in “Bako” 3D animation short film is playing musical
instruments. Phyton is used as the scripting language, with Sasandu as the musical instrument. Sasandu is a unique musical instrument of the island of Rote that is starting to go extinct. Playing the Sasandu is relatively difficult to animate manually, as we have to keep synchronizing it with the melody and tempo of the music. In the attempt of creating a fluid and believable animation of the finger striking, the rig should also be adjusted to mimics the structure of the hand and the human joints. Also, the logic of the algorithm created should be able to create a proper strumming movement with the tone and timing. This is to make sure that the resulting animated movements are correct according to the song's notations.
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Halim, Steven, and Christine Mersiana Lukmanto. "Animating and Designing Movements for Turtle Figure in 3D Animated Short Film Entitled “TUKIK”." IMOVICCON Conference Proceeding 2, no. 1 (July 6, 2021): 111–18. http://dx.doi.org/10.37312/imoviccon.v2i1.55.
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One of the most important elements in an animated film to convey a message to the audience is animating a character. Character movement in a scene is very necessary to show what is happening and what the character is experiencing in a scene that is being witnessed by the audience. This research will raise the animating process of the turtle character in a 3D animated short film entitled "TUKIK". There are two scenes that will be discussed; a scene when the turtle is swimming in the ocean and the movement when the turtle is trapped by the waste at the beach. In the design process, various principles of animation and movement of turtles are applied based on references. The results of this research will be applied to the movements of the turtle characters in the animated awareness film called "TUKIK".
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Anggelina, Silvia, and Anggy Trisnadoli. "Analisis Efektivitas Pesan Film Animasi 3D Bahaya Rokok terhadap Perokok Aktif Remaja dan Dewasa." ANDHARUPA: Jurnal Desain Komunikasi Visual & Multimedia 6, no. 1 (March 20, 2020): 115–24. http://dx.doi.org/10.33633/andharupa.v6i1.3209.
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AbstrakKonsumsi rokok adalah penyebab global yang utama dari kematian yang masih dapat dicegah. Upaya pemerintah dalam mengendalikan dampak negatif konsumsi rokok sudah dilakukan dengan Peringatan Kesehatan Bergambar atau Pictorial Health Warning (PHW) pada bungkus rokok yang dipasarkan sejak tahun 2014 namun perlu adanya alternatif lain dalam mendukung kegiatan pemerintah tersebut. Salah satu alternatif yang diangkat pada penelitian ini adalah menyalurkan pesan bahaya merokok lewat sebuah media audio visual yaitu film animasi 3D berjudul Bahaya Rokok. Penelitian ini berfokus pada efektivitas pesan pada film dan efektivitas diukur berdasarkan tingkat pengetahuan akan bahaya merokok, serta tingkat keinginan perokok untuk berhenti merokok setelah menonton film. Penelitian menggunakan metode deskriptif kuantitatif. Dari pengujian yang telah dilakukan, didapatkan hasil bahwa film animasi 3D berhasil dibuat sebagai alternatif media sosialisasi kesehatan tentang bahaya merokok bagi perokok aktif remaja dan dewasa, serta dapat menyampaikan pesan bahaya merokok secara efektif bagi sebagian besar responden dan dominan lebih berpengaruh kepada perokok aktif remaja. Pesan bahaya merokok dapat disampaikan secara efektif dibuktikan dengan adanya peningkatan pengetahuan dan niat berhenti merokok yang timbul sebesar 30% pada responden penelitian setelah menonton film animasi 3D. Kata Kunci: efektivitas pesan, film animasi 3D, rokok AbstractCigarette consumption is the predominant global cause of death that can still prevent. The government efforts in restraining the negative impact of cigarette consumption have done with Pictorial Health Warning (PHW) On cigarette packaging that marketed since 2014 and yet there should have been an alternative in supporting the government. One of the alternatives that appointed in this research is transmitting a message about the dangers of smoking through audiovisual media, the animated 3D film called Danger of Smoking. This research is focusing on the effectiveness of the film. The effectiveness measured based on the level of knowledge of the danger of smoking, and the intention level of smokers to quit smoking after watching the film. The research used a descriptive quantitative method. The research used a descriptive quantitative method. From the testing that has done, the results showed that the animated 3D film successfully made as an alternative media of health socialization regarding the danger of smoking for teenage and adult active smokers, and can deliver the message of the danger of smoking effectively for the majority of respondents and dominantly more affected for teenage active smokers. The danger of smoking messages can be delivered effectively proven by increasing knowledge and arising of intention to quit smoking by 30% on research respondents after watching the animated 3D film.Keywords: 3D animated film, cigarettes, message’s effectiveness
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Wijaya, Fenny, and Dyah Gayatri Puspitasari. "Perancangan Komunikasi Visual Film Animasi Pendek “Sitiha dan Sisiti”." Humaniora 1, no. 2 (October 31, 2010): 489. http://dx.doi.org/10.21512/humaniora.v1i2.2890.
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The purpose of this research is to acquire, collect and analyze data needed to realize the design of short animated 3D films with a folklore theme which is presented with a visually appeal to interest spectators, especially children, so the moral message can be conveyed. The research method is to survey directly to the field, namely the cultural center of Indonesia TMII, playground and library. In addition to the literature media such as books, magazines and journals and supported with references from the internet media relating to the topic. Results to be achieved are for the moral message conveyed in this animated folklore film can be received and understood by the audience, especially children. Conclusion at the present time, visual communications media such as movies and television shows are very popular among children. So by using the medium of animated films, children will be more interested and may like local folklore again, since local productions are not of lesser quality than the outside impressions.
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., I. Putu Andika Subagya Putra, I. Gede Mahendra Darmawiguna, S. Kom, M. Sc ., and I. Made Putrama, S. T. ,. M. Tech . "FILM SERI ANIMASI 3D BELAJAR BAHASA INDONESIA BERSAMA MADE SEBAGAI MEDIA PEMBELAJARAN BAHASA INDONESIA UNTUK PENUTUR ASING DI UNDIKSHA." Kumpulan Artikel Mahasiswa Pendidikan Teknik Informatika (KARMAPATI) 6, no. 1 (January 17, 2017): 20. http://dx.doi.org/10.23887/karmapati.v6i1.9051.
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Tujuan dari penelitian ini adalah untuk mengembangkan Film Seri Animasi 3d “Belajar Bahasa Indonesia Bersama Made” Sebagai Media Pembelajaran Bahasa Indonesia Untuk Penutur Asing Di Undiksha, agar mahasiswa asing yang tinggal atau berkunjung ke Indonesia dengan mudah dapat mempelajari Bahasa Indonesia.
Metode penelitian yang digunakan dalam penelitian ini adalah Research and Development (R&D) dengan menggunakan model pengembangan ADDIE. Film animasi 3 dimensi ini dikembangkan dengan menggunakan software Blender dengan beberapa tahap pembuatan animasi, yaitu pra produksi, produksi, dan pasca produksi.
Hasil dari penelitian ini, yaitu produk film animasi 3 dimensi berupa DVD dan respon dari peserta didik BIPA di Undiksha Singaraja terhadap Film Seri Animasi 3d “Belajar Bahasa Indonesia Bersama Made” Sebagai Media Pembelajaran Bahasa Indonesia Untuk Penutur Asing Di Undiksha yang terkategorikan sangat positif dengan rata-rata persentase 91,44%. Berdasarkan analisis dari 12 peserta didik BIPA diketahui 3 siswa memberikan respon yang sangat positif dan 9 siswa memberikan respon yang positif terhadap film animasi ini.Kata Kunci : BIPA, film Animasi, Animasi 3 Dimensi The purpose of this study is to develop a 3D Animation Film Series "Belajar Bahasa Indonesia Bersama Made" As an Indonesian Learning Media For Foreign Speakers In Undiksha, so that foreign students who stay or visit to Indonesia can easily learn Indonesian language.
The method used in this research is the Research and Development (R & D) by using ADDIE development model. 3-D animated film is developed using software Blender with several stages of animation creation, are pre-production, production and post-production.
The results of this study, three-dimensional animated film products such as DVD and the response of learners BIPA in Undiksha Singaraja to 3d Animation Film Series "Belajar Bahasa Indonesia Bersama Made" As an Indonesian Learning Media For Foreign Speakers In Undiksha are categorized very positively with the mean average percentage of 91,44%. Based on an analysis of 12 learners BIPA note 3 students gave a very positive response and 9 students responded positively to this animated film.keyword : BIPA, Animation Film, 3D Animation
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Abdul Ghani, Dahlan, and Muhammad Naim Bin Supian. "Exploring 3D Character Modeling Technique in Malaysian Short Animated Film." Journal of Engineering and Applied Sciences 14, no. 17 (November 10, 2019): 6213–22. http://dx.doi.org/10.36478/jeasci.2019.6213.6222.
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Abdul Ghani, Dahlan, Nurul Mirza Syazwina Binti Rohizat, and Luqman Bin Mohd Razali. "Exploring Colors Inside the Dogma of 3D Malaysian Animated Film." Journal of Engineering and Applied Sciences 14, no. 21 (October 10, 2019): 7809–20. http://dx.doi.org/10.36478/jeasci.2019.7809.7820.
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Purnomo, Fendi Aji, Firma Sahrul Bahtiar Bahtiar, Ahzan Miftahudin Zuhri, and Afwan Amirul Muchsinin. "Evaluasi Animasi 3D Legenda Tarian Sabuk Janur Dengan Metode Rigging Bone." Indonesian Journal of Applied Informatics 3, no. 1 (July 8, 2019): 36. http://dx.doi.org/10.20961/ijai.v3i1.26372.
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<p>Indonesia dewasa ini, budaya pada masyarakat mulai mendapat pengaruh dari budaya asing sehingga budaya yang merupakan peninggalan dari leluhur bangsa mulai terkikis. Salah satunya adalah kebudayaan berupa cerita legenda yang berkembang di daerah masing – masing, sehingga menjadi ironis ketika anak zaman sekarang tidak mengetahui bahkan tidak peduli akan budayanya sendiri. Salah satu cerita legenda yang berkembang yaitu “Tarian Sabuk Janur” yang berasal dari daerah Girimulyo, Karanganyar yang kental menceritakan tentang kearifan dan keramahan budaya. Media edukasi yang saat ini digemari oleh masyarakat umum salah satunya adalah film animasi. Film animasi “Legenda Tarian Sabuk Janur” dibuat dengan metode 3 Dimensi, yang memiliki durasi waktu 6 menit 27 detik, dengan spesifikasi ekstensi .mp4, resolusi video 1280x720, dan frame rate 24 fps. Dalam pembuatan film tersebut, menggunakan software Blender Animation Studio. Berdasarkan pengkajian kuisioner yang telah dilakukan, dapat diketahui bahwa 82 % responden dapat memahami isi cerita film animasi 3D Legenda Tarian Sabuk Janur. Dan film disajikan dengan baik rata-rata dengan prosentase sebesar 75%.</p><p>_______________________________________________________________</p><p><em>Indonesia today, culture in the community began to get the influence of foreign culture so that the culture is a relic of the nation's ancestors began to erode. One of them is the culture of a legend story that developed in their respective regions, so it becomes ironic when children today do not know even care about their own culture. One of the growing legends of the story is "Tarian Sabuk Janur" which comes from Girimulyo region, Karanganyar is thick telling about wisdom and cultural friendliness. Media education currently popular by the public one of them is the animated film. The animated film " The Legend of Tarian Sabuk Janur " was made with the 3 Dimensional method, which has a duration of 6 minutes 27 second, with extension specification .mp4, 1280x720 video resolution, and frame rate of 24 fps. In the making of the film, using Blender Animation Studio software. Based on the questionnaire review, 82% of respondents can understand the contents of the 3D animated story of Janur Belt Dance Legend. And the film is well presented on average with a percentage of 75%.</em></p>
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Shan, Feng, and Youya Wang. "Animation Design Based on 3D Visual Communication Technology." Scientific Programming 2022 (January 5, 2022): 1–11. http://dx.doi.org/10.1155/2022/6461538.
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The depth synthesis of image texture is neglected in the current image visual communication technology, which leads to the poor visual effect. Therefore, the design method of film and TV animation based on 3D visual communication technology is proposed. Collect film and television animation videos through 3D visual communication content production, server processing, and client processing. Through stitching, projection mapping, and animation video image frame texture synthesis, 3D vision conveys animation video image projection. In order to ensure the continuous variation of scaling factors between adjacent triangles of animation and video images, the scaling factor field is constructed. Deep learning is used to extract the deep features and to reconstruct the multiframe animated and animated video images based on visual communication. Based on this, the frame feature of video image under gray projection is identified and extracted, and the animation design based on 3D visual communication technology is completed. Experimental results show that the proposed method can enhance the visual transmission of animation video images significantly and can achieve high-precision reconstruction of video images in a short time.
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Chen, Shaopeng. "How narrative techniques attract young parents: The refiguration of Logger Vick in the Chinese 3D animated film, Boonie Bears: To the Rescue." Journal of Screenwriting 12, no. 1 (March 1, 2021): 75–94. http://dx.doi.org/10.1386/josc_00049_1.
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This article analyses the screenwriting of Boonie Bears: To the Rescue (2014), a film version of the Chinese 3D animated adventure TV series, Boonie Bears. The child-oriented principle of storytelling is one of the most distinctive features of full-length Chinese animated films, especially those produced over the past decade. Within this context, Boonie Bears: To the Rescue epitomizes how Chinese animators are striving to expand the scope of their target audience from children to parent–child groups through the development of narrative competence. This article explores how the arrangement of narrative techniques helps to attract young parents (in their late 20s and early 30s) to cinemas while also retaining the child audience. These endeavours are primarily represented by the refiguration of Logger Vick, the main antagonist in the Boonie Bears animated TV series, who is transformed from a thoroughly wicked villain to a living, ordinary person who could be considered to be the ‘spokesperson’ for young Chinese adults. In this way, the screenwriting techniques in the film strike a responsive chord in the hearts of its adult viewers, thereby broadening the range of its original (TV series) target audience.
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Wiguna, Satria Veriansyah, and Ranang Agung Sugihartono. "THE DIRECTING ANIMATION FILM ENTITLED SI JOE." ARTISTIC : International Journal of Creation and Innovation 1, no. 1 (March 27, 2020): 55–74. http://dx.doi.org/10.33153/artistic.v1i1.2994.
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The re-introduction of the Nusantara folklore is very important because it is a form of the original culture of the archipelago and a national identity. An animated film work that tells the story of a parody about Timun Mas folklore is expected to be able to reintroduce a folklore from Central Java by adding novelty to the portrayal of the characters and stories. The making of this work aims to create a 2.5D animated film with the theme of folklore with new packaging. The artistic creation doing by the director is to combine and move 2D animation in a 3D space perspective, so that 2.5D animation is created. 2.5D animation was created using a virtual camera so that it produces better image movement than an ordinary 2D animation. This animation work that explores the folklore of the archipelago shows success in aspects of the uniqueness and impression in the visualization and novelty of the story. This animated film can bring back the old story so it is enjoyable to watch by millennial audiences.
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Adis, Fransisca, and Yohanes Merci Widiastomo. "Designing Emotion Of Characters By Referencing From Facs In Short Animated Film “RANA”." ULTIMART Jurnal Komunikasi Visual 9, no. 2 (March 21, 2018): 31–38. http://dx.doi.org/10.31937/ultimart.v9i2.747.
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Facial expression is one of some aspects that can deliver story and character’s emotion in 3D animation. To achieve that, we need to plan the character facial from very beginning of the production. At early stage, the character designer need to think about the expression after theu done the character design. Rigger need to create a flexible rigging to achieve the design. Animator can get the clear picture how they animate the facial. Facial Action Coding System (FACS) that originally developed by Carl-Herman Hjortsjo and adopted by Paul Ekman and Wallace V. can be used to identify emotion in a person generally. This paper is going to explain how the Writer use FACS to help designing the facial expression in 3D characters. FACS will be used to determine the basic characteristic of basic shapes of the face when show emotions, while compare with actual face reference.
Keywords: animation, facial expression, non-dialog
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Safagi, Ardian Yuligar, Kusrini Kusrini, and Hanif Al Fatta. "Analisis dan Pengembangan Pipeline Cloth Simulation Pada Produksi Animasi 3D di MSV Studio." Creative Information Technology Journal 7, no. 2 (March 31, 2021): 107. http://dx.doi.org/10.24076/citec.2020v7i2.255.
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Pengaruh penerapan pipeline dalam sebuah industry animasi 3d sangat mempengaruhi produksi animasi agar maksimal. Dalam masing-masing divisi juga terdapat pipeline yang digunakan contohnya pipeline pada divisi cloth simulation. Pada MSV Studio pipeline simulasi yang diterapkan di divisi cloth simulation masih terdapat beberapa kendala pada saat produksi. Cara kerja pipeline yang sudah ada yaitu pada saat proses pengecekan data asset yang masih manual antara Sceneres dan Renderes yang diperlukan untuk simulasi cloth masih sering terjadi kesalahan seperti human error dan set up cloth masih dilakukan disetiap shot. Dari masalah tersebut diusulkan untuk dilakukan pengembangan pipeline cloth simulation agar bisa meminimalisir kesalahan dan menghemat waktu pengerjaan. Hasil dari produksi film animasi sangat dipengaruhi oleh pipeline yang digunakan dalam produksi tersebut. Studi ini memberikan gambaran bagaimana sebuah pipeline ikut andil besar dalam sebuah hasil dari produksi film animasi 3D terutama dalam masalah waktu. Pada akhirnya studi ini dapat menjadi acuan dalam pembuatan sebuah pipeline film animasi khususnya pada divisi cloth simulation.Kata Kunci — pipeline, cloth simulation, animasi 3DThe effect of pipeline application in a 3D animation industry greatly influences the production of animation for maximizing. In each division. there is also a pipeline that is used for example the pipeline in the cloth simulation division. In the MSV studio pipeline simulation applied in the cloth simulation division there were still some obstacles during production. The work of the existing pipeline during the process of checking asset data which is still manual between Sceneres and Renderes needed for cloth simulation is still often had an error such as human error and set up cloth still done in every shot. From this problem it is proposed to develop a pipeline cloth simulation in order to minimize errors and saving time processing. The results of the production of animated films are strongly influenced by the pipeline used in the production. This studyprovides an illustration of how a pipeline contributes greatly to the results of the production of 3D animated films, especially in the matter of time. In the end, this study can be a reference in making an animation film pipeline, especially in the cloth simulation division.Keywords — pipeline, cloth simulation, 3D animation
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Juprinedi, Juprinedi, Arta Uly Siahaan, and Cahya Miranto. "ANALISIS MAKNA DENOTATIF DAN KONOTATIF DALAM FILM UPIN & IPIN EPISODE KENANGAN MENGUSIK JIWA." JOURNAL OF DIGITAL EDUCATION, COMMUNICATION, AND ARTS (DECA) 3, no. 01 (March 31, 2020): 1–17. http://dx.doi.org/10.30871/deca.v3i01.1986.
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Representations of public life in recalling past events or history can be found, among others, in 3D animated films. An interpretation of connotative meaning, as the second layer meaning, arises when a symbol is associated with its psychological aspects, such as feelings, emotions, or beliefs, which are closely related to culture, knowledge, and history. This study aims to interpret symbols in the Kenangan Mengusik Jiwa episode of Upin & Ipin animated film for their denotative and connotative meaning to better understand the context of the story and the moral message conveyed. A questionnaire was used in this research to increase validity. In processing questionnaire data, a calculation is conducted using the Likert scale. The results of the study indicate that the main moral message conveyed in this episode is to never forget history or established culture. This interpretation is supported by results from questionnaire data.
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Mujahidawati, Novferma, Gugun M. Simatupang, Febbry Romundza, Ari Frianto, and Diniyah Putri. "Pelatihan Pembuatan Film Animasi Menggunakan Aplikasi Toontastic 3d untuk Mendukung Minat Belajar Siswa SMP." Sarwahita 19, no. 01 (January 13, 2022): 234–50. http://dx.doi.org/10.21009/sarwahita.191.20.
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ABSTRACT
During the COVID-19 pandemic, the government implemented bold learning at various levels of education, from kindergarten to university. There is a possibility that the applied learning can result in low student interest in learning. This is because the learning process carried out only transfers recordings of learning patterns to WhatsApp text messages, so there is no other innovation to help students' interest in learning become better. As teachers we must be able to make interesting learning media according to the characteristics of students, where one of the learning media is to make animated films that students can see and do while studying at home. The purpose of this activity is to help and train junior high school teachers in making animated film learning media using the Toontastic 3D application so that it can support students' interest in learning. The method used in the implementation of this service activity is to use the method of discussion and question and answer, demo, and expository. Participants in this service activity are partners of MGMP SMP in Muaro Jambi in the field of mathematics as many as 35 teachers and 20 students. The instrument used in this service is a teacher motivation response questionnaire after training and a student interest response questionnaire after learning with learning media in the form of animated films. Based on the results of the training, it was obtained that most of the teachers who participated were very satisfied and happy with this training, this can be seen from the teacher's motivation, most of the teachers answered on average the statements given agreed and strongly agreed agree category. Furthermore, student learning interest can also be said to be good, this can be seen based on the results of the student learning interest questionnaire where the average student on a positive statement is in the agree and strongly agree category, while in the negative statement questionnaire on average are in the category of strongly disagree and disagree. . Therefore, it can be said that this training in making animated films as a learning medium can provide good motivation for teachers and good learning interest for students during the covid-19 pandemic.
ABSTRAK
Masa pandemic covid-19, pemerintah menerapkan pembelajaran secara daring di berbagai jenjang Pendidikan mulai dari TK sampai perguruan tinggi. Tidak menutup kemungkinan selama pembelajaran daring diterapkan dapat mengakibatkan minat belajar siswa rendah. Hal tersebut dikarenakan proses pembelajaran yang dilakukan hanya memindahkan pola pembelajaran yang dibuku ke pesan teks WhatsApp saja, sehingga tidak adanya inovasi lain untuk membantu minat belajar siswa menjadi lebih baik. Sebagai pengajar kita harus bisa membuat media pembelajaran yang menarik sesuai dengan karakteristik siswa, dimana salah satu media pembelajaran tersebut adalam pembuatan film animasi yang dapat dilihat dan di toton oleh siswa selama belajar dirumah. Tujuan kegiatan pengabdian ini adalah untuk membantu dan melatih guru SMP dalam pembuatan media pembelajaran berbentuk film animasi menggunakan aplikasi toontastic 3D sehingga dapat mendukung minat belajar siswa. Metode yang digunakan dalam pelaksanaan kegiatan pengabdian ini adalah menggunakan metode diskusi dan tanya jawab, demonstrasi, dan ekspositori. Peserta kegiatan dalam pengabdian ini adalah mitra MGMP SMP di Muaro Jambi pada matapelajaran matematika sebanyak 35 orang guru dan 20 orang siswa. Instrumen yang digunakan dalam pengabdian ini adalah angket respon motivasi guru setelah pelatihan dan angket respon minat siswa setelah belajar dengan media pembelajaran berbentuk film animasi tersebut. Berdasar hasil pelatihan diperoleh bahwa kebanyakan guru-guru yang ikut merasa sangat puas dan senang dengan adanya pelatihan ini, hal tersebut dilihat dari angket respon (motivasi) guru menunjukkan bahwa kebanyakan guru rata-rata menjawab pernyataan yang diberikan pada kategori Setuju dan Sangat Setuju. Selanjutnya minat belajar siswa juga dapat dikatakan baik, hal tersebut dilihat berdasarkan hasil angket minat belajar siswa dimana rata-rata siswa pada pernyataan positif berada pada kategori setuju dan sangar setuju, sedangkan pada angket pernyataan negatif rata-rata pada kategori sangat tidak setuju dan tidak setuju. Oleh karena itu dapat disimpulkan bahwa pelatihan pembuatan film animasi sebagai media pembelajaran ini dapat memberikan motivasi yang baik bagi guru dan minat belajar yang baik bagi siswa dimasa pandemic covid-19.
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Sun, Lin. "Research on the Application of 3D Animation Special Effects in Animated Films: Taking the Film Avatar as an Example." Scientific Programming 2022 (September 10, 2022): 1–7. http://dx.doi.org/10.1155/2022/1928660.
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Nowadays, 3D animation special effects are used more and more frequently in film and television works. The integration of its animation special effects enhances the visual impact of the film and makes it easier to resonate with the audience. Movies that use three-dimensional animation special effects have a more prominent performance in both visual effects and artistic expression. Taking the film Avatar as an example, this study is committed to providing a reference for the research of three-dimensional animation effects in Chinese film and television works through the analysis of the practical application effects of three-dimensional animation effects. Three dimensional technology provides technical support for film and television special effects, which has achieved unprecedented development. It combines reality with virtualization, brings virtualization to the screen, and then presents it to the audience, contributing to the progress of Chinese film and television art.
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Zulkarnain, Alfiansyah, Nita Virena Nathania, Putu Widyayana Putra, and Priscilla Agatha. "Applying Balinese Philosophy "Rwa Bineda" Concept on Character & Environment Design in 3D Animated VR Short Film "Gede"." IMOVICCON Conference Proceeding 1, no. 1 (July 3, 2019): 167–74. http://dx.doi.org/10.37312/imoviccon.v1i1.18.
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A distincitve and unique conceptual character and environtment design, especially in animated films, is important as to seperate itself from plaethora of generic animated films out there. A deep understanding of local culture and how the philosophy shaped its culture could create a new way to visualize its world, and a more faithful representative of its world. In this modern era, concept about the dichotomy of positive and negative aspects is often overshadowed by western thinking of dominance, that one must defeat the other. Eastern thinking about this issue is somewhat different, whereas the balance between the positive and negative is a common concept in Asian cultures and society. The Balinese understood this concept as Rwa Bhineda or two opposition, where both the aspects in life must co-exist in harmony.
This paper will examine how the Rwa Bhineda concept could become a theoritical foundation to design characters and environments, using animated short “Gede” as the subject matter. The story of “Gede” is based on the myth of Barong and Rangda as both mythical characters are the physical forms of Rwa Bhineda concept. We will see how the concept is applied on the worldbuilding, character proportions, gateway designs, lands layout, and character and environment visual elements. In the end, we can conclude that a good understanding of local wisdom could produce a new approach in character and environmental design.
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Lorents, Albert, and Alfiansyah Zulkarnain. "Animation Design in an Animated 3-Dimensional Film Adapted from a Children's Story by Monica Wihardja." IMOVICCON Conference Proceeding 2, no. 1 (July 6, 2021): 177–81. http://dx.doi.org/10.37312/imoviccon.v2i1.83.
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Discrimination is an issue that often occurs in Indonesia. It is undeniable that religious discrimination is one form of such discrimination. Marapu religion, is a traditional religion adhered to by the people of Sumba. Discrimination against followers of the Marapu religion is one form of discrimination that occurs in the Sumba region. Adherents of the Marapu religion in Sumba experience different treatment, especially in the field of education. Therefore the short 3D animation project raises this issue, aiming to raise public awareness about religious discrimination that still often occurs in Indonesia.The design method in Meha's short 3D animation project uses literature study sourced from books, articles and research journals and interview studies regarding the reconstruction of book content and the cultural context of Sumba and Marapu which will be raised in this final project. The final form of this project is a 3D short animated film with a duration of six minutes. In the process, visual content keywords are emphasized, namely Enlightened and Heavenly, which are references in visual design in making animation
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Kennedy, Jason. "The animator’s sensorium: The impact of acting and animation experience on creating reference performances." Animation Practice, Process & Production 10, no. 1 (August 1, 2021): 95–116. http://dx.doi.org/10.1386/ap3_000028_1.
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This research provides an initial investigation into strategies for creating reference performances for animation. The term reference performance has various meanings in animation production; in this article, I use it to refer to a recording of a person performing physical and emotional cues, from which performance elements of an animated character may be derived. Beginning with Max Fleischer’s invention of the rotoscope process in 1915, animation studios began to record actors as a means to inject greater believability into the movements and expressions of animated characters. Throughout this article, I reference Pallant’s understanding of ‘believability’ as a ‘[reconciliation of] realism within the animated form’. While various methods exist today to capture reference performances, it remains axiomatic that the utility of the reference is only as good as a performer’s ability to produce the desired performance. While seasoned actors would seem ideally suited to the task, large-scale animation studios frequently require animators to film their own reference performances, even though the animators may have limited (or non-existent) acting experience. By comparison, smaller studios and independent productions may not have the time or ability for each animator to self-produce reference; instead, they may opt for an animation director/supervisor to record reference for every character, to work from clips available through online video sites (e.g. YouTube) or to forgo video reference altogether. This research examines the potential for acting experience to enhance reference performances and specifically explores three different preconditions of experience when producing animation reference: an actor with no animation experience, an animator with no acting experience and an academic with both acting and animation experience. As an additional site of inquiry, this research explores the use of head-mounted cameras in the production of animation reference as a means to more fully and reliably capture the research participants’ expressive range. This research engages with ethnographic and autoethnographic research models to compare the creative choices of each participant and their ability to produce meaningful expressions, gestures and body movements as reference performance for a short, auteur 3D animated film in a predominantly realistic style. From these analyses, the maximal performance utility of each participant is gauged. By extension, this limited data provides an initial suggestion that acting experience is an essential precondition when producing useful reference performances for the type and style of animation explored in this study. Furthermore, this article relates the acting strategies of its participants to the acting theory of Ivana and the theory of emotional effector patterns as described by . This research suggests that these practice-informed performance theories may prove useful to animator when producing their own reference, regardless of performance experience.
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Park, Hunjin. "A Study on Animation Style of Full 3d Animated Feature Film for Full Animation and Limited." Korean Society of Culture and Convergence 39, no. 6 (December 30, 2017): 777–96. http://dx.doi.org/10.33645/cnc.2017.12.39.6.777.
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Pratama, Adhinta Candra Rima, I. Gede Mahendra Darmawiguna, and I. Gede Bendesa Subawa. "Pengembangan Film Animasi 3 Dimensi Peran Kapten Ida Bagus Putu Japa dalam Serangan Umum Kota Denpasar." Kumpulan Artikel Mahasiswa Pendidikan Teknik Informatika (KARMAPATI) 10, no. 3 (November 12, 2021): 271. http://dx.doi.org/10.23887/karmapati.v10i3.37566.
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Abstract- The history of the hero's struggle is often not well known by the public, especially regarding the history of the hero's struggle, Captain Ida Bagus Putu Japa. This is due to the lack of sources of information about the stories of the drivers of resistance. Currently, what is known to the public is the Statue of Hero of the Posthumous Captain Ida Bagus Putu Japa at the Niti Mandala Renon roundabout, Denpasar and the heroic values of Captain Ida Bagus Putu Japa are also enshrined and stored by making a diorama in the Bajra Sandhi Museum. With the rapid development of technology, technology is useful for disseminating or disseminating information to the general public. This study aims to develop a 3-dimensional animated film of the role of Captain Ida Bagus Putu Japa in the general attack of Denpasar city. So that with this animated film, it is hoped that the public will know and understand how the struggle of Captain Ida Bagus Putu Japa in defending the city of Denpasar. The research method used in this study is the Multimedia Development Life Cycle method, which has 6 stages, namely concept, design, material collecting, assembly, testing, and distribution. . Based on the results of the test data on the content expert test, the criteria are "Very Valid" with Aiken's validity of 0.95. In the media expert test, the criteria are "Very Valid" with Aiken's validity of 0.96. In the user response test the criteria are "Good" with a validity index of 87% so that this 3D animated film is suitable for socialization and education media to the people of Denpasar City. Keywords: Heroes, Biography of Captain Ida Bagus Putu Japa, Bajra Sandhi Museum
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Budianto, Lestari, Salwa Amaliyah, and Dwi Wahyu Sugiarti. "HYPERMASCULINITY IN THE CROODS FILM: A DESCRIPTIVE STUDY." Language Literacy: Journal of Linguistics, Literature, and Language Teaching 6, no. 2 (December 27, 2022): 448–53. http://dx.doi.org/10.30743/ll.v6i2.6116.
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In the world of literary research, a film is a very interesting object of research. A film is a literary work that can provide a lot of values to human life. This study aims to explore the hypermasculinity that exists in the 3D animated film entitled The Croods. The film was released in 2013 and tells the story of a family led by a man named Grug. This study uses a descriptive qualitative method and the data from this research are formed from two types of data, namely the main data and supporting data. The main data of this study was obtained from the film "The Croods" while the supporting data are from websites. The data obtained are analyzed using four stages, namely data collection, data display, data reduction, and conclusion. The results of this study indicate that hypermasculinity is seen in the main character who is protective, caring, responsible, strong, brave, and stubborn. This finding is reflected in the dialogues, actions, and fashion that occur in the film.
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Najafi, Hossein. "Displacement of self-continuity: An heuristic inquiry into identity transition in a 3D motion-capture-based animated narrative short film." Animation Practice, Process & Production 8, no. 1 (December 1, 2019): 165–88. http://dx.doi.org/10.1386/ap3_00010_1.
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This practice-led artistic research considers how a fictional allegory might be employed to examine issues of acculturation, displacement and identity transition. Using the story of a refugee family, the study explores through artistic practice the implications of identity reconstruction inside the body of a new culture. The animated short film Stella is designed to serve as a provocative vehicle for considering the social implications of identity loss and transition. Methodologically, the project is shaped by an heuristic inquiry. Inside this journey, the researcher generates a narrative that draws upon experience and theory. The artist creates an experimental animation in which the self of the artist is investigated through iterations of creative explorations. These experimental explorations not only span the conceptual and storytelling side of the creative process but also touch upon technological achievements. In this process a relationship results that elevates both the self (the writer/director/animator) and the body of knowledge, through the process of making and reflection. Beyond its contribution to understanding processes and implications of acculturation, displacement and identity transition, the project’s technological significance lies in its propensity to extend the application and demonstrate the potential of performance capture (using motion capture technology), 3D laser scanning and photogrammetry.
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Muqoddas, Ali, and Noor Hasyim. "Representasi Anti Diskriminasi pada Film Kartun 3D Zootopia (Kajian Semiotika Roland Barthes)." ANDHARUPA: Jurnal Desain Komunikasi Visual & Multimedia 2, no. 02 (August 31, 2016): 151–66. http://dx.doi.org/10.33633/andharupa.v2i02.1217.
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Isu diskriminasi SARA seperti tiada habisnya terjadi di dunia ini, begitu juga di Indonesia. Hal ini mengakibatkan tema-tema tentang SARA menjadi sensitif ketika dibahas atau pun difilmkan. Hal ini mengakibatkan jarang ditemui film yang mengangkat tentang SARA. Lain halnya dengan Walt Disney. Walt Disney baru-baru ini merilis film kartun 3D yang mengangkat tema anti diskriminasi SARA yang berjudul Zootopia. Film ini menjadi menarik karena isu diskriminasi SARA yang diangkat dibalut dengan konsep yang kreatif hingga sensivitas isu SARA tersebut menjadi berkurang. Representasi anti diskriminasi SARA pada film Zootopia ini selanjutnya dikaji dengan metode semiotika Roland Barthes dengan pendekatan deskriptif kualitatif. Berdasarkan dari analisis, dapat disimpulkan bahwa film Zootopia memuat pesan ideologi tentang anti diskriminasi SARA bahwa kedudukan manusia dimata manusia yang lain pada hakikatnya adalah sama. Setiap manusia berhak dan wajib memperlakukan dan diperlakukan secara bijak tanpa memperdulikan background asal manusia itu sendiri. Penghargaan pada setiap individu tidak didasarkan pada faktor keturunan, ras, suku ataupun agama, namun didasarkan pada prestasi dari individu itu sendiri. Kata Kunci: diskriminasi SARA, Zootopia, Roland Barthes AbstractThe issue of racial discrimination as an endless happen in this world, so also in Indonesia. This resulted in the themes of SARA be sensitive when discussed or filmed. This resulted in a rare film that raised about SARA. Another case with Walt Disney. Walt Disney recently released 3D animated film that mengangat theme of anti-discrimination SARA entitled Zootopia. This film is interesting because racial discrimination issues raised wrapped with a creative concept to the sensitivity of the racial issues be reduced. SARA anti-discrimination representation on film Zootopia is further studied with Roland Barthes semiotic methods with qualitative descriptive approach. Based on the analysis, it can be concluded that the film contains Zootopia ideology of anti-discrimination message SARA that the position of human eyes of another human being is essentially the same. Every human being is entitled and obliged to treat and be treated wisely, regardless of the origin of man's own background. On each individual award is not based on heredity, race, ethnicity or religion, but is based on the achievements of the individuals themselves.Keywords: racial discrimination, Zootopia, Roland Barthes
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Husniyah, Nur Iftitahul. "Tantangan Globalisasi Pendidikan Islam (Study Komparasi Budaya Pop di Indonesia dan Malaysia)." AKADEMIKA 11, no. 1 (June 30, 2017): 78–91. http://dx.doi.org/10.30736/akademika.v11i1.46.
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Popular culture broadcast from electronic media in this paper is aimed at introdution children to the importance of good moral messages in addition to being a medium of Islamic religious education transfer in the matters of worship or moral and social values. Animated Upin Ipin film produced in Malaysia, the business management, creative ideas, and quality of the image could deliver the Upin & Ipin film in getting some awards. In 2008, Upin & Ipin was awarded International Achievement Appreciation Award, Best of Media Entertainment Category-Merit Award (MSC Malaysia APICTA 2008), and President's Award (Malaysia-Canada Business Council Business Excellence 2008). Meanwhile, in 2009, it was awarded Winner of MSC-Malaysia Management Game 2009, IT Frank 2009 (Global Emerging Innovative Enterpreneur), First 3D Animation Feature Film (Malaysia Book of Records), Viewer Choice Award (Kids Film Festival), Anugerah Khas Juri and Anugerah Box Office (Malaysia Film Festival), Best on Screen Chemistry Awards (Shout Awards), and Best Editing and Best Music (MSC Creative Digital Contents Conference). These awards have once again marked the high quality of Upin & Ipin series and Upin & Ipin technology innovation in Malaysia.
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Kim, Gum Young, and Ingyoo Jang. "Changes in Visualization Methods for Animated Feature Film Adaptations of Comic Books – Focused on 〈Spider-Man:Into the Spider-Verse〉." Cartoon and Animation Studies 60 (September 30, 2020): 99–130. http://dx.doi.org/10.7230/koscas.2020.60.099.
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Liu, Bing, Huiying Liu, and Vinh Phuc Dung. "3D Animation Graphic Enhancing Process Effect Simulation Analysis." Wireless Communications and Mobile Computing 2022 (July 22, 2022): 1–11. http://dx.doi.org/10.1155/2022/9208495.
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Processing of graphics is the intermediate stage of an animated film. The adequacy of the preproduction preparation often requires the creators to repeatedly discuss a series of issues such as the story of the script, the structure of the play, the style of the art design and the setting of the scenes, the shape of the characters, and the style of the music. The study of the process of 3D animation graphics enhancing effect optimization can effectively improve the visual effect of images. The optimization of the effect of authenticity of 3D animation graphics requires the optimization of lighting of animation graphics, and the optimization of texture processing of images by extending the shadow map method to complete the optimization of the effect of authenticity of animation graphics. Image enhancement is a very important branch in the field of digital processing of graphics. It is a method of making some transformations to the information or data of an image by some strategy to make the region of interest more prominent in the image while suppressing the secondary information that does not need to be enhanced, with the ultimate goal of making the image conform to the visual response characteristics. It is in this context that this paper proposes to build a process of graphics simulation platform to simulate and analyze the effect of process of 3D animation graphics enhancing. The experimental results show that the enhancement of graphics reduces the running time by 16.5 s and 14.3 s compared to the CDD and FMM algorithms, respectively, and that the MSE and PSNR are both improved, indicating that the enhancement of graphics effectively improves the restoration effect while running quickly. Therefore, it is confirmed that the process of 3D animation graphics enhancing effect has a good balance to obtain a more desirable animation in 3D enhancement effect.
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Tai, Peng-yi. "The Animator as Inventor: Labour and the New Animated Machine Comedy of the 2010s." Animation 13, no. 3 (November 2018): 238–51. http://dx.doi.org/10.1177/1746847718805163.
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Around 2010, the inventor character started to populate animated blockbusters. Computer 3D animated films and their sequels such as Robots (Chris Wedge and Carlos Saldanha, 2005), Cloudy with a Chance of Meatballs (Phil Lord and Christopher Miller, 2009), Despicable Me (Pierre Coffin and Chris Renaud, 2010) and Big Hero 6 (Don Hall and Chris Williams, 2014) all feature inventors and their extravagant machines. In this article, the author explores the inventive artisan character as a self-reflexive trope of the animator. She expands Crafton’s thesis of the animator’s self-figuration and Tom Gunning’s work on machine comedy and operational aesthetics to further discussions on the animator and thereby the labour of animation. The article seeks to reveal the political agenda in the new animated machine comedy of the 2010s, which not only reflects the modes of production of contemporary animation studios, but also the larger concerns in the post-Fordist mode of production.
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Purwaningsih, Dominika Anggraeni. "PUPPET MOVEMENTS IN STRUCTURE-SPECIFIC TRADITIONAL PAPER CUT OUT ANIMATION PRODUCTION." Ultimart: Jurnal Komunikasi Visual 13, no. 2 (December 22, 2020): 61–68. http://dx.doi.org/10.31937/ultimart.v13i2.1821.
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Physical paper puppets are inanimate objects, but when we’re speaking in terms of the production of traditional paper cut out animation, they become the actors and the souls that drive the movie. When shooting and animating traditional paper cut out animation, the puppets are laid flat on a surface so they can only move in limited directions compared to conventional 2D or 3D animation. As we know, each character in animated movie has its own personality and unique to each other. The challenge lays in bringing out the characteristics and personality of the character through the limited medium of paper puppet. In this qualitative research, puppet movements will be applied to quadruped cat characters in a public service announcement titled “Spay & Neuter”. The puppet along with the visual design, segmentations, and joints were done in previous research. Qualitative observations and audio-visual materials are used to collect the data for references. Literature review will study the characteristics of cats, body language, behaviour, and principles of animation especially timing and exaggeration. Observation is conducted by studying the movements of real cats from online videos and direct observations and also studying how other animators animate cat characters in animated films. In the exploration stage, paper puppets will be animated according to the movement design while experimenting with the timing and frame rate of the stop motion to achieve the final results.
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Zarrad, Anis. "An Extensible Game Engine to Develop Animated Facial Avatars in 3D Virtual Environment." International Journal of Virtual Communities and Social Networking 8, no. 2 (April 2016): 12–27. http://dx.doi.org/10.4018/ijvcsn.2016040102.
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Avatar facial expression and animation in 3D Collaborative Virtual Environment (CVE) systems are reconstructed through a complex manipulation of all details that compose it like muscles, bones and wrinkles in 3D space. The need for a fast and easy reconstruction approach has emerged out in the recent years due to its application in various domains; 3D disaster management and military training etc. These details simulation must be as realistic as possible to convey different emotions according to the constantly changing situations in CVE during the runtime. For example, in 3D disaster management, it is important to use dynamic avatar emotions; firefighters should be frightened when dealing with a fire disaster and smiling when treating injures and evacuating habitants. However, the solution of facial animation remains a challenge that restricts the rapid and ease development of facial animation systems. In this work, the author presents extensible game engine architecture to easily produce real-time facial animations using a script atomic action without having to deal with control structures and 3D programing language. The proposed architecture defines various controllers, object behaviors, tactical and graphics rendering, and collision effects to quickly design 3D virtual environment. Firstly, the author gives the concept of atomic expression, and the method to build a parametrized script file according to the atomic expression. Then the author shows the validity of the generated expressions based on the MPEG-4 facial animation framework. Finally, the feasibility of the proposed architecture is tested via a firefighter scenario. The author's approach has the advantages over previous techniques of fitting directly an easy and faster technology with a high degree of programming independence. The author also minimizes the interaction with the game engine during the runtime by injecting dynamically the XML file into the game engine without stopping or restarting the engine.
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Marselia, Maya, and Cita Meysiana. "Pembuatan Animasi 3D Sosialisasi Penggunaan Jalur Simpangan dan Bundaran Ketika Berkendara." VOCATECH: Vocational Education and Technology Journal 2, no. 2 (April 27, 2021): 108–13. http://dx.doi.org/10.38038/vocatech.v2i2.55.
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Abstract
The purpose of this research is to make a 3D animated video that is used to provide information about the ethics of driving at intersections and roundabouts in accordance with the rules that apply to the public or vehicle users, in order to reduce the level of traffic accidents. The making of this 3-dimensional animated video starts with the initial stage, namely determining the idea, the data collection stage, to designing the storyboard. After that, the modeling, texturing, rigging animating, and rendering stage are carried out, using the Blender and Makehuman applications which then produce several 3-dimensional animated video pieces. After the rendering process is complete, the next stage is final editing by providing text, images, transition effects using the Adobe Premiere Pro application and adding audio as voice over to the story script. The last stage is the final rendering which produces a 3-dimensional animated video in the MP4 file format.
Abstrak
Tujuan dari penelitian ini adalah pembuatan video animasi 3D yang digunakan untuk memberikan informasi tentang etika berkendara di simpangan dan bundaran sesuai dengan aturan yang berlaku bagi masyarakat atau pengguna kendaraan, agar dapat mengurangi tingkat kecelakaan lalu lintas. Pembuatan video animasi 3 dimensi ini, dimulai dengan tahap awal yaitu penentuan ide, tahap pengumpulan data, hingga perancangan storyboard. setelah itu dilakukan proses modelling, texturing, rigging animating, hingga tahap rendering, dengan menggunakan
aplikasi Blender dan Makehuman yang kemudian menghasilkan beberapa potongan-potongan video animasi 3 dimensi. Setelah proses rendering selesai, tahap selanjutnya adalah final editing dengan memberikan teks, gambar, efek transisi menggunakaan aplikasi Adobe Premiere Pro serta menambahkan audio sebagai pengisi suara pada naskah cerita. Tahap terakhir adalah final rendering yang menghasilkan video animasi 3 dimensi dengan format file MP4.
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Novak-Marcincin, Jozef. "Virtual Reality Modeling Language as Tool for Automated Workplaces Simulation." Applied Mechanics and Materials 309 (February 2013): 372–79. http://dx.doi.org/10.4028/www.scientific.net/amm.309.372.
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Virtual Reality Modelling Language (VRML) is description language, which belongs to a field virtual reality (VR) system. The file, which is in VRML format, can be interpreted by VRML explorer in three-dimensional scene. VRML was created with aim to represent virtual reality on Internet easier. Development of 3D graphic is connected with Silicon Graphic Corporation. VRML 2.0 is the file format for describing interactive 3D scenes and objects. It can be used in collaboration with www, can be used for 3D complex representations creating of scenes, products or VR applications VRML 2.0 enables represent static and animated objects too. Interesting application of VRML is in area of automated workplaces simulation.
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Abdillah, T. Rafli. "Simulasi Gerak Gajah Dengan Menggunakan Metode Pose To Pose." JURNAL TIKA 6, no. 02 (June 23, 2021): 147–51. http://dx.doi.org/10.51179/tika.v6i02.546.
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Membuat sebuah film animasi melibatkan prosedur yang cukup panjang agar menghasilkan kualitas yang baik. Memiliki alur produksi yang teratur dan sesuai jadwal tentu sangat mutlak dibutuhkan. Dalam proses produksi gerakan dalam animasi baik 2D atau 3D membutuhkan teknik yang tepat agar dapat sesuai dengan perencanaan. Pose to pose merupakan salah satu dari 12 prinsip animasi yang digunakan animator agar menghasilkan gerakan yang halus dan lebih efisien dalam pengerjaannya jika dibandingkan gerakan menggunakan teknik straight ahead. Hasil yang didapatkan yaitu pose to pose pada gerakan gajah yang nantinya dapat dijadikan referensi animator membuat animasi dengan software animasi blender 3D
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Rachman, Suci Rahma Dani, Ardimansyah, Baso Arfan Efendy, and Riyan Alfian Syarif. "Designing 3D Animated Games as Learning Media For Lontara (Edulontara) Based on Android." Inspiration: Jurnal Teknologi Informasi dan Komunikasi 12, no. 2 (December 30, 2022): 56–64. http://dx.doi.org/10.35585/inspir.v12i2.10.
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At this time it is known that many children, especially students, have played games, both through computers and mobile phones. Students think that games can fill their spare time. The use of media that involves technology can affect student achievement and motivation, one of which is game play. The background of the research is that learning in schools still uses learning methods that use guidebook media, which causes a lack of interest and attention from students to take part in ongoing learning, for that it is necessary to develop an educational game that can be used as a medium of learning and can motivate students to be interested in study. The purpose of making 3D animation game applications for learning lontara script is so that students can easily understand and be interested in learning lontara script. The system development method used is waterfall starting from data collection, system analysis, application design, system testing and implementation. Black-box testing method that focuses on the functional requirements of the software. The programming language used is the Visual C programming language. With the application of the 3D animation game for learning the Lontara script, it is hoped that it can provide information and help students understand and be interested in learning the Lontara script.
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Petikam, Lohit, Ken Anjyo, and Taehyun Rhee. "Shading Rig: Dynamic Art-directable Stylised Shading for 3D Characters." ACM Transactions on Graphics 40, no. 5 (October 31, 2021): 1–14. http://dx.doi.org/10.1145/3461696.
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Despite the popularity of three-dimensional (3D) animation techniques, the style of 2D cel animation is seeing increased use in games and interactive applications. However, conventional 3D toon shading frequently requires manual editing to clean up undesired shadows or add stylistic details based on art direction. This editing is impractical for the frame-by-frame editing in cartoon feature film post-production. For interactive stylised media and games, post-production is unavailable due to real-time constraints, so art-direction must be preserved automatically. For these reasons, artists often resort to mesh and texture edits to mitigate undesired shadows typical of toon shaders. Such edits allow real-time rendering but are limited in resolution, animation quality and lack detail control for stylised shadow design. In our framework, artists build a “shading rig,” a collection of these edits, that allows artists to animate toon shading. Artists pre-animate the shading rig under changing lighting, to dynamically preserve artistic intent in a live application, without manual intervention. We show our method preserves continuous motion and shape interpolation, with fewer keyframes than previous work. Our shading shape interpolation is computationally cheaper than state-of-the-art image interpolation techniques. We achieve these improvements while preserving vector quality rendering, without resorting either to high texture resolution or mesh density.
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Pomar Tojo, Carmen, Guillermo Calviño Santos, and Andrea Irimia Nores. "“EL RESULTADO DEL PROYECTO QVO: METAMORFOSIS 5”." International Journal of Developmental and Educational Psychology. Revista INFAD de Psicología. 5, no. 1 (December 21, 2016): 493. http://dx.doi.org/10.17060/ijodaep.2014.n1.v5.711.
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Abstract.“THE RESULT OF QVO PROJECT: METAMORPHOSIS 5”If you look at each of the arts and try to see them as large containers of disciplines, we find that cinema is the most porous of all. The film has a tremendous ability to filter and take - bind - hundreds and thousands of disciplines not only inherent in the result, the film, but in all the stages involved in the creation process. To cite some examples that are found only in the most superficial layer of all film production : script writing, deco-architecture, costume design, storyboard drawing, acting work, capturing sound, camera operation, still photography, graphic design posters, video editing, audio mastering and sound, com ¬ position soundtrack etc. Over and above this surface layer film no limits, for example, a master armory, insect specialist, animal trainer, technician in augmented reality and motion capture, and 3D designer, special effects technician, historian, technical animator pyrotechnics, and even industrial engineer aerospace engineer. That is why in the QVO, Enrichment program for children gifted project we decided to work with cinema, from cinema and to make cinema.Key Words: Enrichment, High Capacity, Film, Screenplay, Building, Decorations, Performance.Resumen.Si nos fijamos en cada una de las artes y tratamos de verlas como grandes contenedores de disciplinas, comprobaremos que el cine es la más porosa de todas ellas. El cine posee una enorme capacidad para filtrar y asumir –aglutinar- cientos y miles de disciplinas no sólo inherentes al resultado, la película, sino en todas aquellas etapas que intervienen en el proceso de creación. Por citar algunos de los ejemplos que se encuentran solo en la capa más superficial de toda producción cinematográfica: Escritura de guión, arquitectura de deco rados, diseño de vestuario, dibujo de storyboard, trabajo actoral, captación de sonido directo, operación de cámara, fotografía fija, diseño gráfico de cartelería, edición de vídeo, masterización y sonorización de audio, com posición de banda sonora etc. Profundizando más allá de dicha capa superficial el cine no encuentra límites, por ejemplo, maestro en armería, especialista en insectos, adiestrador de animales, técnico en realidad aumentada y motion capture, diseñador y animador 3D, técnico de efectos especiales, historiador, técnico en pirotécnica, ingeniero industrial e incluso ingeniero espacial. Es por ello que en el proyecto QVO, programa de Enriquecimiento para niños y niñas de altas capacidades, nos hemos decidido a trabajar con el cine, desde el cine y para hacer cine.Palabras Clave: Enriquecimiento, Altas Capacidades, Cine, Guión, Arquitectura, Decorados, Actuación.
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Retnowati, Nurcahyani Dewi. "ANALISIS PENERAPAN PENGGUNAAN GRAPHIC EDITOR PADA PEMBUATAN OBJEK 3 DIMENSI." Angkasa: Jurnal Ilmiah Bidang Teknologi 7, no. 2 (September 13, 2017): 13. http://dx.doi.org/10.28989/angkasa.v7i2.144.
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Three-dimensional applications has evolved penetrated in almost all areas of work, especially in the field of multimedia and other virtual media. Offeature films, television, print design to production games. LightWave 3D is a software that can model an object once animate. This research model a 3D object using LightWave Modeler then analyzed the results of modeling using graphic editors in LightWave Layout. To connect between LightWave Modeler and LightWave Layout used LightWave Hub. Analysis using the graphic editor can make a better model for the selection of each layer more detail.
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Abdilah, Mahadir Muhamad Erfin, Juniardi Nur Fadila, and Fresy Nugroho. "Metode Pose to Pose untuk Membuat Animasi 3 Dimensi Islami "Keutamaan Berbuka Puasa"." Jurnal Sains dan Informatika 7, no. 2 (December 4, 2021): 145–54. http://dx.doi.org/10.34128/jsi.v7i2.314.
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Berkembangnya teknologi di bidang computer graphics memberikan kemudahan dalam mengolah suatu karya grafis salah satunya adalah animasi 3D. Dalam pembuatan animasi 3D terdapat permasalahan utama yang biasa menjadi tantangan bagi para animator. Permasalahan utama dalam pembuatan animasi 3D adalah kualitas gerakan yang kasar atau tidak terkesan nyata. Untuk membuat gerakan yang halus dan tampak nyata dapat dilakukan melalui banyak metode salah satunya adalah metode pose to pose. Animasi 3D islami berjudul Keutamaan Berbuka Puasa sebagian besar berisi gerakan dalam memperagakan taat cara berbuka puasa yang baik dan benar untuk mendapatkan keutamaan berbuka. Pembuatan animasi ini dibuat melalui software blender dengan menerapkan metode pose to pose. Sebagai hasil pembuatan paper ini, film animasi 3D berjudul Keutamaan Berbuka Puasa diharapkan dapat dibuat dengan kualitas gerakan yang bagus dengan menggunaan metode pose to pose serta dapat memberikan hiburan dan edukasi yang baik.
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Nendya, Matahari Bhakti, Lailatul Husniah, Hardianto Wibowo, and Eko Mulyanto Yuniarno. "Sintesa Ekspresi Wajah Karakter Virtual 3D menggunakan Action Unit berbasis Facial Action Coding System (FACS)." Journal of Animation and Games Studies 7, no. 1 (April 1, 2021): 13–24. http://dx.doi.org/10.24821/jags.v7i1.4239.
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Ekspresi wajah pada karakter virtual 3D memegang penran penting dalam pembuatan sebuah film animasi. Untuk mendapatkan ekspresi wajah yang diinginkan seorang animator kadang mengalami kesulitan dan membutuhkan waktu yang tidak sedikit. Penelitian ini dilakukan untuk mendapatkan ekspresi wajah dengan menggabungkan beberapa Action Unit yang ada pada FACS dan diimplementasikan pada wajah karakter virtual 3D. Action Unit pada FACS dipilih karena mengacu pada struktur otot wajah manusia. Eksperimen yang dilakukan menghasilkan komninasi Action Unit yang dapat membentuk ekspresi seperti joy expression yang dihasilkan dari kombinasi AU 12+26, dan surprise expression yang dihasilkan dari kombinasi AU -4+5+26. Sedangkan untuk sadness expression dan disgust expression karena ada AU yang tidak terwakili pada model 3D sehingga di dapatkan hasil ekspresi yang kurang maksimal.