Dissertations / Theses: 'Animation'

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Knoell, Tiffany L. "Animating America: Warner Bros. Animation During the Depression." Bowling Green State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1331398666.

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Marcusson, Oscar. "Algoritmiska Animationer : En studie av automatisering av animation." Thesis, Högskolan i Skövde, Institutionen för informationsteknologi, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-16560.

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Att utveckla 3D-animeringar till dataspel är kostsamt eftersom det tar mycket tid och resurser för att uppnå den kvalitet som dagens spelare kräver. För att både spara arbetstid och göra det lättare för ovana animatörer att skapa animationer av tillräckligt hög kvalitet undersöker detta arbete hur ett verktyg för regelbaserad procedurell animering kan utformas, vad spelare anser om resultatet och vad utvecklare anser om både resultat och användning. För att testa detta skapades en artefakt (ett rymdspel) bestående av 3D-modeller och programmering (C# i Unity) av script, API, klasser och metoder. Artefakten animerar procedurellt utifrån algoritmer baserade på variabler. Utvärderingen av artefakten genomfördes med stöd av funktionsprotokoll, enkät och intervjuer. Slutsatsen är att regelbaserad procedurell animering är användbar för mekaniska delar utifrån synpunkter från dataspelsutvecklare och spelare. Framtida arbete kan bestå av en utökad undersökning med fler respondenter, tillförande av ett grafiskt gränssnitt, produktutveckling tillsammans med företag, skapande av fler verktyg och användade av AI.

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Jones, Timothy. "Animating community : reflexivity and identity in Indian animation production culture." Thesis, University of East Anglia, 2014. https://ueaeprints.uea.ac.uk/53461/.

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Animating Community examines the cultural practices of animators in India, and particularly the role of practitioner testimony in conceiving and negotiating social structures underpinning the nascent Indian animation industry. Recognizing a tendency in practitioner accounts towards theorization of contested industrial discourses, this research takes as its object the reflexive practice of animators in trade texts and interviews. These reveal how local practitioners understand production culture as an emergent phenomenon, resulting from learned processes of negotiation and collective action. However, practitioner testimony also reflects dramatically different degrees of agency in cultural production and discourse. Focusing on the identity work of diverse creative professionals – corporate elites, freelancers, teachers, and students – reveals underlying tensions between global industrial constraints and local social capital. Based on discursive analysis of testimony, this thesis asks how Indian animation practitioners conceive of their creative activity and identity in relation to negotiating a culture of animation production, and how the shared discourses and modes of engagement that result both shape and are shaped by institutional structures. These questions are addressed through practitioner accounts in three sectors of Indian animation: first, the context of production – considering large outsourcing firms and smaller studios; second, the provision of education – instruction in skills and social norms supplied by the public and private sectors; and third, the creation of dedicated community structures – professional organizations and trade information networks. Animating Community is most interested in how local media professionals articulate different discourses from aesthetic to economic value in order to approach an imagined sense of cultural identity. This sheds light on the way practitioners make sense of their creative and professional worlds. Ultimately, the conclusions offered in this project argue for a more nuanced conception of the relationship between critical practice and creative labour, and greater understanding of the different contexts where this may emerge.

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Pappas, Michael A. "Experimental animation." Virtual Press, 1994. http://liblink.bsu.edu/uhtbin/catkey/917014.

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The primary objective of this creative project was to explore and analyze the centuries old technique of animation. The investigation of the material included both text and also visual material such as existing films, videos and interviews.This body of work consisted of a variety of animation techniques combined into one film, a zoetrope with five hand-drawn strips and various forms of merchandise (stickers, bumper stickers and a t-shirt) based on the animation.The goal for this project was to convey the idea that animation is an unlimited field that is always open to new and exciting innovations. The author wanted to express the technique, rather than a plot or some concept to the viewer, with the intent that the viewer will be inspired to also experiment with animation.
Department of Art

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MAGALHAES, MARCOS AMARANTE DE ALMEIDA. "SPONTANEOUS ANIMATION." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2004. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=5561@1.

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O trabalho procura definir o processo de criação de uma animação cinematográfica dentro de sua natureza espontânea e intuitiva, nem sempre decorrente de deduções racionais. Os campos da Animação e do Design são comparados em suas características holísticas e multidisciplinares, que favorecem o uso e o reconhecimento da intuição em seus processos. A animação é caracterizada como a faculdade humana de analisar e sintetizar movimentos, de existência anterior à invenção do cinema. Técnicas e processos atualmente utilizados na animação são descritos e classificados segundo fontes bibliográficas. A partir destes fundamentos, procura-se definir o termo Animação Espontânea, com o suporte de relatos biográficos de três grandes artistas da animação: Norman McLaren (1914-1987), Fernando Diniz (1918-1999) e Len Lye (1901-1980). São relatadas quatro bem sucedidas iniciativas didáticas em animação: O Animathon (maratona de animação), o Estúdio Aberto do Festival Anima Mundi, o projeto Anima Escola e a Oficina de Modelo Vivo e Animação. Nas considerações finais, conclui-se que a abordagem da animação através de métodos intuitivos e espontâneos facilita e motiva o despertar de uma faculdade ainda pouco conhecida do ser humano: a capacidade de reproduzir e controlar o tempo através de movimentos virtuais.
This work seeks to define the creative process in the cinematographic animation, inside its spontaneous and intuitive nature, not always deriving from rational deductions. Animation and Design are compared in its holistic and multidisciplinary characteristics, which favor the use and acknowledgement of intuition in their processes. Animation is characterized as the human faculty of analysis and synthesis of movements, which has been demonstrated far before the invention of cinema. The techniques and processes presently used in animation are then described and classified according to bibliographic sources. From these fundamentals, a definition for Spontaneous Animation is searched, with the help of the biographical reports on three great masters of animation: Norman McLaren (1914-1987), Fernando Diniz(1918-1999) and Len Lye (1901-1980). Four well succeeded didactic initiatives in animation are described: the Animathon (animation marathon), the Open Studio of the Anima Mundi Festival, the Anima School project and the Life Drawing and Animation Workshop. In the final considerations, conclusion is that the approach of animation through intuitive and spontaneous methods is shown to facilitate and motivate the awakening of a yet little know faculty of the human being: that of being able to reproduce and control time through virtual movements.

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Fraidoon, Noora. "ANIMAtion Studio." Thesis, Virginia Tech, 2014. http://hdl.handle.net/10919/25223.

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Form, space, rhythm, order, symmetry, balance, repetition, proportion and scale are few from a long checklist of principles that, if followed carefully by the designer, will result in "beautiful" architecture, or so I was told. However, what exactly is "beautiful"? In his book "The beautiful necessity" (1910, p.34) Claude Fayette Bragdon suggests that "Beauty is the name we give to truth we cannot understand". This statement implies that there is a hidden quality within each building, or even within each space, a quality that we can sense but cannot make sense of, a quality very similar to having a soul. The soul seems to linger on the threshold that divides two opposite worlds, it is always in-between. Between the dream and the awake, between the physical and the imaginary, between the conscious and the subconscious and between the real and the unreal. In this thesis, the "real" world consists of an animation studio (the program), the studio's staff and visitors, the selected site located in Alexandria, and it is bound by the building methods, materials and codes. The "unreal" world consists of four fictional characters that, assumingly, emerged from my subconscious and who live in a fictional dimension that overlaps ours. The different encounters within the "real" world and within the "unreal" world, and also the interactions between the "real" and the "unreal" worlds are translated into an architectural language as an attempt to investigate the soul.
Master of Architecture

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Rossouw, Wilan Burger. "Interchanging animation." Diss., University of Pretoria, 2015. http://hdl.handle.net/2263/53341.

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This dissertation is rooted in the premise of stitching together and creating relationships between components and conditions that define a place and its essence. Through architecture, the project focuses on the creation of interconnections between these and subsequent reciprocal complementation and animation. The town of Bela-Bela developed radially around the Warmbaths fountain, which served as the settlement genesis and origin. Due to the water s mystical, mythical and medicinal allure, favourable weather conditions and the serene natural environment, recreational facilities were envisaged and developed here to accommodate the intersection with the water and natural environment enveloping it. The recreational facilities and the town were conceived to be inseparable entities but have evolved to operate independently through privatisation and insulation of the physical and metaphysical nucleus to the place: The central gardens and fountain. The site of investigation is the eastern boundary condition of the Warmbaths Forever Resort. The CBD and major transportation infrastructure ring this site and extend into the urban and rural environment. The urban intention is to create a condition that re-instils a public relationship between the nucleus and the urban context, while the programmatic intentions are to facilitate and reference the characteristics and conditions that define and make up the place, so as to interconnect and animate the town and the everyday with the extraordinary that presides. The architectural intentions are to enable an interchanging animation between architecture, the natural environment and the context, while creating a sensorial intersection with the inherent poetics of the water from the fountain and those from the natural landscape.
Mini Dissertation (MArch(Prof))--University of Pretoria, 2015.
tm2016
Architecture
MArch(Prof)
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Jerlardtz, Emilia. "Anatomy and Animation: Anatomically Based Animation Skeletons for Quadrupeds." Thesis, Högskolan i Gävle, Avdelningen för Industriell utveckling, IT och Samhällsbyggnad, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-13442.

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Constructing animation skeletons for quadrupeds is a complicated process, and knowing how to construct an animation skeleton for one type of quadruped does not guarantee the ability to effortlessly do so for another. This project explores how anatomy may easy the task of quadruped animation skeleton setup. Quadruped anatomy has been extensively studied and a method for animation skeleton setup based on anatomical information was explored using Autodesk Maya 2012. This method was based on the assumption that anatomical information could be incorporated into animation skeleton creation, thereby enabling the construction of an animation skeleton structure applicable to quadrupeds of different locomotion. It was discovered that this was hardly the case and the conclusion of this project has been that a better approach to animation skeletons is to construct them depending on the requirements of the project they are intended for rather than seeking to standardise how they should be set up.

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Stainback, Pamela Barth. "Computer animation : the animation capabilities of the Genigraphics 100C /." Online version of thesis, 1990. http://hdl.handle.net/1850/11460.

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de, Almeida Johansson Cezar. "Animation och gestalter : En studie om hur förenklade animationer påverkar gestaltbildning." Thesis, Högskolan i Skövde, Institutionen för kommunikation och information, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-5294.

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Vilken roll spelar animation för gestaltbildning? Arbetet fokuserar på att ta reda på hur förenklingar av animationer påverkar gestaltbildning. Utifrån gestaltpsykologins idé med gestalter utvärderas tre animationer genom strukturerade intervjuer. De tre animationerna föreställde en självsäker gångstil som var uppdelad i tre steg, enkel, mellan och komplex. Studien visade tendenser på att förenkling av animationer påverkar gestaltbildning. Resultatet kan agera som stöd för vidare studier i och med animationers inverkan i gestaltbildning. Kortsiktigt kan samma test göras med små förändringar i den strukturerade intervjuupplägg eller med andra sorters animationer. I det långsiktiga perspektivet kan man behöva se om animationer har samma roll för gestaltbildningen i ett spel som de har i exempelvis en filmproduktion.

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Sharaf, Nada [Verfasser]. "CHRvis: an animation extension for animating constraint handling rules / Nada Sharaf." Ulm : Universität Ulm, 2019. http://d-nb.info/1190727315/34.

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Lin, Xinze. "Web-based Sprite Sheet Animator for Sharing Programmatically Usable Animation Metadata." Thesis, Uppsala universitet, Institutionen för informationsteknologi, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-197456.

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In this project, we have developed a prototype application which is capable of creating and sharing programmatically usable sprite sheets via the web. At the same time, we also proposed a technique called Meta-pixel Enhanced Sprite Sheet which can enforce 2D game animation metadata to be always attached with its corresponding sprite sheet image. The project is dedicated to help 2D game programmers to quickly obtain programmatically usable raster graphics.

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Thörner, Eddie, and Alexander Tyrling. "Animation av fräsverktyg." Thesis, Halmstad University, School of Business and Engineering (SET), 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-4650.

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Björklund, Niklas. "Acting in animation." Thesis, University of Gävle, Ämnesavdelningen för datavetenskap, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-4698.

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It is important to remember actors and animators are similar in many respects, but also very different in some. They both frame and provide life to a character, through thoughts and feelings. To obtain a better understanding of how professional animators work and what methods they use, this thesis contains general background information on animation and the Principles in Animation, as well as the analysis of acting and the different acting concepts. By studying these methods and utilizing them in my own work, a short animation was developed to visualize a characters personality through his actions. The result was then applied to a questionnaire to determine if the audience could pick out the characters personality only through the animation without dialog, music, or sound. According to the interviewed audience, they could feel some of the characters emotions and pick out some of the inner thoughts and feelings from the animation.

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Saunders, Breton M. "Fast animation dynamics." Thesis, University of Cambridge, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.621917.

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Kim, Hana 1980. "Multimodal animation control." Thesis, Massachusetts Institute of Technology, 2003. http://hdl.handle.net/1721.1/29661.

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Thesis (M.Eng.)--Massachusetts Institute of Technology, Dept. of Electrical Engineering and Computer Science, 2003.
Includes bibliographical references (leaf 44).
In this thesis, we present a multimodal animation control system. Our approach is based on a human-centric computing model proposed by Project Oxygen at MIT Laboratory for Computer Science. Our system allows the user to create and control animation in real time using the speech interface developed using SpeechBuilder. The user can also fall back to traditional input modes should the speech interface fail. We assume that the user has no prior knowledge and experience in animation and yet enable him to create interesting and meaningful animation naturally and fluently. We argue that our system can be used in a number of applications ranging from PowerPoint presentations to simulations to children's storytelling tools.
by Hana Kim.
M.Eng.

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Yu, Jinhui. "Stylised procedural animation." Thesis, University of Glasgow, 1999. http://theses.gla.ac.uk/6737/.

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This thesis develops a stylised procedural paradigm for computer graphics animation. Cartoon effects animations - stylised representations of natural phenomena - have presented a long-standing, difficult challenge to computer animators. We propose a framework for achieving the intricacy of effects motion with minimal animator intervention. Our approach is to construct cartoon effects by simulating the hand-drawing process through synthetic, computational means. We create a system which emulates the stylish appearance, movements of cartoon effects in both 2D and 3D environments. Our computational models achieve this by capturing the essential characteristics common to all cartoon effects: structure modelling, dynamic controlling and stylised rendering. To validate our framework, we have implemented a cartoon effects system for a range of effects including water effects, fire, smoke, rain and snow. Each effect model has its own static structure such as how the different parts are related temporarily. The flexibility of our approach is suggested most evidently by the high-level controls on shape, colour, timing and rendering on the effects. Like their hand-drawn counterparts, they move consistently while retaining the hand-crafted look. Since the movements of cartoon effects are animated procedurally, their detailed motions need not be keyframed. This thesis therefore demonstrates a powerful approach to computer animation in which the animator plays the role of a high level controller, rather than the more conventional hand-drawing slave. Our work not only achieves cartoon effects animation of un-precedented complexity, but it also provides an interesting experimental domain for related research disciplines toward more creative and expressive image synthesis in animation.

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Robison, David J. "Community Animation Workshop." Bradford University, 2006. http://hdl.handle.net/10454/4016.

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No.
The University of Bradford has recently pioneered a radical approach to engaging children and young people in learning about technology and the arts, thanks to funding provided by the English Arts Council. Young people engaged with youth services in the Bradford area were invited to take part in innovative performance art and digital media sessions held at the University. The sessions had a tangible output for the young people. The result was four one-minute ¿motion-captured¿ animations containing original music and dance ¿ produced by the participants themselves, with the help of experienced workshop leaders. This was packaged on a DVD which also contained a video documentary about the workshops, filmed as they were taking place by local film-maker and lecturer, David Robison. The participants were also able to take away their work on their mobile phones, video phones and portable Play-stations.

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Morisawa, Tomohiro. "Producing animation : work, creativity, and aspirations in the Japanese animation industry." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:a38a83ae-d123-4192-94b1-4279ab82b521.

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This thesis examines shifting relations of labour, creativity, and political economy in the context of commercial animation production in contemporary Tokyo. Based on 12 months of fieldwork in the Japanese animation industry (2009-2010), the ethnography of the thesis is centred on young animation makers whose lives are fraught with persistent job insecurity and socio-economic precariousness. Contrary to celebratory narratives of the global success of anime, found in both Japanese media discourses and the literature of Japanese studies, these professional young workers live on the socio-economic fringe of mainstream Japanese society. Despite such instability, labour discourses in the animation industry are notable for their highly aspirational quality, which appears to be based on global liberal discourses of self-realisation through the pursuit of dreams in the labour market. Commercial animation production in the Japanese industry entails a complex division of labour in which animation makers are, at the root, divided between managers and creators. This management-creative relation structures the primary context of commercial production. Thematically, the thesis engages mainly with three research literatures in anthropology: the anthropology of creativity, the anthropology of work, and Japanese ethnography. The analytical locus is built on the perspective of young entry-level managers, with whom I worked during fieldwork and who were on the lowest strata of the workplace hierarchy. Through the detailed ethnography of animation production - one of Japan's premier creative industries - the thesis examines creative processes of animation making within the terms of work and labour. In so doing, it engages critically with the social and economic structures of commercial animation production, and explores the lived dimension of labour on the production floor. Methodologically, this means combining the perspectives of political economy and phenomenology by situating the micro-processes of animation making firmly in the industry's social and economic relations of production. I pay particular attention to the ways in which shifting social and cultural discourses of labour in Japan intersect with global liberal ideologies, such as creativity and self-realisation, in the context of commercial animation production. The major focus of the thesis is therefore to explicate what it is that makes these young animation makers, despite adverse conditions of labour, retain their aspirations to pursue the profession of animation making.

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Hui, Gan Sheuo. "The concept of selective animation : dropping the "limited" in limited animation." Kyoto University, 2008. http://hdl.handle.net/2433/136473.

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Kyoto University (京都大学)
0048
新制・課程博士
博士(人間・環境学)
甲第13937号
人博第410号
新制||人||101(附属図書館)
19||人博||410(吉田南総合図書館)
UT51-2008-C853
京都大学大学院人間・環境学・環境学研究科共生人間学専攻
(主査)准教授加藤幹郎, 教授篠原資明, 准教授小倉紀蔵
学位規則第4条第1項該当

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Ivarsson, Osvald. "Real time animation control in Android : Improving the workflow of creating and configuring animations." Thesis, KTH, Skolan för datavetenskap och kommunikation (CSC), 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-172847.

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Smartphones nowadays are more powerful than ever, which means that the number of animations in apps have increased rapidly. But the way that animations are developed and tweaked to look good has not improved in the same pace. In this thesis the typical workflow when developing animations for apps are investigated. This workflow is then improved upon by developing a prototype capable of configuring animations directly on the mobile device. The improved workflow has the consequence of decreasing development time needed to configure animations while also increasing developer satisfaction.
Smartphones har blivit kraftfullare än någonsin, vilket har gjort att antalet animationer i appar har ökat snabbt. Men sättet som dessa animationer utvecklas och konfigureras på har inte förbättrats lika snabbt. I det här examensarbetet undersöks hur ett typiskt arbetsflöde ser ut vid utveckling av animationer till appar. Det här arbetsflödet förbättras sedan genom att ta fram en prototyp som gör det möjligt att konfigurera animationer direkt på den mobila enheten. Det förbättrade arbetsflödet innebär att utvecklingstiden för att konfigurera animationer sjunker samtidigt som utvecklarna känner sig mer nöjda.

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Montanari, Lucia. "Frattali e computer animation." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2017. http://amslaurea.unibo.it/14685/.

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Billström, Johan, and Alexander Fjellström. "3D-animation i reklamfilm." Thesis, Södertörn University College, School of Communication, Media and it, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-2597.

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Study objects: Three different productions companies which the authors have chosen to be anonymous. Purpose: The purpose with this study is to examine why production companies choose to use 3D-animations in television commercials, and what different kind of aspects affects their decisions. Theoretical: The theoretical chapter reviews the history of 3D-animation andtelevision commercials and other fields that will be relevant laterin the analysis and discussion. Method: A case study has been made on three different companies, two of the companies are active in post-production and the other one is active in the consulting area. Data was collected through semistructured interviews with two of the companies. The last interview was conducted via e-mail. Conclusions: There were different ground aspects (economy, control, targetaudience, consumer impression) that affected a productioncompany’s decision in whether or not to use 3D-animation in theirproductions of television commercials.

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Anders, Jörg. "Character-Animation mit Blender." Universitätsbibliothek Chemnitz, 2008. http://nbn-resolving.de/urn:nbn:de:bsz:ch1-200800841.

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

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

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Connor, Daniel F. "Simulating three-dimensional animation /." Online version of thesis, 1988. http://hdl.handle.net/1850/11551.

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MAGALHAES, MARCOS AMARANTE DE ALMEIDA. "THE TIME OF ANIMATION." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2015. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=25672@1.

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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO
Este trabalho aborda os benefícios trazidos pela prática da produção de animações para um indivíduo e para a coletividade. A discussão apresentada tem como base a experiência do autor nas áreas do cinema de animação e da educação audiovisual, assim como os textos e pensamentos de Len Lye, Walter Benjamin e outros autores sobre questões de percepção e compreensão do tempo e de suas dimensões. A produção de dois curtas-metragens sobre animação, Doutor, meu filho é Animador de 14 minutos e O Filme de Fernando de 22 minutos, é utilizada como recurso para a investigação de temas como a imagem como signo para reflexão e comunicação; o conceito de imagem cética, que não traz um pensamento constituído por definições absolutas, mas aceita múltiplas e evolutivas interpretações; a construção de registros de memória; o conceito de key frames ou posições-chave aplicadas como marcas temporais tanto para um tempo micro (ilusão de movimentos) como macro (memória coletiva e história); e a possibilidade de compreensão do tempo e de suas diversas dimensões, de um jeito particular por cada indivíduo, a partir da experiência de produção de um filme de animação. O trabalho apresenta também uma revisão de iniciativas pedagógicas envolvendo a aplicação dos benefícios da animação na educação formal, tendo como referência os projetos Anima Escola no Brasil e o CAP na Dinamarca, projetos com atuações semelhantes e simultâneas durante uma mesma década. Como anexo da tese, é apresentada ainda a Cartilha Anima Escola, material didático sobre animação elaborado para professores, integralmente escrito pelo autor.
This work addresses the benefits brought by animation s producing practices to individuals and to the collectivity. The presented discussion is based on the author s experience in the areas of Animation Cinema and Audiovisual Education, as well as in the writings and thoughts of Len Lye and Walter Benjamin, among other authors, concerning questions on perception and the understanding of Time and its dimensions. The production of two short films about animation, Doctor, my son is an Animator, 14 minutes, and Fernando s Film, 22 minutes, is used as means for the investigation of themes such as the Image as a sign for reflection and communication; the concept of the skeptic image, which does not bring a way of thinking constituted by absolute definitions, but rather accepts multiple and evolutional interpretations; the construction of memory registers; the concept of key frames applied as temporal marks for a micro time (Illusion of movement) as well as for a macro time (Collective Memory and History); and the possibility to understand Time and its various dimensions in a particular way by each individual, starting from the experience of producing an animation film. The work also presents a revision of pedagogical initiatives concerning the application of the benefits brought by animation into the formal education, having as reference the Brazilian Anima Escola and the Danish CAP, two projects with similar and simultaneous actions during the same decade. The Anima Escola s Handbook is presented as an annex to the thesis, as a didactic piece about animation for teachers, entirely written by the author of this work.

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Pickup, David Lemor. "Example-based water animation." Thesis, University of Bath, 2013. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.607612.

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We present the argument that video footage of real scenes can be used as input examples from which novel three-dimensional scenes can be created. We argue that the parameters used by traditional animation techniques based on the underlying physical properties of the water, do not intuitively relate to the resulting visual appearance. We will present a novel approach which allows a range of video examples to be used as a set of visual parameters to design the visible behaviour of a water animation directly. Our work begins with a method for reconstructing the perceived water surface geometry from video footage of natural scenes, captured with only a single static camera. We show that this has not been accomplished before, because previous approaches use sophisticated capturing systems which are limited to a laboratory environment. We will also present an approach for reconstructing the water surface velocities which are consistent with the reconstructed geometry. We then present a method of using these water surface reconstructions as building blocks which can be seamlessly combined to create novel water surface animations. We are also able to extract foam textures from the videos, which can be applied to the water surfaces to enhance their visual appearance. The surfaces we produce can be shaped and curved to fit within a user's three-dimensional scene, and the movement of external objects can be driven by the velocity fields. We present a range of results which show that our method can plausibly emulate a wide range of real-world scenes, different from those from which the water characteristics were captured. As the animations we create are fully three-dimensional, they can be rendered from any viewpoint, in any rendering style.

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Ezzat, Tony F. (Tony Farid). "Trainable videorealistic speech animation." Thesis, Massachusetts Institute of Technology, 2002. http://hdl.handle.net/1721.1/8020.

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Thesis (Ph. D.)--Massachusetts Institute of Technology, Dept. of Electrical Engineering and Computer Science, 2002.
Includes bibliographical references (p. 53-58).
I describe how to create with machine learning techniques a generative, videorealistic, speech animation module. A human subject is first recorded using a videocamera as he/she utters a pre-determined speech corpus. After processing the corpus automatically, a visual speech module is learned from the data that is capable of synthesizing the human subject's mouth uttering entirely novel utterances that were not recorded in the original video. The synthesized utterance is re-composited onto a background sequence which contains natural head and eye movement. The final output is videorealistic in the sense that it looks like a video camera recording of the subject. At run time, the input to the system can be either real audio sequences or synthetic audio produced by a text-to-speech system, as long as they have been phonetically aligned. The two key contributions of this work are * a variant of the multidimensional morphable model (MMM) [4] [26] [25] to synthesize new, previously unseen mouth configurations from a small set of mouth image prototypes, * a trajectory synthesis technique based on regularization, which is automatically trained from the recorded video corpus, and which is capable of synthesizing trajectories in MMM space corresponding to any desired utterance. Results are presented on a series of numerical and psychophysical experiments designed to evaluate the synthetic animations.
by Tony Farid Ezzat.
Ph.D.

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McGill, Jarrett. "Finding Personality in Animation." Digital Commons @ East Tennessee State University, 2021. https://dc.etsu.edu/honors/642.

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There is a difference between making something move and bringing something to life in animation. The animation principles work together to bring out character that is only visible with memorable movement. Given how the entertainment space has changed and grown over recent years, it is arguably vital for characters to be unforgettable for franchises to survive. This creative thesis explores how personalities are interpreted in animation by viewers and creators, and a workflow to bring the personalities to the forefront in the piece. Three distinct characters will be animated with the same set of animations to showcase how a personality can shine.

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PROVOT, XAVIER. "Animation realiste de vetements." Paris 5, 1997. http://www.theses.fr/1997PA055029.

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L'animation des tissus et la realisation de vetements de synthese font l'objet de nombreuses recherches en informatique graphique. L'approche la plus developpee consiste a representer les tissus par une surface elastique continue. Nous nous placons dans un cadre similaire, puisque pour nous, un tissu est un systeme masses-ressorts, soumis aux lois de la dynamique. Le gros desavantage des modeles elastiques classiques, c'est qu'ils sont d'autant plus chers en calculs que l'on desire obtenir un comportement plus rigide. On est alors vite limite en ce qui concerne les tissus, qui sont souvent tres rigides en traction (cas du denim ou de la toile de coton par exemple). Pour pallier cet inconvenient, nous avons developpe une methode de controle du taux de deformation qui permet d'obtenir des comportements plus rigides, sans presque aucun cout de calcul supplementaire. L'animation des tissus et des vetements requiert la gestion des collisions de ces tissus avec des objets, ou avec eux-memes. La gestion des collisions comprend dans un premier temps la detection des collisions et dans un deuxieme temps le calcul de la reponse aux collisions. Nous avons particulierement etudie la reponse, qui pose de nombreux problemes de robustesse. Pour les resoudre, nous proposons une methode originale de detection et de traitement des zones de collisions complexes. Enfin, notre modele de tissu a ete utilise pour realiser des vetements (chemise et pantalon a pinces), a partir de patrons industriels reels, assembles sur un mannequin tridimensionnel.

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Pegorier, Claire. "Animation d'acteurs de synthèse." Paris 8, 1995. http://www.theses.fr/1995PA081020.

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L'animation d'un acteur de synthese necessite de nombreuses etapes pour obtenir un rendu realiste: les methodes de calcul mises au point concernent l'animation de la peau, la modelisation et l'animation des habits. La peau de l'acteur doit se deformer de maniere elastique au niveau des articulations. Cette propriete a ete obtenue en adaptant l'algorithme des "free form deformation". La morphologie de l'acteur determine un squelette, d'ou decoule une structure hierarchique d'articulations. Ce squelette doit ensuite etre anime par les methodes traditionnelles de l'image de synthese. Un deplacement de l'acteur peut etre genere de maniere automatique: la marche. L'acteur peut suivre une trajectoire plane quelconque. Cependant, les donnees calculees ne peuvent alimenter qu'un logiciel de cinematique directe. L'acteur peut ensuite etre habille de vetements tailles dans une etoffe numerique qu'un programme de couture adapte a la forme de son corps. Ces habits sont ensuite animes par une methode dynamique et leurs mouvements dependent uniquement des deplacements de l'acteur.

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Robert, Christian. "Animation en long sejour." Limoges, 1988. http://www.theses.fr/1988LIMO0179.

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Ripp, Raymond. "Animation graphique et interactivité." Université Louis Pasteur (Strasbourg) (1971-2008), 1991. http://www.theses.fr/1991STR13081.

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Grâce au progrès de l'électronique, l'animation graphique par ordinateur est maintenant possible. Dans cette thèse est présenté un logiciel, Agraph, qui a été mis au point pour permettre à un utilisateur non-informaticien de manipuler interactivement les objets graphiques animés. Après une présentation générale de l'animation graphique par ordinateur, sont exposées les techniques permettant la mise en place d'une interface autorisant l'interactivité et la réalisation par l'utilisateur de séquences d'animation par interpolation de positions clés. La technique d'interpolation par splines cubiques est étudiée en détail, une nouvelle méthode de calcul par approximation des tangentes est mise au point. Des solutions au problème du calcul des différents paramètres définissant les mouvements, la taille et l'aspect des objets graphiques animés sont ainsi proposées. L'interpolation des orientations, qui sont modélisées par des quaternions, fait l'objet d'un développement particulier. Les difficultés liées à la programmation de l'animation graphique en général et de la station graphique en particulier sont largement abordées; après un survol des langages de programmation du parallélisme, les problèmes spécifiques au cadencement par les données sont présentés, des solutions et des méthodes de programmation sont proposées. Enfin, sont décrites les nombreuses applications auxquelles ce travail a donné lieu, mettant en relief l'aspect programmation, les problèmes d'animation qu'elles ont posés ou les services qu'elles peuvent rendre à l'utilisateur

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Zongker, Douglas. "Creating animation for presentations /." Thesis, Connect to this title online; UW restricted, 2003. http://hdl.handle.net/1773/6862.

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Björkqvist, Sara. "A comparative study between factual animation and cartoon animation in a learning context." Thesis, Linköpings universitet, Medie- och Informationsteknik, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-130021.

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Film har påvisats vara en populär metod för effektiv inlärning men inga tidigare undersökningar berör hur den visuella stilen av film i undervisning kan påverka inlärningen. Denna studie går därför ut på att undersöka skillnaderna mellan en saklig, informativ animerad film och en cartoon-animerad film i hur de fungerar och uppfattas i ett lärandesammanhang. Studien innefattar en litteratursökning kring multimediainlärning, kommunikation i film och animationsprinciper som sedan mynnat ut i två animerade filmer, en saklig och en med cartoon-karaktär. Dessa filmer har jämförts i kvalitativa användartester med en högstadieklass för att undersöka förståelsen och uppfattningen kring filmerna. Slutsatserna från studien är att båda filmerna skulle passa i ett lärandesammanhang, dock krävs en djupare och större undersökning för att förstå hur de olika filmerna påverkat inlärningen. Den största skillnaden mellan filmerna ligger i hur underhållande de upplevs, den cartoon-animerade filmen upplevs vara roligare och väcker intresset hos många av testpersonerna, dock upplevde flera att den även var distraherande och att de fokuserade mer på underhållningen än faktan som presenterades. För att fullt svara på syftet krävs en fortsatt studie kring ämnet.

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Holmqvist, Lucas, and Eric Ahlström. "Comparing Traditional Key Frame Animation Approach and Hybrid Animation Approach of Humanoid Characters." Thesis, Blekinge Tekniska Högskola, Institutionen för kreativa teknologier, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-14813.

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Safuoglu, Hikmet. "Within normal limits /." Online version of thesis, 1991. http://hdl.handle.net/1850/11610.

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Fisher, Adam. "Mashed /." Online version of thesis, 2010. http://hdl.handle.net/1850/11753.

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40

Beccaletto, Stefano. "Leap Aided Modelling & Animation." Master's thesis, Alma Mater Studiorum - Università di Bologna, 2017. http://amslaurea.unibo.it/13320/.

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Il lavoro presentato in questa tesi consiste nell’estensione di un addon per Blender che permette di utilizzare il dispositivo Leap Motion come strumento di supporto per la modifica e la modellazione di oggetti tridimensionali. Questo progetto ha l’obiettivo di accrescere l’interfaccia di Blender attraverso il Leap Motion, sfruttando i sensori e lo spazio tridimensionale d’azione del dispositivo, per facilitare ed estendere le funzionalità di navigazione, modellazione, modifica e animazione del software. Viene ripreso quindi il concetto di Leap Aided Modelling (Modellazione Assistita da Leap) affiancato al concetto di Animation (Animazione), mirando ad ampliare le funzioni di Blender nella navigazione in scena, nella modifica e nella scultura di modelli tridimensionali, e nell’animazione attraverso il disegno di curve percorso NURBS (Non Uniform rational B-Spline) per descrivere il moto di uno o più modelli 3D all’interno della scena. Pertanto le funzioni implementate hanno l’obiettivo di velocizzare ed alleggerire le dinamiche operazionali governate tipicamente da mouse e tastiera, fornendo un supporto ulteriore al software di modellazione Blender preso in esame.

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Wang, Huamin. "Practical water animation using physics." Diss., Atlanta, Ga. : Georgia Institute of Technology, 2009. http://hdl.handle.net/1853/31745.

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Thesis (Ph.D)--Computing, Georgia Institute of Technology, 2010.
Committee Chair: Greg Turk; Committee Member: C. Karen Liu; Committee Member: Irfan Essa; Committee Member: Jarek Rossignac; Committee Member: Peter J. Mucha. Part of the SMARTech Electronic Thesis and Dissertation Collection.

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42

Blackstone, Eric A. "Hydrogen sulfide induced suspended animation /." Thesis, Connect to this title online; UW restricted, 2006. http://hdl.handle.net/1773/5075.

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Torstensson, Erik. "Physically-based Real-time Animation." Thesis, Linköping University, Department of Electrical Engineering, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-10076.

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The field of real-time computer animation is undergoing major changes, and many of the methods used to this point are no longer sufficient to achieve the degree of realism that is desired. There is a need for an animation method that provides greater realism, simpler ways to create animations, and more vivid and lifelike virtual creatures. This thesis suggests the possibility of doing that with a physically-based method, by researching current and alternative solutions, developing an architecture for a physically-based system, and describing an implementation of such a system.

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44

Jokela, Juha. "Naturvetenskaplig animation inom QUASI-projektet." Thesis, Mälardalen University, Department of Innovation, Design and Product Development, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:mdh:diva-238.

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Denna rapport är en del i mitt examensarbete för att animera vad som händer i en jästcell när den utsätts för salt. Mälardalens Högskola deltar i ett EU-finansierat forskningsarbete kallat QUASI-projektet. Det är ett projekt som pågår mellan olika högskolor i Europa. Projektet forskar i biokemiska processer på cellnivå. Animationen är tänkt att hjälpa lärare och studenter att förstå ämnet bättre.

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45

Allander, Karl, Jim Svanberg, and Mattias Klittmark. "Intresseväckande Animation : Utställningsmaterial för Mälsåkerprojektet." Thesis, Mälardalen University, Department of Innovation, Design and Product Development, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:mdh:diva-703.

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Under sommaren 2006 öppnar Mälsåker Slott för allmänheten och ett av de planerade projekten är en multimedial utställning om norrmän som tränades där i hemlighet under andra världskriget.

Författarna till denna rapport är alla studenter av informationsdesign, med inriktning mot illustration på Mälardalens Högskola. Då vi har ett stort intresse av animation föreföll detta projekt mycket intressant.

Vi ingick i en projektgrupp som innefattade dataloger, textdesigners samt illustratörer. Illustratörernas del av projektet var att skapa det visuella materialet på ett intresseväckande sätt. I rapporten undersöks möjliga lösningar för animation, manér, bilddramaturgi samt de tekniska förutsättningar som krävs för att skapa ett lyckat slutresultat. Rapporten beskriver tillvägagångssättet för att uppnå dessa mål vilket inkluderar metoder som litteraturstudier, diskussioner samt utprovningar. Utställningsformen är experimentell och arbetet har därför givit ett slutresultat som kan ses som en

fallstudie i sig.

Utprovningar av det färdiga materialet visar att vi efter förutsättningarna lyckats uppnå ett gott resultat. Animerat bildspel fungerar i sammanhanget bra som informativt utställningsmaterial.

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46

Picard-Limpens, Cécile. "Expressive Sound Synthesis for Animation." Phd thesis, Université de Nice Sophia-Antipolis, 2009. http://tel.archives-ouvertes.fr/tel-00440417.

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L'objectif principal de ce travail est de proposer des outils pour une synthèse en temps-réel, réaliste et expressive, des sons résultant d'interactions physiques entre objets dans une scène virtuelle. De fait, ces effets sonores, à l'exemple des bruits de collisions entre solides ou encore d'interactions continues entre surfaces, ne peuvent être prédéfinis et calculés en phase de pré-production. Dans ce cadre, nous proposons deux approches, la première basée sur une modélisation des phénomènes physiques à l'origine de l'émission sonore, la seconde basée sur le traitement d'enregistrements audio. Selon une approche physique, la source sonore est traitée comme la combinaison d'une excitation et d'un résonateur. Dans un premier temps, nous présentons une technique originale traduisant la force d'interaction entre surfaces dans le cas de contacts continus, tel que le roulement. Cette technique repose sur l'analyse des textures utilisées pour le rendu graphique des surfaces de la scène virtuelle. Dans un second temps, nous proposons une méthode d'analyse modale robuste et flexible traduisant les vibrations sonores du résonateur. Outre la possibilité de traiter une large variété de géométries et d'offrir une multi-résolution des paramètres modaux, la méthode permet de résoudre le problème de cohérence entre simulation physique et synthèse sonore, problème fréquemment rencontré en animation. Selon une approche empirique, nous proposons une technique de type granulaire, exprimant la synthèse sonore par un agencement cohérent de particules ou grains sonores. La méthode consiste tout d'abord en un prétraitement d'enregistrements destiné à constituer un matériel sonore sous forme compacte. Ce matériel est ensuite manipulé en temps réel pour, d'une part, une resynthèse complète des enregistrements originaux, et d'autre part, une utilisation flexible en fonction des données reportées par le moteur de simulation et/ou de procédures prédéfinies. Enfin, l'intérêt est porté sur les sons de fracture, au vu de leur utilisation fréquente dans les environnements virtuels, et en particulier les jeux vidéos. Si la complexité du phénomène rend l'emploi d'un modèle purement physique très coûteux, l'utilisation d'enregistrements est également inadaptée pour la grande variété de micro-événements sonores. Le travail de thèse propose ainsi un modèle hybride et des stratégies possibles afin de combiner une approche physique et une approche empirique. Le modèle ainsi conçu vise à reproduire l'événement sonore de la fracture, de son initiation à la création de micro-débris.

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Simmler, Urs. "Design Animation Option (DAO) Creo1.0." Universitätsbibliothek Chemnitz, 2011. http://nbn-resolving.de/urn:nbn:de:bsz:ch1-qucosa-68481.

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Chih-KuoYeh and 葉智國. "2.5D Cartoon Animation and Animating Streamlines." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/27984826403786047301.

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博士
國立成功大學
資訊工程學系
103
This dissertation introduces {em double-sided 2.5D graphics}, aiming at enriching the visual appearance when manipulating conventional 2D graphical objects in 2.5D worlds. By attaching a back texture image on a single-sided 2D graphical object, we can enrich the surface and texture detail on 2D graphical objects and improve our visual experience when manipulating and animating them. A family of novel operations on 2.5D graphics, including rolling, twisting, and folding, are proposed in this work, allowing users to efficiently create compelling 2.5D visual effects. Very little effort is needed from the user's side. In our experiment, various creative designs on double-sided graphics were worked out by the recruited participants including a professional artist, which show and demonstrate the feasibility and applicability of our proposed method. Furthermore, we addresses a challenging single-view modeling and animation problem with cartoon images. Our goal is to model the hairs in a given cartoon image with consistent layering and occlusion, so that we can produce various visual effects from just a single image. We propose a novel 2.5D modeling approach to deal with this problem. Given an input image, we first segment the hairs of the cartoon character into regions of hair strands. Then, we apply our novel layering metric, which is derived from the Gestalt psychology, to automatically optimize the depth ordering among the hair strands. After that, we employ our hair completion method to fill the occluded part of each hair strand, and create a 2.5D model of the cartoon hair. By using this model, we can produce various visual effects, e.g., we develop a simplified fluid simulation model to produce wind blowing animations with the 2.5D hairs. To further demonstrate the applicability and versatility of our method, we compare our results with real cartoon hair animations, and also apply our model to produce a wide variety of hair manipulation effects, including hair editing and hair braiding. In the end, we present a smooth cyclic variable-speed Repeated Asymmetric Patterns (RAPs) animation model that emulates orthogonal advancing waves from a geometry-based flow representation. It enables dense accurate visualization of complex real world flows using animated streamlines of an elegant placement coupled with visually appealing orthogonal advancing waves. The animation model first performs velocity (magnitude) integral luminance transition on individual streamlines. Then, an inter-streamline synchronization in luminance varying along the tangential direction is imposed. Next, tangential flow streaks are constructed using evenly-spaced hue differing in the orthogonal direction. In addition, an energy-decreasing strategy is proposed that adopts an iterative yet efficient procedure for determining the luminance phase and hue of each streamline in HSL color space. To increase the contrast between flow streaks, an adaptive luminance interleaving in the direction perpendicular to the flow is further applied. We demonstrate the effectiveness of the animation model using some synthetic and real flows.

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盧雅宣. "Animation Ordering of Debugging Animation." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/00915677810602616547.

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碩士
國立臺灣師範大學
資訊工程研究所
99
Understand the code in the software development process is a very important part. With the increasing complexity of the program, understanding the code has also become increasingly difficult, conventional debugger for helping programmers will become limited. Especially in the existing software, programmer have to add new functionality or make refactoring code, is bound to some or all of the code to understand the operation of the process, face to the complex and large data structures. We can not understand those code in short time. When the text debugger’s effectiveness has limited, there were many visual programming software provider to help developers understand the complex structure. To make the program developers understand from the graphical changes to the operation of the program, we developed xDiva, a software visualization system. Through visual metaphors (visualization metaphor, VM) itself changes and position changes to render an animation, and shown in the animation of the program's dynamic behavior between the two breakpoints . How to make animation meaningful, let program developers understand the code when the animation can be obtained from the information they need. In this paper, we try to search a sequence from the different sequence of events, and then find out the closer animation sequence of human thinking.

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WANG, JHONG-PING, and 王忠平. "Skeletal Animation of Animation Technology:Take “Griffin” As Example." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/2brh75.

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碩士
南臺科技大學
多媒體與電腦娛樂科學系
105
Games and movies nowadays include many imaginative creatures and animals as well as fictional characters. To integrate such characters into games and movies, 3D animation of characters has been a common technique. Since each character has individual appearance and personality, how to present the features of each character has been a vital issue. This study analyzed the elements of presenting imaginative creatures based on the books of imaginative creature design, the image, history, and symbol of the griffin, and related literature on animals. The analytical results were combined with related knowledge and skills of 3D animation software to create characters. The study used 3D animation software as the main creation tool. The process included the construction of high polygon models, topology, the construction of bone structure, and the stages from weight bounding to weight adjustment. An overview of the configuration actions of character animation in the early stage and the key points of their implementaion was offered, in which the creation methods that facilitated users’ future operation and the implementation that reduces workloads were provided. This study served as a reference to readers and relevant industries.

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Dissertations / Theses on the topic 'Animation'

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