Layered Acting for Character Animation
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Motion Enriching Using Humanoide Captured Motions
MASTER THESIS: MOTION ENRICHING USING HUMANOIDE CAPTURED MOTIONS STUDENT: SINAN MUTLU ADVISOR : A NTONIO SUSÌN SÀNCHEZ SEPTEMBER, 8TH 2010 COURSE: MASTER IN COMPUTING LSI DEPERTMANT POLYTECNIC UNIVERSITY OF CATALUNYA 1 Abstract Animated humanoid characters are a delight to watch. Nowadays they are extensively used in simulators. In military applications animated characters are used for training soldiers, in medical they are used for studying to detect the problems in the joints of a patient, moreover they can be used for instructing people for an event(such as weather forecasts or giving a lecture in virtual environment). In addition to these environments computer games and 3D animation movies are taking the benefit of animated characters to be more realistic. For all of these mediums motion capture data has a great impact because of its speed and robustness and the ability to capture various motions. Motion capture method can be reused to blend various motion styles. Furthermore we can generate more motions from a single motion data by processing each joint data individually if a motion is cyclic. If the motion is cyclic it is highly probable that each joint is defined by combinations of different signals. On the other hand, irrespective of method selected, creating animation by hand is a time consuming and costly process for people who are working in the art side. For these reasons we can use the databases which are open to everyone such as Computer Graphics Laboratory of Carnegie Mellon University. Creating a new motion from scratch by hand by using some spatial tools (such as 3DS Max, Maya, Natural Motion Endorphin or Blender) or by reusing motion captured data has some difficulties. -
The University of Chicago Looking at Cartoons
THE UNIVERSITY OF CHICAGO LOOKING AT CARTOONS: THE ART, LABOR, AND TECHNOLOGY OF AMERICAN CEL ANIMATION A DISSERTATION SUBMITTED TO THE FACULTY OF THE DIVISION OF THE HUMANITIES IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF CINEMA AND MEDIA STUDIES BY HANNAH MAITLAND FRANK CHICAGO, ILLINOIS AUGUST 2016 FOR MY FAMILY IN MEMORY OF MY FATHER Apparently he had examined them patiently picture by picture and imagined that they would be screened in the same way, failing at that time to grasp the principle of the cinematograph. —Flann O’Brien CONTENTS LIST OF FIGURES...............................................................................................................................v ABSTRACT.......................................................................................................................................vii ACKNOWLEDGMENTS....................................................................................................................viii INTRODUCTION LOOKING AT LABOR......................................................................................1 CHAPTER 1 ANIMATION AND MONTAGE; or, Photographic Records of Documents...................................................22 CHAPTER 2 A VIEW OF THE WORLD Toward a Photographic Theory of Cel Animation ...................................72 CHAPTER 3 PARS PRO TOTO Character Animation and the Work of the Anonymous Artist................121 CHAPTER 4 THE MULTIPLICATION OF TRACES Xerographic Reproduction and One Hundred and One Dalmatians.......174 -
The Uses of Animation 1
The Uses of Animation 1 1 The Uses of Animation ANIMATION Animation is the process of making the illusion of motion and change by means of the rapid display of a sequence of static images that minimally differ from each other. The illusion—as in motion pictures in general—is thought to rely on the phi phenomenon. Animators are artists who specialize in the creation of animation. Animation can be recorded with either analogue media, a flip book, motion picture film, video tape,digital media, including formats with animated GIF, Flash animation and digital video. To display animation, a digital camera, computer, or projector are used along with new technologies that are produced. Animation creation methods include the traditional animation creation method and those involving stop motion animation of two and three-dimensional objects, paper cutouts, puppets and clay figures. Images are displayed in a rapid succession, usually 24, 25, 30, or 60 frames per second. THE MOST COMMON USES OF ANIMATION Cartoons The most common use of animation, and perhaps the origin of it, is cartoons. Cartoons appear all the time on television and the cinema and can be used for entertainment, advertising, 2 Aspects of Animation: Steps to Learn Animated Cartoons presentations and many more applications that are only limited by the imagination of the designer. The most important factor about making cartoons on a computer is reusability and flexibility. The system that will actually do the animation needs to be such that all the actions that are going to be performed can be repeated easily, without much fuss from the side of the animator. -
Top Questions About Character Animation
Top Questions About Character Animation What are some of the exciting aspects of character animation, and how is it different than other computer animation forms? The phrase computer animation is often used as a catch-all for many computer generated effects including spinning logos, Flash programming on the Web or special effects in movies. These are not character animation. Character animation is the process of giving life to a character, whether it is a dog that can talk, a drawn person or an animated object. Character animation creates personality. How long does it take one person to create one minute of animation? This is difficult to pinpoint, but it can take one animator about 16 – 20 weeks of full-time work to produce 60 seconds of animation.1 At Pixar Animation Studios, due to their high level of quality control, animators have been known to work on two minutes of film for a year or more. How many animators typically work on an animated feature film? It depends on the studio and its needs, so anywhere from 20 – 80 animators could be working on an animated feature film. What is the biggest myth about character animation? A lot of people believe that the computer does all of the work for the animator, but the reality is that the animator is only using the computer as a tool to create detailed animation frame by frame. What are some of the most challenging aspects of character animation? Character animators work in fun, collaborative, exciting and detailed environments. They need to have a high level of patience while working with the tiny movements of a character frame by frame. -
Designing Motion Graphics
RARITAN VALLEY COMMUNITY COLLEGE ACADEMIC COURSE OUTLINE ARTS 248: Designing Motion Graphics I. Basic Course Information A. Course Number and Title: ARTS-248 Designing Motion Graphics B. New or Modified Course: modified C. Date of Proposal: Semester: Spring Year: 2015 D. Effective Term: Spring 2016 E. Sponsoring Department: Visual and Performing Arts F. Semester Credit Hours: 3 G. Weekly Contact Hours: 4 Lecture: 2 Laboratory: 2 H. Prerequisites: ARTS-246 Visual Design I I. Laboratory Fees: yes J. Name and Telephone Number or E-Mail Address of Department Chair at time of approval: Co-Chairs: Donna Stackhouse x8298, Dennis Russo x8391 II. Catalog Description Prerequisite: ARTS-246 Visual Design I This course covers the concepts and techniques of creating motion graphics. Students will create original animations in traditional media, via timeline based programs, and through using character motion simulation tools. Students will purchase some art supplies. III. Statement of Course Need A. Designing Motion Graphics develops a student’s ability to understand and create animated environments. It continues an emphasis on good art and design skills while addressing the challenges of creating moving graphics. This course also addresses the critical and ethical concerns regarding the production and consumption of animated media. B. This course has a lab component. It is a studio art course and requires students to use special facilities such as a computer lab, studio areas, and to use artistic materials under the guidance of the instructor or lab technician. C. This course generally transfers as an elective Studio Art Course in design and visual communications program requirements. -
Character Design for 3D Printed Zoetrope Visual Style and Character Designs Printability Bharoto Yekti1, Yohanes Merci Widiastomo2, Rangga Winantyo3
Advances in Social Science, Education and Humanities Research, volume 502 Proceedings of the International Conference of Innovation in Media and Visual Design (IMDES 2020) Character Design for 3D Printed Zoetrope Visual Style and Character Designs Printability Bharoto Yekti1, Yohanes Merci Widiastomo2, Rangga Winantyo3 1,2,3 Universitas Multimedia Nusantara *Corresponding author. Email: [email protected] ABSTRACT Zoetrope is considered as one of the important inventions in the early of moving image history. Nowadays, using 3D print technology, independent artists are able to create zoetrope that shows the motion effects of a sequence of real 3D Physical objects. There are many kinds of objects that can be printed and displayed in the zoetrope objects, including stylized characters. However, not all 3D models can be proceed using the 3D printer. Many conditions need to be fulfilled to proceed using the 3D print machine. There are many visual styles of a character design that can be printed as animated objects for zoetrope devices. This possibility motivates the author to investigate the correlation between character design visual style, 3D printing process effectivity, and animation appeal of 3D printed zoetrope. Keywords: Animation, 3D Print, Zoetrope, Visual Style. 1. INTRODUCTION animation. The objects which animated using the 3D printed technique are varied from abstract to realistic Nowadays, 3D print technology is becoming more objects or characters. common and affordable to be accessed by society. Its ability to convert a virtual object to a real physical object Zoetrope is one of the early animation invention, has attracted many artists to exploring this technology to found by William Horner in 1843 [1]. -
Keyframe Or Motion Capture? Reflections on Education of Character Animation
EURASIA Journal of Mathematics, Science and Technology Education, 2018, 14(12), em1649 ISSN:1305-8223 (online) OPEN ACCESS Research Paper https://doi.org/10.29333/ejmste/99174 Keyframe or Motion Capture? Reflections on Education of Character Animation Tsai-Yun Mou 1* 1 National Pingtung University, TAIWAN Received 20 April 2018 ▪ Revised 12 August 2018 ▪ Accepted 13 September 2018 ABSTRACT In character animation education, the training process needs diverse domain knowledge to be covered in order to develop students with good animation ability. However, design of motion also requires digital ability, creativity and motion knowledge. Moreover, there are gaps between animation education and industry production which motion capture is widely applied. Here we try to incorporate motion capture into education and investigate whether motion capture is supportive in character animation, especially in creativity element. By comparing two kinds of motion design method, traditional keyframe and motion capture, we investigated students’ creativity in motion design. The results showed that in originality factor, keyframe method had slightly higher performance support for designing unusual motions. Nevertheless, motion capture had shown more support in creating valid actions in quantity which implied fluency factor of creativity was achieved. However, in flexibility factor, although motion capture created more emotions in amount, keyframe method actually offered higher proportion of sentiment design. Participants indicated that keyframe was helpful to design extreme poses. While motion capture provided intuitive design tool for exploring possibilities. Therefore, we propose to combine motion capture technology with keyframe method in character animation education to increase digital ability, stimulate creativity, and establish solid motion knowledge. Keywords: animation education, character animation, creativity, motion capture, virtual character INTRODUCTION The education of animation is a long-standing and multidisciplinary training. -
Designing and Animating a Character Sprite with Modern Techniques Wynton Redmond Clemson University, [email protected]
Clemson University TigerPrints All Theses Theses 5-2016 Designing and Animating a Character Sprite with Modern Techniques Wynton Redmond Clemson University, [email protected] Follow this and additional works at: https://tigerprints.clemson.edu/all_theses Recommended Citation Redmond, Wynton, "Designing and Animating a Character Sprite with Modern Techniques" (2016). All Theses. 2381. https://tigerprints.clemson.edu/all_theses/2381 This Thesis is brought to you for free and open access by the Theses at TigerPrints. It has been accepted for inclusion in All Theses by an authorized administrator of TigerPrints. For more information, please contact [email protected]. DESIGNING AND ANIMATING A CHARACTER SPRITE WITH MODERN TECHNIQUES A Thesis Presented to the Graduate School of Clemson University In Partial Fulfillment of the Requirements for the Degree Master of Fine Arts Digital Production Arts by Wynton Redmond May 2016 Accepted by: Victor Zordan, Committee Chair Brian Malloy Kathleen Thum ABSTRACT High-quality 2D animation for video game production is both strenuous and time consuming. Traditionally, 2D game animation consisted of drawing each frame by hand and processing it into a bitmap for use in-game. As every frame was individually drawn, it was difficult to create enough drawings for smooth animation as well as keep form consistent between frames. Although, this technique usually resulted in a strong sense of 3D volume and realism when well executed. Current technology allows for faster 2D animation workflows using interpolation and bone systems as well as greater consistency, smoothness, and efficiency, but oftentimes the results lose the sense of depth and quality found in traditional animation. -
Cartoons Gerard Raiti Looks Into Why Some Cartoons Make Successful Live-Action Features While Others Don’T
Table of Contents SEPTEMBER 2000 VOL.5 NO.6 4 Editor’s Notebook A success and a failure? 6 Letters: [email protected] FEATURE FILMS 8 A Conversation With The New Don Bluth After Titan A.E.’s quick demise at the box office and the even quicker demise of Fox’s state-of-the-art animation studio in Phoenix, Larry Lauria speaks with Don Bluth on his future and that of animation’s. 13 Summer’s Sleepers and Keepers Martin “Dr. Toon” Goodman analyzes the summer’s animated releases and relays what we can all learn from their successes and failures. 17 Anime Theatrical Features With the success of such features as Pokemon, are beleaguered U.S. majors going to look for 2000 more Japanese imports? Fred Patten explains the pros and cons by giving a glimpse inside the Japanese film scene. 21 Just the Right Amount of Cheese:The Secrets to Good Live-Action Adaptations of Cartoons Gerard Raiti looks into why some cartoons make successful live-action features while others don’t. Academy Award-winning producer Bruce Cohen helps out. 25 Indie Animated Features:Are They Possible? Amid Amidi discovers the world of producing theatrical-length animation without major studio backing and ponders if the positives outweigh the negatives… Education and Training 29 Pitching Perfect:A Word From Development Everyone knows a great pitch starts with a great series concept, but in addition to that what do executives like to see? Five top executives from major networks give us an idea of what makes them sit up and take notice… 34 Drawing Attention — How to Get Your Work Noticed Janet Ginsburg reveals the subtle timing of when an agent is needed and when an agent might hinder getting that job. -
Animation-Insiders-Ebook-Web.Pdf
ANIMATION INSIDERS W orkflow e dition ACKNOWLEDGEMENT/ 5 INTRODUCTION/ 7 MIKE NGUYEN 8 EMILE GHORAYEB 12 PABLO NAVARRO 16 JASON RYAN 40 JASON MORTINSEN 46 ANA MARIA ALVARADO 50 RENO ARMANET 54 JASON SCHLEIFER 70 PEDRO BLUMENBAUM 76 ANTHEA KEROU 88 GABRIELE PENNACCHIOLI 92 MATT STRANGIO 94 VICTOR NAVONE 102 CONCLUSION/ 107 LIST OF CONTENT SPECIAL THANKS/ 109 ACKNOWLEDGEMENT/ 5 INTRODUCTION/ 7 MIKE NGUYEN 8 EMILE GHORAYEB 12 PABLO NAVARRO 16 JASON RYAN 40 JASON MORTINSEN 46 ANA MARIA ALVARADO 50 RENO ARMANET 54 JASON SCHLEIFER 70 PEDRO BLUMENBAUM 76 ANTHEA KEROU 88 GABRIELE PENNACCHIOLI 92 MATT STRANGIO 94 VICTOR NAVONE 102 CONCLUSION/ 107 LIST OF CONTENT SPECIAL THANKS/ 109 I would like to extend our most sincere thanks to the extraordinary ani- mators who were involved with this book. You generously shared with us your knowledge and vision about animation. Your passion for what you do easily shows, and without you, Animation Insiders would never have seen the light of day. Thank you PATRICK BEAULIEU ACKNOWLEDGEMENTS ANIMATION INSIDERS / ANIMATION LEDGEMENTS ACKNOW- 4 5 I would like to extend our most sincere thanks to the extraordinary ani- mators who were involved with this book. You generously shared with us your knowledge and vision about animation. Your passion for what you do easily shows, and without you, Animation Insiders would never have seen the light of day. Thank you ACKNOWLEDGEMENTS PATRICK BEAULIEU ACKNOWLEDGEMENTS ANIMATION INSIDERS / ANIMATION LEDGEMENTS ACKNOW- LEDGEMENTS 4 5 When I was in school, it was very difficult to get valuable learning mate- It is still incumbent on you to formulate good ideas for your shots. -
A History of Computer Animation 3/20/92 1
tea:1 i20SZ bu :J1, Chapter 4 : A HISTORY OF COMPUTER ANIMATION 3/20/92 1 A History of Computer Animation . .. .. .. .. .. .. .. .. .. .1 The Origins of Animation . .. .. ... .. .. .. .. .. .. .. ..1 Animated phase pictures and roll media (1828- 1895) . .. .. .. .. .......... .. .. .. ................. ..........1 The early trickfilmsters and technology (1895- 1909) . .. .. .. .. .. .. .. .. .. .. .. .. ............ .. .. ............. ...2 The animation studio and techniques (1910-1920) . .5 The Classical Period (1920-1960) . .. 1 0 The Origins of the Computer . ............................ .. .. .. .. .. ...... .. ..14 Analog computers.... .. ... .. ... ... .. .. .. .. ... .. .. ..14 Digital computers . .... .. .. .. .. .. .. .. .. .. .............. .. .. .. .. ..16 Analog Computer Animation .... .. .. .. .. ............... ..21 Electronic Analog Computer Animation . .. .. .. ............. .21 Mechanical Analog Computer Animation . .. ..... ...... .. .23 Computerizating the Animation Stand and Optical Printer. .. .... ... .. ..... .. .... ..... .... ... .. .. .. ... .2 7 Benefits of Computer Animation Stand . .2 9 Motion Control . .............. .. .. .. .. .. ........ .. .. ..3 0 Benefits of Computerized Motion Control .............. .. .... .. .32 Synthetic Imagery. .. .. ... .. ... ... .. .. ... .. .. .. .. .. .. .3 3 Computer hardware fusions. .. .. .. .. .. .. ..3 3 The interactive cathode ray tube display. .3 3 The mechanical plotter. .. .. .. .. .. .. .. .. .. .3 5 Film recorder CRT's. .. .. .. .. ... .. .. ... .. .. .. .. .. -
3D Character Animation Demo Reel an Honors Thesis
3D Character Animation Demo Reel An Honors Thesis (HONR 499) by Olivia Peterson Thesis Advisor Andy Beane Ball State University Muncie, Indiana April 2019 Expected Date of Graduation May 2019 Abstract This project outlines the process of creating a 3D character animation demo reel. My project consists of four pieces centered on themes exploring feature film animation: Emotion, Gag- Scare, Dance, and Suspense. With these themes, I hope to create quality storytelling animation and entertainment that will help me break into the animation industry. My demo reel features a personal selection of my best 3D work from the past year. This work includes video clips from my fall semester senior film “Frick.” 1 Acknowledgements I would like to thank Andy Beane for his constant guidance. He offered his eye for 3D animation and rendering to help me make a quality portfolio. His lectures on living as an animator, prioritizing values and commitments have given me a better position to being successful in my career. I will not forget the good teaching and mentorship he has provided me over the past three years in the animation school. I would like to thank Brad Condie, Zachary Craw, and Brain Ludwick for the rich education of animation from the past three years. I would like to thank my animation class mates, especially Dani Campbell, Mallory Creekmur, Jake Mosher, Melissa Taber, and Lyron Boyden for being supports to my animation process. Your advice pushed me to sharpen my animation skills and my professional work as a whole. Thanks to Long Winter Studios for great rigs and customer service.