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UPA : Redesigning Animation
This document is downloaded from DR‑NTU (https://dr.ntu.edu.sg) Nanyang Technological University, Singapore. UPA : redesigning animation Bottini, Cinzia 2016 Bottini, C. (2016). UPA : redesigning animation. Doctoral thesis, Nanyang Technological University, Singapore. https://hdl.handle.net/10356/69065 https://doi.org/10.32657/10356/69065 Downloaded on 05 Oct 2021 20:18:45 SGT UPA: REDESIGNING ANIMATION CINZIA BOTTINI SCHOOL OF ART, DESIGN AND MEDIA 2016 UPA: REDESIGNING ANIMATION CINZIA BOTTINI School of Art, Design and Media A thesis submitted to the Nanyang Technological University in partial fulfillment of the requirement for the degree of Doctor of Philosophy 2016 “Art does not reproduce the visible; rather, it makes visible.” Paul Klee, “Creative Credo” Acknowledgments When I started my doctoral studies, I could never have imagined what a formative learning experience it would be, both professionally and personally. I owe many people a debt of gratitude for all their help throughout this long journey. I deeply thank my supervisor, Professor Heitor Capuzzo; my cosupervisor, Giannalberto Bendazzi; and Professor Vibeke Sorensen, chair of the School of Art, Design and Media at Nanyang Technological University, Singapore for showing sincere compassion and offering unwavering moral support during a personally difficult stage of this Ph.D. I am also grateful for all their suggestions, critiques and observations that guided me in this research project, as well as their dedication and patience. My gratitude goes to Tee Bosustow, who graciously -
Historical Film Notes by Jerry Beck
UCLA Preserved Animation Website: HISTORICAL FILM NOTES BY JERRY BECK Theatre De Hula Hula (19--) Here is one in a long list of mystery films from the silent era. Clearly designed to be shown either in a vaudeville house or at a special exhibition requiring several musicians to accompany the action, it looks even to have had a specific score to match movements of the dancers. The film is processed in reverse to provide a negative effect that imparts an appropriate darkened-theater ambience to the proceedings. The bottom third of the picture is an animation “cycle” (a series of drawings repeated over and over) which gives a furious feel to the musicians. Most silent animation is based on wordplay and gag situations, but here the comical dance routines represent a wonderful early use of animation created for purely humorous effect. The animation itself is quite funny and charming, but those responsible for this delightful little gem probably will remain unknown. The Enchanted Drawing (1900) Cartoonist J. Stuart Blackton (1875-1941) was born in England and immigrated to the United States at the age of ten. In 1895, after a brief stint in vaudeville, Blackton became a reporter and cartoonist for the New York Evening World. A year later, Blackton was working for Thomas Edison’s film company, where he appeared on screen (as he does here) doing “Lightning Sketches” -- drawing at a rapid speed to the delight of onlookers. Inspired by Edison’s motion pictures, Blackton co-founded the Vitagraph studio to create films and distribute them to early nickelodeons. -
Overview of History of Irish Animation
Overview of History of Irish Animation i) The history of animation here and the pattern of its development, ii) ii) The contemporary scene, iii) iii) Funding and support, iv) iv) The technological advancement, which can allow filmmakers do more and do it more excitingly, v) v) The educational background. i) History and Development. The history of animation in Ireland is comparable to the history of live action film in Ireland in that in the early years it offered the promise of much to come and stopped really before it got started; indeed in the final analysis animation has even far less to show for itself than its early live action cousin. One outstanding exception is the pioneering work of James Horgan. Horgan became involved in cinema at the end of the 19th century when he acquired a Lumiere camera and established his own moving picture exhibition company for the south show to his audiences - mostly religious events. However soon his eager mind began to turn to the Munster region. As well as projecting regular international shows, Horgan shot local footage to look into cinematography in a scientific way and in fact he made some money by patenting a cog for film traction in the camera, which was widely used. He also experimented with Polaroid film. He then began to dabble in stop frame work - animation - around the year 1909 and considering that the first animation was made in 1906, this is quite significant. His most famous and most popular piece was his dancing Youghal Clock Tower - where the town's best known landmark has to hop into the frame and "manipulate" itself frame by frame into its rightful place in the main street in Youghal. -
The Significance of Anime As a Novel Animation Form, Referencing Selected Works by Hayao Miyazaki, Satoshi Kon and Mamoru Oshii
The significance of anime as a novel animation form, referencing selected works by Hayao Miyazaki, Satoshi Kon and Mamoru Oshii Ywain Tomos submitted for the degree of Doctor of Philosophy Aberystwyth University Department of Theatre, Film and Television Studies, September 2013 DECLARATION This work has not previously been accepted in substance for any degree and is not being concurrently submitted in candidature for any degree. Signed………………………………………………………(candidate) Date …………………………………………………. STATEMENT 1 This dissertation is the result of my own independent work/investigation, except where otherwise stated. Other sources are acknowledged explicit references. A bibliography is appended. Signed………………………………………………………(candidate) Date …………………………………………………. STATEMENT 2 I hereby give consent for my dissertation, if accepted, to be available for photocopying and for inter-library loan, and for the title and summary to be made available to outside organisations. Signed………………………………………………………(candidate) Date …………………………………………………. 2 Acknowledgements I would to take this opportunity to sincerely thank my supervisors, Elin Haf Gruffydd Jones and Dr Dafydd Sills-Jones for all their help and support during this research study. Thanks are also due to my colleagues in the Department of Theatre, Film and Television Studies, Aberystwyth University for their friendship during my time at Aberystwyth. I would also like to thank Prof Josephine Berndt and Dr Sheuo Gan, Kyoto Seiko University, Kyoto for their valuable insights during my visit in 2011. In addition, I would like to express my thanks to the Coleg Cenedlaethol for the scholarship and the opportunity to develop research skills in the Welsh language. Finally I would like to thank my wife Tomoko for her support, patience and tolerance over the last four years – diolch o’r galon Tomoko, ありがとう 智子. -
School of Animation & Visual Effects Program Brochure
School of Animation & Visual Effects academyart.edu SCHOOL OF ANIMATION & VISUAL EFFECTS Contents Program Overview ................................................. 5 What We Teach ....................................................... 7 The School of Animation & VFX Difference ........... 9 Faculty .................................................................... 11 Degree Options ...................................................... 13 Our Facilities .......................................................... 15 Student & Alumni Testimonials ............................ 17 Partnerships .......................................................... 19 Career Paths .......................................................... 21 Additional Learning Experiences ..........................23 Awards and Accolades ..........................................25 Online Education ...................................................27 Academy Life .........................................................29 San Francisco ........................................................ 31 Athletics .................................................................33 Apply Today ...........................................................35 < Student work by Jenny Wan 3 SCHOOL OF ANIMATION & VISUAL EFFECTS Program Overview The School of Animation and Visual Effects (VFX) is one of the most dynamic programs in the country. Join us, and get hands-on experience with the full animation and VFX production pipeline. OUR MISSION WHAT SETS US APART In the School of Animation -
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. -
Simulating Humans: Computer Graphics, Animation, and Control
University of Pennsylvania ScholarlyCommons Center for Human Modeling and Simulation Department of Computer & Information Science 6-1-1993 Simulating Humans: Computer Graphics, Animation, and Control Bonnie L. Webber University of Pennsylvania, [email protected] Cary B. Phillips University of Pennsylvania Norman I. Badler University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/hms Recommended Citation Webber, B. L., Phillips, C. B., & Badler, N. I. (1993). Simulating Humans: Computer Graphics, Animation, and Control. Retrieved from https://repository.upenn.edu/hms/68 Reprinted with Permission by Oxford University Press. Reprinted from Simulating humans: computer graphics animation and control, Norman I. Badler, Cary B. Phillips, and Bonnie L. Webber (New York: Oxford University Press, 1993), 283 pages. Author URL: http://www.cis.upenn.edu/~badler/book/book.html This paper is posted at ScholarlyCommons. https://repository.upenn.edu/hms/68 For more information, please contact [email protected]. Simulating Humans: Computer Graphics, Animation, and Control Abstract People are all around us. They inhabit our home, workplace, entertainment, and environment. Their presence and actions are noted or ignored, enjoyed or disdained, analyzed or prescribed. The very ubiquitousness of other people in our lives poses a tantalizing challenge to the computational modeler: people are at once the most common object of interest and yet the most structurally complex. Their everyday movements are amazingly uid yet demanding to reproduce, with actions driven not just mechanically by muscles and bones but also cognitively by beliefs and intentions. Our motor systems manage to learn how to make us move without leaving us the burden or pleasure of knowing how we did it. -
The Zoetrope Project
The Zoetrope Project Create your own animation studio 2010-02-16 Michael A. Chamberlain & family www.chamberlainstudios.net Cover Zoetrope Template: Base Page 1 Materials: Printer Heavy Cardstock Thumb-Tack Pencil Base: Print, cut, and overlap two of these for added strength, shifting the them 22.5 deg from each other, which will space the tabs evenly. Either glue the two together or tape the edges between the tabs. Bend the tabs upward to provide a surface to attach the side pieces (from page 2). 2010-02-16 Michael A. Chamberlain & family www.chamberlainstudios.net Zoetrope Template: Side Sections Page 2 A B A B Side Sections: Print this page out twice (four sections are needed). Connect the tabs on end “A” to end “B”, using tape or glue. Four sections are needed to wrap around the circumference of the base (on page 1). An X-acto knife is recommended to cut the slits out of the side panels. The dark color emphasizes the contrast of the animation strip. Note: If possible to do, the finished effect improves if both sides are black. 2010-02-16 Michael A. Chamberlain & family www.chamberlainstudios.net Zoetrope Template: Strip Template Page 3 Leave this end 1 B open Frame 1 Frame 2 Frame 3 Frame 4 A 2 B Frame 5 Frame 6 Frame 7 Frame 8 Leave this A 3 end open Frame 9 Frame 10 Frame 11 Frame 12 Animation Strips: Draw or print your animated still images onto this template. 12 images are needed. Cut out the above three strip sections and connect ends together (B to A), leaving the beginning end disconnected from the last end (They are easier to store and insert into the Zoetrope when left one long strip, instead of a connected circle). -
Teachers Guide
Teachers Guide Exhibit partially funded by: and 2006 Cartoon Network. All rights reserved. TEACHERS GUIDE TABLE OF CONTENTS PAGE HOW TO USE THIS GUIDE 3 EXHIBIT OVERVIEW 4 CORRELATION TO EDUCATIONAL STANDARDS 9 EDUCATIONAL STANDARDS CHARTS 11 EXHIBIT EDUCATIONAL OBJECTIVES 13 BACKGROUND INFORMATION FOR TEACHERS 15 FREQUENTLY ASKED QUESTIONS 23 CLASSROOM ACTIVITIES • BUILD YOUR OWN ZOETROPE 26 • PLAN OF ACTION 33 • SEEING SPOTS 36 • FOOLING THE BRAIN 43 ACTIVE LEARNING LOG • WITH ANSWERS 51 • WITHOUT ANSWERS 55 GLOSSARY 58 BIBLIOGRAPHY 59 This guide was developed at OMSI in conjunction with Animation, an OMSI exhibit. 2006 Oregon Museum of Science and Industry Animation was developed by the Oregon Museum of Science and Industry in collaboration with Cartoon Network and partially funded by The Paul G. Allen Family Foundation. and 2006 Cartoon Network. All rights reserved. Animation Teachers Guide 2 © OMSI 2006 HOW TO USE THIS TEACHER’S GUIDE The Teacher’s Guide to Animation has been written for teachers bringing students to see the Animation exhibit. These materials have been developed as a resource for the educator to use in the classroom before and after the museum visit, and to enhance the visit itself. There is background information, several classroom activities, and the Active Learning Log – an open-ended worksheet students can fill out while exploring the exhibit. Animation web site: The exhibit website, www.omsi.edu/visit/featured/animationsite/index.cfm, features the Animation Teacher’s Guide, online activities, and additional resources. Animation Teachers Guide 3 © OMSI 2006 EXHIBIT OVERVIEW Animation is a 6,000 square-foot, highly interactive traveling exhibition that brings together art, math, science and technology by exploring the exciting world of animation. -
Introduction to Computer Graphics and Animation
NATIONAL OPEN UNIVERSITY OF NIGERIA COURSE CODE :CIT 371 COURSE TITLE: INTRODUCTION TO COMPUTER GRAPHICS AND ANIMATION 1 2 COURSE GUIDE CIT 371 INTRODUCTION TO COMPUTER GRAPHICS AND ANIMATION Course Team Mr. F. E. Ekpenyong (Writer) – NDA Course Editor Programme Leader Course Coordinator 3 NATIONAL OPEN UNIVERSITY OF NIGERIA National Open University of Nigeria Headquarters 14/16 Ahmadu Bello Way Victoria Island Lagos Abuja Office No. 5 Dar es Salaam Street Off Aminu Kano Crescent Wuse II, Abuja Nigeria e-mail: [email protected] URL: www.nou.edu.ng Published By: National Open University of Nigeria Printed 2009 ISBN: All Rights Reserved 4 CONTENTS PAGE Introduction………………………………………………………… 1 What you will Learn in this Course…………………………………. 1 Course Aims… … … … … … … … 4 Course Objectives……….… … … … … … 4 Working through this Course… … … … … … 5 The Course Material… … … … … … 5 Study Units… … … … … … … 6 Presentation Schedule… … … … … … … 7 Assessments… … … … … … … … 7 Tutor Marked Assignment… … … … … … 7 Final Examination and Grading… … … … … … 8 Course Marking Scheme… … … … … … … 8 Facilitators/Tutors and Tutorials… … … … … 9 Summary… … … … … … … … … 9 5 Introduction Computer graphics is concerned with producing images and animations (or sequences of images) using a computer. This includes the hardware and software systems used to make these images. The task of producing photo-realistic images is an extremely complex one, but this is a field that is in great demand because of the nearly limitless variety of applications. The field of computer graphics has grown enormously over the past 10–20 years, and many software systems have been developed for generating computer graphics of various sorts. This can include systems for producing 3-dimensional models of the scene to be drawn, the rendering software for drawing the images, and the associated user- interface software and hardware. -
Introduction Week 1, Lecture 1
CS 430 Computer Graphics Introduction Week 1, Lecture 1 David Breen, William Regli and Maxim Peysakhov Department of Computer Science Drexel University 1 Overview • Course Policies/Issues • Brief History of Computer Graphics • The Field of Computer Graphics: A view from 66,000ft • Structure of this course • Homework overview • Introduction and discussion of homework #1 2 Computer Graphics I: Course Goals • Provide introduction to fundamentals of 2D and 3D computer graphics – Representation (lines/curves/surfaces) – Drawing, clipping, transformations and viewing – Implementation of a basic graphics system • draw lines using Postscript • simple frame buffer with PBM & PPM format • ties together 3D projection and 2D drawing 3 Interactive Computer Graphics CS 432 • Learn and program WebGL • Computer Graphics was a pre-requisite – Not anymore • Looks at graphics “one level up” from CS 430 • Useful for Games classes • Part of the HCI and Game Development & Design tracks? 5 Advanced Rendering Techniques (Advanced Computer Graphics) • Might be offered in the Spring term • 3D Computer Graphics • CS 430/536 is a pre-requisite • Implement Ray Tracing algorithm • Lighting, rendering, photorealism • Study Radiosity and Photon Mapping 7 ART Student Images 8 Computer Graphics I: Technical Material • Course coverage – Mathematical preliminaries – 2D lines and curves – Geometric transformations – Line and polygon drawing – 3D viewing, 3D curves and surfaces – Splines, B-Splines and NURBS – Solid Modeling – Color, hidden surface removal, Z-buffering 9 -
Audiovisual Spatial Congruence, and Applications to 3D Sound and Stereoscopic Video
Audiovisual spatial congruence, and applications to 3D sound and stereoscopic video. C´edricR. Andr´e Department of Electrical Engineering and Computer Science Faculty of Applied Sciences University of Li`ege,Belgium Thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy (PhD) in Engineering Sciences December 2013 This page intentionally left blank. ©University of Li`ege,Belgium This page intentionally left blank. Abstract While 3D cinema is becoming increasingly established, little effort has fo- cused on the general problem of producing a 3D sound scene spatially coher- ent with the visual content of a stereoscopic-3D (s-3D) movie. The percep- tual relevance of such spatial audiovisual coherence is of significant interest. In this thesis, we investigate the possibility of adding spatially accurate sound rendering to regular s-3D cinema. Our goal is to provide a perceptually matched sound source at the position of every object producing sound in the visual scene. We examine and contribute to the understanding of the usefulness and the feasibility of this combination. By usefulness, we mean that the technology should positively contribute to the experience, and in particular to the storytelling. In order to carry out experiments proving the usefulness, it is necessary to have an appropriate s-3D movie and its corresponding 3D audio soundtrack. We first present the procedure followed to obtain this joint 3D video and audio content from an existing animated s-3D movie, problems encountered, and some of the solutions employed. Second, as s-3D cinema aims at providing the spectator with a strong impression of being part of the movie (sense of presence), we investigate the impact of the spatial rendering quality of the soundtrack on the reported sense of presence.