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The Best of Both Worlds: the Application of Traditional Animation Principles in 3D Animation Software

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The Best of Both Worlds: the Application of Traditional Animation Principles in 3D Animation Software The Best of Both Worlds: The Application of Traditional Animation Principles in 3D Animation Software Author Harvey, Louise Published 2007 Thesis Type Thesis (Professional Doctorate) School Griffith Film School DOI https://doi.org/10.25904/1912/1928 Copyright Statement The author owns the copyright in this thesis, unless stated otherwise. Downloaded from http://hdl.handle.net/10072/365586 Griffith Research Online https://research-repository.griffith.edu.au The Best of Both Worlds: The Application of Traditional Animation Principles in 3D Animation Software By Louise Harvey BVA (Hons) Griffith Film School Griffith University, Southbank Queensland Submitted in part fulfillment of the requirements of the degree of Doctor of Visual Arts, April 2006 ii ABSTRACT 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 iii 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. Statement of Originality This work has not previously been submitted for a degree or diploma in any university. To the best of my knowledge and belief, the thesis contains no material previously published or written by another person except where due reference is made in the thesis itself. Louise Harvey 2006 iv LIST OF CONTENTS List of tables vi Acknowledgements vi 1.0 INTRODUCTION AND DESCRIPTION OF THE PROJECT 1 1.1 Project background and scope 1 1.2 Definition of terms 7 1.3 Disciplinary context 10 1.3.1 Development of the traditional animation principles 11 1.3.2 Limited animation 14 1.3.3 Role of traditional animation principles in 3D animation production 15 1.3.4 3D-specific principles and processes may be required 16 1.3.5 Current state of the animation industry 17 1.3.6 Addressing training needs 18 1.3.7 Application of traditional animation principles in the 3D medium: identifying software tools and processes 21 1.3.8 Contribution of this study 23 1.4 Section 1 summary: implications for 3D animation training 24 2. DESIGN OF THE STUDY 25 2.1 Research methods 25 2.2 Investigation of evidence supporting implementation of traditional principles through software tools 27 2.3 Observation of experts 34 2.3.1 Think-aloud 35 2.3.2 Utilisation of multiple knowledge elicitation methods 36 2.3.3 Site identification and negotiation 38 2.3.4 Ethical considerations 39 2.3.5 Role of researcher 40 2.3.6 Pilot visit and initial interviews 40 2.3.7 How the coding system was developed 41 2.3.8 Identification and categorisation of tools and animation principles and elements 45 v 2.3.9 Coding procedure for the animation principles 50 2.3.10 Accommodating the discovery of new principles 55 2.3.11 Error checking and tabulation of data 58 2.4 Section 2 summary: implications for 3D animation training 59 3. CRITICAL ANALYSIS AND REFLECTION 60 3.1 Tools used by the research subjects 60 3.1.2 Most frequently-used tools 64 3.1.3 Moderately-used tools 65 3.1.4 Least-used tools 66 3.1.5 Clarification of findings 68 3.2 Principles and elements used by the research subjects 72 3.2.1 Most frequently-used principles 76 3.2.2 Moderately-used principles 76 3.2.3 Rarely-used principles 77 3.2.4 Unused principles 79 3.2.5 Use of acting, story, character development and expression and dialogue 79 3.2.6 Additional principles and processes identified in observations 80 3.2.7 Importance of the traditional animation principles in 3D animation 80 3.3 Additional processes identified by other sources 82 3.3.1 Isaac Kerlow’s additional five principles for computer animation 82 3.3.2 ‘Moving holds’ in CG 84 3.3.3 Importance of controlling the interpolation 85 3.3.4 Value of curve editors 86 3.3.5 Pose tests 89 3.3.6 Fighting ‘floatiness’ 89 3.3.7 Additional miscellaneous findings 90 3.3.8 Annotated Bibliography 93-103 3.4 Summary of section 3: implications for 3D animation training 105 vi 4. CONCLUSION 107 4.1 Implications of research findings on 3D animation training programs 107 4.2 Alternative training program structure 111 4.3 Closing remarks 114 Appendices 115 Appendix I: Comprehensive definition of the traditional animation principles 117-124 Appendix II: 3D Animation principles 125-132 Appendix III: Coding flowchart 133-134 Appendix IV: Guidelines for coding the principles 135-138 Appendix V: Principles and the tools that will apply them 139-144 Appendix VI: Recommendations for structure and content of a 3D animation course 145-150 Appendix VII: Interview transcripts: Ian Lacey 151-160 Matt Duce, David Edwards & Gareth Cowen 161-178 Lisa Thomas 179-186 Appendix VIII: DVA BLOG 187-266 Appendix IX: Example tutorials: 267 Lip sync in 3DSMax 268-276 Maya blend shapes 277-300 Glossary 301-308 References 309-314 Bibliography 315-321 List of illustrations and figures Figure 1: Trajectory display 29 Figure 2: Lattice deformer 30 vii Figure 3: Function curve editor 30 Figure 4: Timeline and key-frames 31 Figure 5: Coded segments example 43-44 Figure 6: ‘PLA’ code 48 Figure 7: ‘SCA’ code 48 Figure 8: ‘PTP’ and ‘SOL’ codes 51 Figure 9: Tools used by local animators 61 Figure 10: Tools used by international animators 63 Figure 11: Principles used by local animators 73 Figure 12: Principles used by international animators 75 Figure 13: Curve editor 86 Figure 14: Interpolation and motion trail 88 Figure 15: Curve editor before adding a breakdown key 88 Figure 16: Interpolation and motion trail with breakdown key 89 Figure 17: Curve editor after adding a breakdown key 89 Figure 18: Face cam 92 viii Acknowledgements First and foremost I would like to acknowledge the support, guidance and patience of my supervisors Andrew Goode, Keith Bradbury, Professor John Stevenson, and Dr. Glenda Nalder in assisting in the completion of this study. Secondly I would like to thank Dr. Jewel McKenzie, for assisting me to transcribe many hours of interviews and observation data. Thanks also to my research colleague Kelvin Baker for his help in the collection and coding of the field data. I also wish to thank Darren Thomas for the significant contribution he made to the literature review. Louise Harvey, March 2006 ix 1. INTRODUCTION AND DESCRIPTION OF THE PROJECT 1.1 Project background and scope The choice of topic for this research project arose in part from the needs of my current occupation: I am an animation teacher at a tertiary institution, and am trained in both traditional animation techniques and 3D computer animation. In these contexts, I have participated in the preparation of 3D animation course outlines and have faced the task of designing course content and determining appropriate teaching and assessment strategies. Like many other animation teachers, I have formulated these strategies and devised course content based on the popular view that 3D animators must be taught traditional animation principles and shown how to use them in the 3D medium. The traditional animation principles (defined below in section 1.2) provide a set of rules of physics and acting and design that have guided animators of the 2D (drawn) medium since the principles were developed at the Disney studio in the 1930s. 3D animators, it is argued, can and should apply these rules where possible, to maximize the effectiveness of their animation (Williams 2001).
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