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Artykuły w czasopismach na temat "3D animated film"
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Jonison, Muhammad Adha Fajri, i 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, nr 5 (30.10.2020): 943–50. http://dx.doi.org/10.29207/resti.v4i5.2404.
Pełny tekst źródłaStreszczenie:
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, nr 1 (31.01.2012): 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 i Fresy Nugroho. "3D ANIMATION DESIGN "SCIENCE, LANTERNS TO HEAVEN" USING THE POSE-TO-POSE METHOD". JITK (Jurnal Ilmu Pengetahuan dan Teknologi Komputer) 8, nr 1 (9.01.2023): 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 i Asro Nasiri. "Analisis Dan Optimasi Rendering Pada Autodesk Maya Dengan Menggunakan UE4". Creative Information Technology Journal 7, nr 2 (31.03.2021): 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, nr 2 (4.07.2019): 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 i Fresy Nugroho. "Rancang Bangun Film Animasi 3D Sejarah Terbentuknya Kerajaan Samudra Pasai Menggunakan Software Blender". JISKA (Jurnal Informatika Sunan Kalijaga) 5, nr 3 (10.11.2020): 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 i 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, nr 3 (2.09.2019): 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 i MUHAMMAD IQBAR FATIRDZUL HAJ. "PENERAPAN SINEMATOGRAFI PADA FILM ANIMASI 3D BERJUDUL TAMIYA". KNOWLEDGE: Jurnal Inovasi Hasil Penelitian dan Pengembangan 2, nr 3 (19.11.2022): 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 i Deny Pangestu Gunawan. "ANIMASI DENGAN GAMBAR BERGERAK MENINGKATKAN DAYA TARIK PROGRAM PROMOSI". CCIT Journal 10, nr 1 (1.02.2017): 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, i 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, nr 2 (1.07.2018): 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.
Rozprawy doktorskie na temat "3D animated film"
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Kochan, Elizaveta. "Creating a Short Animated Film with Cloth Characters". Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/honors/526.
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This creative thesis involved making an animated short film from scratch, dubbed “Laundry Day” for the time being. The film follows two sentient clothing characters, a hoodie and a pair of pants, who need to get out of their owner’s room to get to the laundry room after accidentally being left behind. Please watch the short here and use the password “goodiehoodie”:
https://vimeo.com/415387205
This was a time consuming, challenging, and multifaceted project, but provided an accurate glimpse into how feature animation is made. The process of making any project like this is commonly called a pipeline, and can be simplified to seven categories: Story, Character, Environment, Animation, Effects, and Rendering. This paper will go into each of these and explain the technical and creative challenges I had to overcome to reach the final product.
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Harvey, Louise, i n/a. "The Best of Both Worlds: The Application of Traditional Animation Principles in 3D Animation Software". Griffith University. Griffith Film School, 2007. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20070810.105026.
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This research assesses the skills and knowledge necessary for the creation of animation in the 3D computer medium. It responds to the argument that students of this new form of animation must learn to apply principles and theories of animation that had their genesis in the early years of traditional, hand-drawn animation (Kroyer, 2002). Many industry notables argue for the use of traditional animation principles in 3D computer animation. John Lasseter, executive vice president at Pixar studios in the United States, represents one such example. He states that 'These principles were developed to make animation, especially character animation, more realistic and entertaining. These principles can and should be applied to 3D computer animation' (Lasseter 1987). The importance of animation principles in all animation mediums is stressed by Oscar-winning traditional animator Gene Deitch. He states that 'Every animated film made today uses those same basic principles developed at the Walt Disney studios during the 1930s. They still apply, no matter which technology is used' (2001). This research report examines the validity of this argument and identifies the tools, principles, and procedures that professional 3D animators are using. Central to this research is the dynamic of the contemporary relevance of traditional animation as an aesthetic, craft and economic entity. Most importantly this research considers how that dynamic might translate into the teaching of 3D animation courses. It is claimed that the findings of this research benefits 3D animation teachers, students, and those who employ them. To conduct on-site research with professional animators, this study enlisted the participation of a small number of animation studios in south-east Queensland, Australia by ensuring the protection of their Intellectual Property. Close observation of their working practices was made and numerous secondary sources of information (3D animation tutorials, books, DVDs, software manuals etc.) examined in order to locate the tools, processes, and principles that CG animators engaged. The findings were applied and critically assessed by means of a practical project (a seven-minute 3D-animated film) which was created concurrently with the research. Recommendations were formulated as to the most useful tools, processes, and principles for the student of computer animation by way of a revision of the existing Queensland College of Art syllabus for teaching computing animation. What follows is an account of the development and context of the project, the research methods applied, and critical analyses of the findings. The research concludes that it is necessary and advantageous to apply traditional animation skills to 3D computer work.
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Harvey, Louise. "The Best of Both Worlds: The Application of Traditional Animation Principles in 3D Animation Software". Thesis, Griffith University, 2007. http://hdl.handle.net/10072/365586.
Pełny tekst źródłaStreszczenie:
This research assesses the skills and knowledge necessary for the creation of animation in the 3D computer medium. It responds to the argument that students of this new form of animation must learn to apply principles and theories of animation that had their genesis in the early years of traditional, hand-drawn animation (Kroyer, 2002). Many industry notables argue for the use of traditional animation principles in 3D computer animation. John Lasseter, executive vice president at Pixar studios in the United States, represents one such example. He states that 'These principles were developed to make animation, especially character animation, more realistic and entertaining. These principles can and should be applied to 3D computer animation' (Lasseter 1987). The importance of animation principles in all animation mediums is stressed by Oscar-winning traditional animator Gene Deitch. He states that 'Every animated film made today uses those same basic principles developed at the Walt Disney studios during the 1930s. They still apply, no matter which technology is used' (2001). This research report examines the validity of this argument and identifies the tools, principles, and procedures that professional 3D animators are using. Central to this research is the dynamic of the contemporary relevance of traditional animation as an aesthetic, craft and economic entity. Most importantly this research considers how that dynamic might translate into the teaching of 3D animation courses. It is claimed that the findings of this research benefits 3D animation teachers, students, and those who employ them. To conduct on-site research with professional animators, this study enlisted the participation of a small number of animation studios in south-east Queensland, Australia by ensuring the protection of their Intellectual Property. Close observation of their working practices was made and numerous secondary sources of information (3D animation tutorials, books, DVDs, software manuals etc.) examined in order to locate the tools, processes, and principles that CG animators engaged. The findings were applied and critically assessed by means of a practical project (a seven-minute 3D-animated film) which was created concurrently with the research. Recommendations were formulated as to the most useful tools, processes, and principles for the student of computer animation by way of a revision of the existing Queensland College of Art syllabus for teaching computing animation. What follows is an account of the development and context of the project, the research methods applied, and critical analyses of the findings. The research concludes that it is necessary and advantageous to apply traditional animation skills to 3D computer work.Thesis (Professional Doctorate)
Doctor of Visual Arts (DVA)
Griffith Film School
Full Text
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Ramadan, Hadeel M. "Jan. 25 ( Story of a Girl )". Thesis, Virginia Tech, 2015. http://hdl.handle.net/10919/71871.
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The work presented in this thesis explores the possibility to integrate two dimensional drawings with three dimensional animated characters in 3D computer graphics. The goal was to preserve the effects of the cartoonish artistic style and produce a strong emotional and moving story without realistic animation feel.
Inspiration of the storyboard was based on a true story from the Arab Spring events that occurred in several Arab countries, I focused my work on the context of Egypt.Master of Fine Arts
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Pixa, Libor. "3D počítačová animace v hraném filmu". Master's thesis, Akademie múzických umění v Praze. Filmová a televizní fakulta AMU. Knihovna, 2010. http://www.nusl.cz/ntk/nusl-97119.
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The subject of this thesis is to provide a compact overview of the 3D computer animation in the live action feature films in a chronological way. The intention is to map its evolution in continuity and allow the reader a whole and transparent summary of such a highly developed area of the cinematography.
The thesis is not focused only at the summary of concrete films and their makers but also covers film and postproduction studios and pioneers who brought the technological inventions into the live and thus moved the 3D film tricks on today?s level.
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Chang, ChunTse, i 張軍策. "The Research of Storyboard in Short 3D Computer Animated Film ─ Using "Golden Memory" as Examples". Thesis, 2012. http://ndltd.ncl.edu.tw/handle/37527703929904432027.
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碩士國立臺灣藝術大學
多媒體動畫藝術學系動畫藝術碩士班
100
When script is transformed into images of storyboard, no matter whether it is in the animations or movie format, it plays the key role in determining the preproduction phase. While drawing the storyboard, it requires pre-pondering about the process from the stationary to dynamic which evaluates the composite thinking in an integrated visual presentation, aesthetics and film editing, and these can ensure the ensuing production phase in reaching preset goal of efficiency as well as cost saving. Based upon the above, this research emphasizes the storyboard drawing during preproduction for short 3D animated film and adopts the content anyalysis and interview method prior proceeds further. First of all, documentation exploration will be carried out in conjunction with theoretical and short films renowned both domestically and abroad, to sort out principles for storyboard drawing. Then two versions of the self-edited stories “Golden memory” will be drawn into storyboards and five experts will verify afterward. The finding of this research reveals that B version of three directions of “Golden memory” exhibits the “narration”, “emotion of the role” and “surrounding atmosphere” was better. “Horizontal lens” has been widely used and complimentary to the Montage techniques which can effectively deliver the value of the story in “Golden memory” via three levels like visual perception, significance and strategy.
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Ramos, Luís António Gomes Tarrafa. "Production of 3D animated short films in Unity 5 : can game engines replace the traditional methods?" Master's thesis, 2017. http://hdl.handle.net/10400.14/22820.
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In 3D animation cinema, the elements of a scene are created by artists using computer
software. To generate the final result, there must be a conversion (rendering) of the threedimensional
models to two-dimensional images (frames) that will later be joined together and
edited into a video format.
3D animation films have traditionally been rendered using pre-rendering engines, a time
consuming and expensive process that usually requires the use of multiple computers rendering
at the same time (render farms), renders which may need to be repeated if the results are not
ideal.
Videogames, on the other hand, are reactive applications where the player may have
different possible courses of action that will generate distinct results. In those cases, it is
necessary that the engine waits for the player’s input before it calculates the following frames.
To allow for fast calculations in real time, 3D game developers use game engines that
incorporate real time rendering methods which can generate images much faster than the prerendering
engines mentioned above.
To be able to generate a large number of frames per second, there must be an
optimization of the entire scene, in order to reduce the number of necessary calculations. That
optimization is created by using techniques, practices and tools that are not commonly used by
animation cinema professionals.
Due to that optimization necessity, videogames always had a lower graphic quality than
that of animated films, where each frame is rendered separately and takes as long as necessary
to obtain the required result.
Physically Based Rendering (PBR) technology is one of the methods incorporated by
some rendering engines for the generation of physically accurate results, using calculations that
follow the laws of physics as it happens in the real world and creating more realistic images
which require less effort, not only from the artist but also from the equipment. The incorporation
of PBR in game engines allowed for high graphic quality generated results in real time,
gradually closing the visual quality gap between videogames and animated cinema.
Recently, game engines such as Unity and Unreal Engine started to be used – mostly by
the companies that created the engine, as a proof of concept – for rendering 3D animated films.
This could lead to changes in the animation cinema production methods by the studios that,
until now, have used traditional pre-rendering methods.No cinema de animação 3D, os elementos de uma cena são criados por artistas através da utilização de programas de computador. Para gerar o resultado final, é necessário fazer-se uma conversão (render) dos modelos tri-dimensionais para imagens bi-dimensionais (frames), que posteriormente serão unidas e editadas para um formato de vídeo. Tradicionalmente, o rendering de filmes de animação 3D é feita através de motores de pre-rendering, um processo demorado e dispendioso que geralmente requer a utilização de múltiplos computadores a trabalhar em simultâneo (render farms), e que poderá ter que ser repetido caso os resultados obtidos não sejam ideais. Os videojogos, por outro lado, são aplicações reactivas, onde o jogador pode ter várias sequências de acções, que poderão gerar resultados distintos. Nesses casos, é necessário o motor de jogo esperar pela acção do jogador antes de calcular as imagens seguintes. Para possibilitar cálculos rápidos em tempo-real, os criadores de jogos 3D usam motores de jogo que incorporam métodos de renderização em tempo-real que conseguem gerar imagens muito mais rápido do que os motores de pre-rendering mencionados acima. Para conseguir gerar um grande número de imagens por segundo, é necessário existir uma optimização de toda a cena, para reduzir o número de cálculos necessários. Essa optimização é criada através da utilização de técnicas, práticas e ferramentas que, geralmente, não são utiliadas por profissionais da área de cinema de animação. Devido a essa necessidade de optimização, os videojogos sempre tiveram uma qualidade gráfica inferior à dos filmes de animação, onde o render de cada imagem é gerado separadamente e pode levar tanto tempo quanto for necessário para obter o resultado desejado. A tecnologia de Rendering Baseado em Física (Physically Based Rendering – PBR) é um dos métodos incorporados por alguns motores de rendering para a geração de resultados físicamente correctos, usando cálculos que seguem as leis da física, tal como acontece no mundo real e criando imagens mais realistas necessitando de menos esforço, não só da parte do artista mas também do equipamento. A incorporação de PBR em motores de jogo possibilitou resultados gerados em tempo-real com grande qualidade gráfica, o que gradualmente vai aproximando a qualidade visual dos videojogos à do cinema de animação. Recentemente, motores de jogo como o Unity e o Unreal Engine começaram a ser utilizados – maioritariamente pelas companhias que criaram o motor de jogo, como prova de conceito – para renderização de filmes de animação 3D. Este passo poderá levar a mudanças nos métodos de produção do cinema de animação em estúdios que, até agora, utilizaram métodos de pré-renderização tradicionais.
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Bajandas, Nathan Thomas. "A Post-mortem Analysis of Production Process: The Bricklayer's Disaster". Thesis, 2011. http://hdl.handle.net/1969.1/ETD-TAMU-2011-12-10240.
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This thesis is focused on the worthwhile lessons learned while creating a short animated film. The conventional way of teaching related to practice is to have students work on projects and learn from their own experience. This thesis strives to save the reader some of the pain, time, and effort required of this learning style, by presenting the hard learned lessons from this project. An overview of the project is provided, along with a reconstructed time-line. Also, each member of the team recounted their own dilemmas and successes on the project, and proposed potential solutions to problems encountered along the way. The findings are presented in the spirit of a post-mortem analysis, which acts to collect the knowledge obtained by those involved with a project in order to increase productivity for the next time a similar task is attempted. The postmortem approach was found to be effective in identifying, illuminating, and articulating the lessons learned concerning general, practical, team-related and problem solving issues encountered while working on a short animated film.
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TING, KUAN-CHUNG, i 丁冠中. "A Study on the Application of Environmental Ethics in Animated Short Films for the Creation of 3D Animation “Red Light Forest”". Thesis, 2018. http://ndltd.ncl.edu.tw/handle/d747zh.
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碩士國立臺灣藝術大學
多媒體動畫藝術學系動畫藝術碩士班
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With environmental issues being seen, environmental ethics have become a well-known topic, and people start to notice the importance of living with nature in harmony. Also, with the growth of the social media, it’s more common for people to receive messages rapidly; using videos to deliver environmental subjects has become a common method for people. Although many of the videos take specific issue as their descriptive object, they have already used environmental ethics in their own creations. At first, this animation creation will elaborate the definition and classification of environmental ethics, and also look into the development and extension of it. Furthermore, we will discuss the well-known animated short films which are themed with environmental issues to analyze their background and central ethics. By using Bremond’s narrative analysis, we can find out that environmental films use a lot of deterioration in order to deliver the environmental issues while improvement is used for the twist in the story. Therefore, in this animation creation, lots of deterioration will be used and improvement will be shown only once for giving the audience hope. After that, story will end in deterioration in order to bring about the audience’s respect for the issues. This animation creation will focus on the environmental issue that Taiwanese lantern culture causes, and describe the good and damage it brings to the nature. I hope that this animation creation can transmit awareness and introspection to the audience.
Książki na temat "3D animated film"
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Design first for 3D artists. Plano, Tex: Wordware Pub., 2005.
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Scaramozzino, Michael. Creating a 3D animated CGI short: The making of The audition. Sudbury, Mass: Jones and Bartlett, 2011.
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Scaramozzino, Michael. Creating a 3D animated CGI short: The making of The Autiton Archives- fault effect. Sudbury, Mass: Jones and Bartlett, 2011.
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Creating a 3D animated CGI short: The making of The Autiton Archives- fault effect - pilot webisode. Sudbury, Mass: Jones and Bartlett, 2011.
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Inc, ebrary, red. Away3D 3.6 essentials: Take Flash to the next dimension by creating detailed, animated, and interactive 3D worlds with Away3D. Olton, Birmingham: Packt Pub. Ltd., 2011.
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CGI filmmaking: The creation of Ghost warrior. Plano, Texas: Wordware Pub., 2004.
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Watkins, Adam. Getting started in 3D with Maya: Create a project from start to finish--model, texture, rig, animate, and render in Maya. Waltham, MA: Focal Press, 2012.
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Getting started in 3D with Maya: Create a project from start to finish--model, texture, rig, animate, and render in Maya. Waltham, MA: Focal Press, 2012.
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iClone 4.31 3D animation: Beginner's guide : animate your stories and ideas to create realistic scenes with this movie making application geared towards new and inexperienced film makers, video producers/compositors, vxf artists, and 3D artists/designers. Birmingham, U.K: Packt Publishing, 2011.
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Make Your Animated 3d Short With Maya The Starttofinish Manual For Your Animated Film. Taylor & Francis Ltd, 2014.
Znajdź pełny tekst źródłaCzęści książek na temat "3D animated film"
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Boulos, Daniel N. "Abstraction and Stylized Design in 3D Animated Films: Extrapolation of 2D Animation Design". W Encyclopedia of Computer Graphics and Games, 1–11. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-08234-9_58-1.
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Brown, Ross, i Rune Rasmussen. "Virtual Environment Visualisation of Executable Business Process Models". W Virtual Technologies for Business and Industrial Applications, 68–87. IGI Global, 2011. http://dx.doi.org/10.4018/978-1-61520-631-5.ch004.
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Business Process Modelling is a fast growing field in business and information technology, which uses visual grammars to model and execute processes within an organisation. However, many analysts present such models in a 2D static and iconic manner that is difficult to understand by many stakeholders. Difficulties in understanding such grammars can impede the improvement of processes within an enterprise due to communication problems. In this chapter, we present a novel framework for intuitively visualising animated business process models in 3D Virtual Environments. We also show that virtual environment visualisations can be performed with present 2D business process modelling technology, thus providing a low barrier to entry for business process practitioners. Two case studies are presented from film production and healthcare domains that illustrate the ease with which these visualisations can be created. This approach can be generalised to other executable workflow systems, for any application domain being modelled.
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Terashma, Takanori, Koji Makanae i Nashwan Dawood. "Development of a 4D Visualization Tool for Construction Planning". W E-Activity and Intelligent Web Construction, 13–21. IGI Global, 2011. http://dx.doi.org/10.4018/978-1-61520-871-5.ch002.
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This chapter presents the implementation of a system that visualizes the construction process using 3D modeling data and schedule data to analyze construction planning. Previous papers have emphasized the benefits of visual 4D planning that combines 3D modeling data and process schedule data for work progress control. The proposed methodology offers rapid visualization of work performance with scheduled activity and facilitates construction planning and schedule inspection. Consequently, it should increase productivity and reduce rework. However, even major construction companies will not adopt such a work style, because the existing, well-organized way of working would not be readily changed unless the new style is proven to afford benefits that outweigh the effort and cost required to adapt to the style. The advanced CAD system, for example, is able to simulate the assembly process, and the advanced 3D graphic designer is able to animate the arrangement of objects. Even though each software provides multiple functionalities, the applications in practical use are all independent and specific, such as CAD for designing 3D models, and a project manager for scheduling and analyzing. Therefore, a system that integrates all outputs from each application is required to move from the conventional work style to the new one. This chapter, thus, aims to develop a system that integrates several types of data and enables the simulation of the construction progress by gradually showing 3D models according to the activity schedule. It is also possible to attach material data to each object and to display related information like cost and object properties. The system assumes the following requirements: (1) to import and display the 3D modeling data, (2) to import the project schedule, (3) to link each model and activity, (4) to give the material data on each object to enhance reality, and (5) to show cost accumulation. These functions are supposed to be realized such that the system utilizes the resources previously reserved. Therefore, the system should be able to import a DXF format file for 3D modeling data and access the MDB format database for the project schedule, including costs. The MDB file is originally a database that Microsoft Access creates. Microsoft Project, which is probably the most widely used software for project management, is also able to export the project data in this format. These functions are implemented with Microsoft Visual C++ and DirectX SDK. Although the system displays inaccurate models partially because of the misinterpretation of the DXF file, all of the demands listed above are satisfied currently. The authors of this chapter are now at the stage of implementation of further functions, that is, to display not only structures but also other elements such as the temporal space on the site, the route of delivery vehicles, and the work area of the temporally used heavy machinery, all for the sake of the visualization and analysis of the entire construction site.
Streszczenia konferencji na temat "3D animated film"
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Guojun Chen, Quanhui Huang i Qing Zhu. "Apply 3D digital technology in HBUE virtual campus animated film". W 2010 2nd International Conference on Information Science and Engineering (ICISE). IEEE, 2010. http://dx.doi.org/10.1109/icise.2010.5691522.
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Novel, Chanel Maria, i Andrew Willis. "Procedural Animation Algorithm For Sasandu Playing Performance in 3D Animated Film “Bako”". W International Moving Image Cultures Conference. Film Department Universitas Multimedia Nusantara, 2019. http://dx.doi.org/10.31937/imov-24.
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NOVELA, CHANEL MARIA, i ANDREW WILLIS. "Procedural Animation Algorithm For Sasandu Playing Performance in 3D Animated Film “Bako”". W International Moving Image Cultures Conference. Film Department Universitas Multimedia Nusantara, 2019. http://dx.doi.org/10.31937/imoviccon-24.
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Zulkarnain, Alfiansyah, Nita Virena Nathania, Putu Widyayana Putra i Priscilla Agatha. "Applying Balinese Philosophy ‘Rwa Bineda’ concept on character & environment design in 3D animated VR Short Film “GEDE”". W International Moving Image Cultures Conference. Film Department Universitas Multimedia Nusantara, 2019. http://dx.doi.org/10.31937/imov-17.
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ZULKARNAIN, ALFIANSYAH, NITA VIRENA NATHANIA, PUTU WIDYAYANA PUTRA i PRISCILLA AGATHA. "Applying Balinese Philosophy ‘Rwa Bineda’ concept on character & environment design in 3D animated VR Short Film “GEDE”". W International Moving Image Cultures Conference. Film Department Universitas Multimedia Nusantara, 2019. http://dx.doi.org/10.31937/imoviccon-17.
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Zhuang, Wenlin, Jinwei Qi, Peng Zhang, Bang Zhang i Ping Tan. "Text/Speech-Driven Full-Body Animation". W Thirty-First International Joint Conference on Artificial Intelligence {IJCAI-22}. California: International Joint Conferences on Artificial Intelligence Organization, 2022. http://dx.doi.org/10.24963/ijcai.2022/863.
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Due to the increasing demand in films and games, synthesizing 3D avatar animation has attracted much attention recently. In this work, we present a production-ready text/speech-driven full-body animation synthesis system. Given the text and corresponding speech, our system synthesizes face and body animations simultaneously, which are then skinned and rendered to obtain a video stream output. We adopt a learning-based approach for synthesizing facial animation and a graph-based approach to animate the body, which generates high-quality avatar animation efficiently and robustly. Our results demonstrate the generated avatar animations are realistic, diverse and highly text/speech-correlated.
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Deng, Weiwen, Yong Lee, Robert Nisonger i Yuen-kwok Chin. "An Integrated Environment for Vehicle Dynamics Controls and Integration". W ASME 2000 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2000. http://dx.doi.org/10.1115/imece2000-2353.
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Abstract This paper provides an overview of VehSim, a PC Windows-based vehicle simulation software for vehicle dynamics, controls and integration. The function and features of VehSim are discussed in general. With its high fidelity, flexibility, portability and user-friendly interfaces, VehSim provides an integrated development environment for engineers to conduct vehicle, especially chassis/driveline modeling, simulation and control algorithm design and to build quick software prototypes to accelerate chassis/driveline controls and integration development. VehSim’s structure, which includes file system, database structure and user graphic interfaces are described. Through its modularized and hierarchical structure, VehSim features great flexibility for engineers to customize their own project needs by developing their own control algorithms or incorporating supplier provided subsystem models and control modules into vehicle dynamics. With the compatibility of VehSim to real-time environment, engineers are able to perform both quick off-line simulation and on-line in-vehicle validation for algorithm development. VehSim also provides built-in user-friendly model preprocessors and postprocessors for engineers to easily build vehicle and/or subsystem models, adjust numerical computation parameters and process the simulation results on line. A 3D solid model based motion animator is also integrated in VehSim for on-line visual processing of simulation results.
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Catros, S. "A quoi servent les Bio-Imprimantes 3D ?" W 66ème Congrès de la SFCO. Les Ulis, France: EDP Sciences, 2020. http://dx.doi.org/10.1051/sfco/20206601012.
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Les imprimantes 3D existent depuis plusieurs décennies et le principe général de la fabrication additive est de déposer des couches successives de matériau afin dobtenir un volume, à partir d’un modèle défini à l’avance grâce à une interface informatique. Depuis quelques années, ces imprimantes sont utilisées dans le domaine médical : ainsi, les chirurgiens peuvent obtenir une réplique en résine d’une situation clinique afin de planifier leur geste chirurgical pour réaliser des interventions moins invasives. Par ailleurs, on peut aujourdhui imprimer certains biomatériaux synthétiques sur mesure afin dobtenir des greffons personnalisés basés sur limagerie tridimensionnelle d’un patient. Ces applications utilisent sur des imprimantes fonctionnant principalement sur le principe de la stéréolithographie (photopolymérisation sélective de résines photosensibles) ou bien du dépôt à chaud de fil fondu : ces technologies ne permettent pas dutiliser des composés biologiques tels que des cellules ou des biomolécules. Plus récemment, des imprimantes 3D dédiées à l’impression déléments biologiques (Bio-Impression) ont été développées. On distingue la Bioimpression assistée par laser, la bioimpression par jet dencre et lextrusion dhydrogels. Ces trois méthodes présentent des points communs (utilisation d’une encre biologique, modélisation du motif à imprimer et pilotage de limprimante par une interface informatique, impression couche par couche). Cependant, en fonction de la technologie utilisée, la résolution et le volume des motifs imprimés peuvent varier de façon importante. Les machines permettant d’imprimer à haute résolution ne sont habituellement pas adaptées lorsquon cherche à obtenir des volumes importants ; de la même façon, lorsqu’une technologie permet d’imprimer des volumes importants, il est souvent difficile dobtenir de hautes résolutions dimpressions. De ce fait, on doit parfois combiner plusieurs technologies pour produire certains assemblages complexes. Ainsi, il est primordial de définir finement ses objectifs avant de choisir une technologie de bioimpression. Les applications des imprimantes 3D de tissus biologiques (Bio-imprimantes) sont toutes dans le champ de lingénierie tissulaire et aujourdhui presque exclusivement dans le domaine de la recherche. Les méthodes permettant d’imprimer à haute résolution trouvent des applications principalement en biologie cellulaire lorsquon cherche par exemple àé valuer les capacités de communication de plusieurs types cellulaires : en effet, il est possible de créer des motifs réguliers en imprimant des gouttes de bioencre contenant chacune quelques cellules avec la technologie laser. Par ailleurs, d’autres technologies basées sur lextrusion permettent de manipuler des amas cellulaires (sphéroïdes) et de les organiser entre eux, ce qui peut trouver des applications dans le domaine de la cancérologie. En combinant les technologies, on peut aujourdhui mettre en place des modèles d’étude pharmacologiques qui pourraient à terme se substituer à certaines expérimentations animales et ouvrir la voie à certaines thérapies ciblées. Enfin, la fabrication dorganes par bioimpression (« Organ Printing ») reste aujourdhui du domaine de la science fiction, même si quelques équipes travaillent sur cet aspect. Les imprimantes 3D biologiques apportent donc de nouveaux outils pour le chercheur dans de nombreuses applications en biologie et en médecine régénératrice. Le choix de la méthode la plus adaptée à L’objectif de L’étude est primordial afin dutiliser au mieux ces technologies.