Segmenting Motion Capture Data Using a Qualitative Analysis
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Think Film! on Current Practices and Challenges in Film Culture: a Documentation of a Student Symposium 2020
Repositorium für die Medienwissenschaft Adriane Meusch, Bianka-Isabell Scharmann u.a. (Hg.) Think Film! On Current Practices and Challenges in Film Culture: A Documentation of a Student Symposium 2020 https://doi.org/10.25969/mediarep/13589 Veröffentlichungsversion / published version Konferenzbeitrag / conference object Empfohlene Zitierung / Suggested Citation: Meusch, Adriane; Scharmann, Bianka-Isabell (Hg.): Think Film! On Current Practices and Challenges in Film Culture: A Documentation of a Student Symposium. Frankfurt am Main: Zenodo 2020. DOI: https://doi.org/10.25969/mediarep/13589. Erstmalig hier erschienen / Initial publication here: https://doi.org/10.5281/zenodo.3662799 Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung 4.0/ Lizenz zur Verfügung gestellt. Nähere Attribution 4.0/ License. For more information see: Auskünfte zu dieser Lizenz finden Sie hier: http://creativecommons.org/licenses/by/4.0/ http://creativecommons.org/licenses/by/4.0/ THINK THINK FILM! Edited by Adriane MeuschandBianka- Adriane Edited by Isabell Scharmann On Current Practices and Challenges in Film Culture: A Documentation of a Student Symposium Think Film! On Current Practices and Challenges in Film Culture: A Documentation of a Student Symposium Edited by Adriane Meusch & Bianka- Isabell Scharmann Frankfurt am Main, 2020 Editors Adriane Meusch and Bianka-Isabell Scharmann, in collaboration with Michelle Rafaela Kamolz https://thinkfilmsymposium.wordpress.com Copy Editor Carly Crane Graphic Design Muriel Serf (mmm.do) Bibliographic information of the German Library The German Library catalogues this publication in the German National Bibliography; detailed bibliographic information can be found on the Internet website: http://dnb.d-nb.de. -
Multiple Dynamic Pivots Rig for 3D Biped Character Designed Along Human-Computer Interaction Principles
Multiple Dynamic Pivots Rig for 3D Biped Character Designed along Human-Computer Interaction Principles by Mihaela D. Petriu A thesis submitted to the Faculty of Graduate and Postdoctoral Affairs in partial fulfillment of the requirements for the degree of Master of Computer Science in Human-Computer Interaction Carleton University Ottawa, Ontario © 2020, Mihaela D. Petriu Abstract This thesis is addressing the design, implementation and usability testing of a modular extensible animator-centric authoring tool-independent 3D Multiple Dynamic Pivots (MDP) biped character rig. An objective of the thesis is to show that the design of the character rig must be independent of its platform, cater to the needs of the animation workflow based on HCI principles (particularly that of Direct Manipulation) and be modular and extensible in order to build and grow as needed within the production pipeline. In the thesis, the proposed rig design is implemented in Maya, the most widely used and taught commercial 3D animation authoring tool. Another thesis objective is to perform usability testing of the MDP rig with animation students and professionals, in order to gauge the new design’s intuitiveness for those relatively new to the trade and those already steeped in its decades of accumulated technical idiosyncrasies. ii Acknowledgements My deepest gratitude goes to my supervisor Dr. Chris Joslin for his constant guidance and support. I would also like to thank my family for their continuous help and encouragement. Finally, I thank my friend Sandra E. Hobbs for her constructive chaos that shed light on my design's weaknesses. iii Table of Contents Abstract ............................................................................................................................. -
The University of Chicago Cinema's Motion Forms: Film Theory, the Digital Turn, and the Possibilities of Cinematic Movement A
THE UNIVERSITY OF CHICAGO CINEMA’S MOTION FORMS: FILM THEORY, THE DIGITAL TURN, AND THE POSSIBILITIES OF CINEMATIC MOVEMENT 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 JORDAN SCHONIG CHICAGO, ILLINOIS DECEMBER 2017 The filmmaker considers form merely as the form of a movement. —Jean Epstein Contents LIST OF FIGURES iv ABSTRACT vi ACKNOWLEDGMENTS vii INTRODUCTION MOVING TOWARD FORM 1 CHAPTER 1 CONTINGENT MOTION Rethinking the “Wind in the Trees” from Flickering Leaves to Digital Snow 42 CHAPTER 2 HABITUAL GESTURES Postwar Realism, Embodied Agency, and the Inscription of Bodily Movement 88 CHAPTER 3 SPATIAL UNFURLING Lateral Movement, Twofoldness, and the Aspect-Perception of the Mobile Frame 145 CHAPTER 4 BLEEDING PIXELS Compression Glitches, Datamoshing, and the Technical Production of Digital Motion 202 CONCLUSION OPENING CINEPHILIA; or, Movement as Excess 263 BIBLIOGRAPHY 280 iii List of Figures Figure 1.1 Stills from A Boat Leaving Harbour (Lumière, 1895) and Rough Sea at Dover (Acres and Paul, 1895)………………………………………………………………………..64 Figure 1.2 A myriad of bubbles in Frozen (Buck and Lee, 2013)……………………………....79 Figure 1.3 A featureless character digs snow in a SIGGRAPH demo of Frozen’s physics engine …………………………………………………………………………………....80 Figure 1.4 Various blocks of snow collapse in a SIGGRAPH demo of Frozen’s physics engine …………………………………………………………………………………....80 Figure 2.1 Linear markings in Umberto D (De Sica, 1952)……………………………………104 -
The Essential Reference Guide for Filmmakers
THE ESSENTIAL REFERENCE GUIDE FOR FILMMAKERS IDEAS AND TECHNOLOGY IDEAS AND TECHNOLOGY AN INTRODUCTION TO THE ESSENTIAL REFERENCE GUIDE FOR FILMMAKERS Good films—those that e1ectively communicate the desired message—are the result of an almost magical blend of ideas and technological ingredients. And with an understanding of the tools and techniques available to the filmmaker, you can truly realize your vision. The “idea” ingredient is well documented, for beginner and professional alike. Books covering virtually all aspects of the aesthetics and mechanics of filmmaking abound—how to choose an appropriate film style, the importance of sound, how to write an e1ective film script, the basic elements of visual continuity, etc. Although equally important, becoming fluent with the technological aspects of filmmaking can be intimidating. With that in mind, we have produced this book, The Essential Reference Guide for Filmmakers. In it you will find technical information—about light meters, cameras, light, film selection, postproduction, and workflows—in an easy-to-read- and-apply format. Ours is a business that’s more than 100 years old, and from the beginning, Kodak has recognized that cinema is a form of artistic expression. Today’s cinematographers have at their disposal a variety of tools to assist them in manipulating and fine-tuning their images. And with all the changes taking place in film, digital, and hybrid technologies, you are involved with the entertainment industry at one of its most dynamic times. As you enter the exciting world of cinematography, remember that Kodak is an absolute treasure trove of information, and we are here to assist you in your journey. -
Toward Intelligent Support of Authoring Machinima Media Content: Story and Visualization Mark O
Toward Intelligent Support of Authoring Machinima Media Content: Story and Visualization Mark O. Riedl Jonathan P. Rowe David K. Elson Institute for Creative Technologies Department of Computer Science Computer Science Department University of Southern California North Carolina State University Columbia University Marina Del Rey, California, USA Raleigh, North Carolina, USA New York City, New York, USA [email protected] [email protected] [email protected] ABSTRACT tools make it technically feasible to produce creative content, they The Internet and the availability of authoring tools have enabled a do not guarantee that the creator will produce work that is valued greater community of media content creators, including non- by a community as possessing quality or meaning. Therefore, the experts. However, while media authoring tools often make it development of tools that support authors in creating purposeful technically feasible to generate, edit and share digital media content plays an important role in enabling and improving media artifacts, they do not guarantee that the works will be valuable or content production. Tools that support the authoring of content, in meaningful to the community at large. Therefore intelligent tools contrast to those that focus on providing the technical ability to that support the authoring and creative processes are especially create a media artifact, are especially valuable when the authoring valuable. In this paper, we describe two intelligent support tools process is prohibitively costly, difficult, or time-consuming. for the authoring and production of machinima. Machinima is a One example of technologically-supported, user-generated content technique for producing computer-animated movies through the is machinima. -
Film Directing for Computer Games and Animation
DOI: 10.1111/cgf.142663 EUROGRAPHICS 2021 Volume 40 (2021), Number 2 H. Rushmeier and K. Bühler STAR – State of The Art Report (Guest Editors) Film Directing for Computer Games and Animation Rémi Ronfard Univ. Grenoble Alpes, Inria, CNRS, Grenoble INP, LJK & Ecole des Arts Décoratifs, EnsadLab, Paris, France Abstract Over the last forty years, researchers in computer graphics have proposed a large variety of theoretical models and computer implementations of a virtual film director, capable of creating movies from minimal input such as a screenplay or storyboard. The underlying film directing techniques are also in high demand to assist and automate the generation of movies in computer games and animation. The goal of this survey is to characterize the spectrum of applications that require film directing, to present a historical and up-to-date summary of research in algorithmic film directing, and to identify promising avenues and hot topics for future research. CCS Concepts • Computing methodologies ! Animation; Scene understanding; • Applied computing ! Performing arts; 1. Introduction mise-en-scène and montage. All three terms are borrowed from the French and commonly used in film studies [Bar20, Kes20, For20]. This state of the art report surveys a long line of research in auto- Broadly speaking, the role of a film director is to translate a story matic film directing for computer games and animation. The notion into a movie, and this can be decomposed into three different tasks. of an automatic film director can be traced back to a conversation Decoupage is the choice of camera shots which need to be pro- between Francois Truffaut and Alfred Hitchcock in 1966 where duced [Bar20]. -
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. -
Machinima Filmmaking
Machinima Filmmaking: The Integration of Immersive Technology for Collaborative Machinima Filmmaking A Thesis Submitted to the Faculty of Drexel University by Jonnathan Mercado in partial fulfillment of the requirements for the degree of Master of Science in Digital Media 2016 ii iii © Copyright 2016 Jonnathan Mercado. All Rights Reserved iv Dedications Nine years ago, a group of people said, “You can’t do it, you are going to fail.” Upon hearing such burdening words, a blockade of motivation emerged from within. The motivation to do one thing, follow my dreams. I thought if I did what I loved and loved what I did, there was no way I was going to fail. I believed in myself and turned all negativity into positive energy, persevering through hardships. It was not until I was older that I realized, we all have to fail. How can one succeed without knowledge of failure? The key to success is then not of accepting failure, but of the courage and willpower to get back up after you fail. And so, I want to thank and dedicate this body of work to the people who indirectly exploited my hidden potential, and to Yasmin (mother), Edwin (father), Orlando (stepfather), Giovannie (brother), and Mayleen (sister), who taught me “it’s ok to fail, just get back up.” v Acknowledgements I would like to first and foremost give thanks to my adviser and thesis committee members, Theo. A. Artz, Glen Muschio, and Santiago Ontanon, for all the support and constructive feedback, which has been instrumental in the culmination of my thesis. -
Previsualization in Computer Animated Filmmaking THESIS
Previsualization in Computer Animated Filmmaking THESIS Presented in Partial Fulfillment of the Requirements for the Degree Master of Fine Arts in the Graduate School of The Ohio State University By Nicole Lemon Graduate Program in Industrial, Interior and Visual Communication Design The Ohio State University 2012 Master's Examination Committee: Maria Palazzi, Advisor Alan Price Dan Shellenbarger Copyright by Nicole Lemon 2012 Abstract Previsualization (previs) is a pre-production process that uses 3D animation tools to generate preliminary versions of shot or sequences. This process is quickly gaining popularity in live action film, and is beginning to be used in animation production as well. This is because it fosters creativity by allowing for designers and artists to experiment more freely and intuitively with visual design choices, and insures efficiency in production and post-production. Previs is also able to provide a means to communicate and test plans visually in the pre-production stage which enhances clarity and understanding. The intention of this thesis is to make available information about previs that is, for the most part, unpublished or unknown by all but those already deeply involved in the process, and to explore and document the application of a previs process of my own in the production my first short film. To begin I will describe the previs process from several perspectives. Previs will be presented in historical context in order to provide insight into its development. Next I will present the results of an industry professionals survey conducted in late 2011 and early 2012 as a way of revealing an insider’s viewpoint on the use of previs in commercial computer animation production. -
A Lightweight Intelligent Virtual Cinematography System for Machinima Production
A Lightweight Intelligent Virtual Cinematography System for Machinima Production David K. Elson1, Mark O. Riedl2 1Columbia University, Computer Science Department, New York City, New York, USA 2University of Southern California, Institute for Creative Technologies, 13274 Fiji Way, Marina Del Rey, California, USA [email protected]; [email protected] Abstract complicated and costly to design and produce cinematic Machinima is a low-cost alternative to full production narratives. Authors must, through the constraints of filmmaking. However, creating quality cinematic software, manually position cameras and subjects. For visualizations with existing machinima techniques still example, the LEADERS project (Gordon et al., 2004) used requires a high degree of talent and effort. We introduce a computer-controlled avatars in a virtual environment and lightweight artificial intelligence system, Cambot, that can cinematic camera shots to create an interactive leadership be used to assist in machinima production. Cambot takes a development application centered around a fictitious script as input and produces a cinematic visualization. military overseas food distribution operation. LEADERS Unlike other virtual cinematography systems, Cambot alternated between non-interactive “cut scenes” and favors an offline algorithm coupled with an extensible decision points where the user could affect the direction of library of specific modular and reusable facets of cinematic knowledge. One of the advantages of this approach to the story. The use of machinima simplified the creation of virtual cinematography is a tight coordination between the the cut scenes by avoiding high-cost film production. positions and movements of the camera and the actors. However, choreographing and encoding the cinematic camera shots still required over $800 in labor costs per minute of machinima video (Gordon, personal Introduction communication). -
Animation Tips & Tricks
Animation Tips & Tricks BY: Shawn Kelly FOREWORD Hello everyone! Welcome to the first collection of the Tips & Tricks articles that you’ve been seeing in our monthly newsletter over the last few years. If you’re a regular reader, I just wanted to thank you for all the support, all the encouraging emails, and for all of the great feedback and follow-up questions! If you’re a new reader, however, there are a few things you should know. First, I love animation. LOVE IT. I love everything about this art form. Doing it, talking about it, studying it, etc. Which is probably the root cause of the second thing you should know: as much as I seem to continually promise to be less wordy in these articles, it never really happens, so don’t hold your breath. And third, after re-reading a lot of these tips and tricks, I clearly have an unhealthy obsession for fried chicken and Bacardi Anejo y Coca, so just be prepared for that as well! :) Anyway - I hope you have fun reading (or re-reading) these articles. For the most part, they’re just me rambling on about this or that, but it’s been amazing to hear from so many of you that you have found them helpful. Thanks again so much for all the great feedback! Please continue to send in your questions and comments to [email protected] - I read and reply to every email that comes through, and a lot of your suggestions end up becoming great article topics! Keep animating, and as always -- have FUN! SHAWN KELLY INTRODUCTION Welcome to the First Edition of Animation Tips and Tricks. -
A PROPOSED CHARACTER ANIMATION WORKFLOW for DIGITAL PRODUCTION ARTS with PREPARATION for CLOTH DYNAMICS Kent Chan Clemson University, [email protected]
Clemson University TigerPrints All Theses Theses 8-2007 A PROPOSED CHARACTER ANIMATION WORKFLOW FOR DIGITAL PRODUCTION ARTS WITH PREPARATION FOR CLOTH DYNAMICS Kent Chan Clemson University, [email protected] Follow this and additional works at: https://tigerprints.clemson.edu/all_theses Part of the Fine Arts Commons Recommended Citation Chan, Kent, "A PROPOSED CHARACTER ANIMATION WORKFLOW FOR DIGITAL PRODUCTION ARTS WITH PREPARATION FOR CLOTH DYNAMICS" (2007). All Theses. 153. https://tigerprints.clemson.edu/all_theses/153 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]. A PROPOSED CHARACTER ANIMATION WORKFLOW FOR DIGITAL PRODUCTION ARTS WITH PREPARATION FOR CLOTH DYNAMICS A Thesis Presented to the Graduate School of Clemson University In Partial Fulfillment of the Requirements for the Degree Masters of Fine Arts Digital Production Arts by Kent Lep Chan August 2007 Accepted by: John Kundert-Gibbs, Committee Chair Tim Davis Tony Penna ABSTRACT In a fast-paced production studio, procedures and standard operating practices have been created to ensure maximum use of resources, while being flexible enough to account for problems that might arise. For the animation section of the pipeline, it is imperative to produce animation in a timely manner so that the other sections of the pipeline that are dependent on animation can begin at an appropriate time. Using “Mileena Malign” and “SpaceCat” as case studies, a possible workflow for computer animation—specifically as it pertains to preparation for cloth dynamics—is developed, with highlights on the advantages and challenges encountered.