Keyframe-Based Tracking for Rotoscoping and Animation
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Walt Disney the World of Animation
Ziptales Advanced Library Worksheet 2 Walt Disney The World of Animation Walt always loved drawing...he made a ‘flip-book’ of walking stick figures drawings to amuse his sick sister. Even as a young boy, Walt Disney knew the entertaining power of animation. The ‘flip book’ he made was a rudimentary animation device invented during the 19th century. It produced the appearance of movement by simply ‘flipping’ sequential hand drawn illustrations in a book. This idea was later developed into what we now know as cartoons: sequential drawings, known as ‘cells’, photographed and displayed rapidly. Later, animators utilised techinques such as ‘claymation’ (clay or plasticine figures being manipulated and photographed) and digital animations (using computer software) to create their masterpieces. Task 1: Create an animation using one of the above techniques; flip-book, cartoon, claymation or digital animation. Step 1: Select the technique you are going to use ensuring you have access to the materials/ equipment required. Step 2: Write a short story to be told in the animation using the common elements of a narrative: orientation, complication, series of events, resolution. Step 3: Design a ‘story board’ displaying a rough idea of what will happen in each ‘cell’ of the animation. Step 4: Create the animation and display it to an appropriate audience. Extension Activities: • Research your favourite animated cartoon. (NOTE: It must be suitable for children – not ‘adult’ cartoons such as South Park and Family Guy). Who created the cartoon? When was it created? Where was it created? Where has it been shown? • Identify four different animation techniques used for feature films (for example Rotoscoping, Live Action animation). -
Animation: Types
Animation: Animation is a dynamic medium in which images or objects are manipulated to appear as moving images. In traditional animation, images are drawn or painted by hand on transparent celluloid sheets to be photographed and exhibited on film. Today most animations are made with computer generated (CGI). Commonly the effect of animation is achieved by a rapid succession of sequential images that minimally differ from each other. Apart from short films, feature films, animated gifs and other media dedicated to the display moving images, animation is also heavily used for video games, motion graphics and special effects. The history of animation started long before the development of cinematography. Humans have probably attempted to depict motion as far back as the Paleolithic period. Shadow play and the magic lantern offered popular shows with moving images as the result of manipulation by hand and/or some minor mechanics Computer animation has become popular since toy story (1995), the first feature-length animated film completely made using this technique. Types: Traditional animation (also called cel animation or hand-drawn animation) was the process used for most animated films of the 20th century. The individual frames of a traditionally animated film are photographs of drawings, first drawn on paper. To create the illusion of movement, each drawing differs slightly from the one before it. The animators' drawings are traced or photocopied onto transparent acetate sheets called cels which are filled in with paints in assigned colors or tones on the side opposite the line drawings. The completed character cels are photographed one-by-one against a painted background by rostrum camera onto motion picture film. -
Computerising 2D Animation and the Cleanup Power of Snakes
Computerising 2D Animation and the Cleanup Power of Snakes. Fionnuala Johnson Submitted for the degree of Master of Science University of Glasgow, The Department of Computing Science. January 1998 ProQuest Number: 13818622 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 13818622 Published by ProQuest LLC(2018). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 GLASGOW UNIVERSITY LIBRARY U3 ^coji^ \ Abstract Traditional 2D animation remains largely a hand drawn process. Computer-assisted animation systems do exists. Unfortunately the overheads these systems incur have prevented them from being introduced into the traditional studio. One such prob lem area involves the transferral of the animator’s line drawings into the computer system. The systems, which are presently available, require the images to be over- cleaned prior to scanning. The resulting raster images are of unacceptable quality. Therefore the question this thesis examines is; given a sketchy raster image is it possible to extract a cleaned-up vector image? Current solutions fail to extract the true line from the sketch because they possess no knowledge of the problem area. -
Cel Animation and Define the Words That
Chapter 5-Animation Objective The students will be able to: define animation and describe how it can be used in multimedia. discuss the origins of cel animation and define the words that originate from this technique. define the capabilities of computer animation and the mathematical techniques that differ from traditional cel animation. discuss some of the general principles and factors that apply to the creation of computer animation for multimedia presentations. Overview Introduction to animation. Computer-generated animation. File formats used in animation. Making successful animations. Introduction to Animation Animation is defined as the act of making something come alive. It is concerned with the visual or aesthetic aspect of the project. Animation is an object moving across or into or out of the screen. Introduction to Animation Animation is possible because of a biological phenomenon known as persistence of vision and a psychological phenomenon called phi. In animation, a series of images are rapidly changed to create an illusion of movement. Usage of Animation Artistic purposes Storytelling Displaying data (scientific visualization) Instructional purposes 12 Basic Principles of Animation 1. Timing The basics are: more drawings between poses slow and smooth the action. Fewer drawings make the action faster and crisper. A variety of slow and fast timing within a scene adds texture and interest to the movement. 12 Basic Principles of Animation 2. Secondary Action This action adds to and enriches the main action and adds more dimension to the character animation, supplementing and/or re-enforcing the main action. 12 Basic Principles of Animation 3. Follow Through and Overlapping Action When the main body of the character stops, all other parts will continue to catch up to the main mass of the character, such as arms, long hair, clothing, coat tails or a dress, floppy ears or a long tail (these follow the path of action). -
Texture Mapping for Cel Animation
Texture Mapping for Cel Animation 1 2 1 Wagner Toledo Corrˆea1 Robert J. Jensen Craig E. Thayer Adam Finkelstein 1 Princeton University 2 Walt Disney Feature Animation (a) Flat colors (b) Complex texture Figure 1: A frame of cel animation with the foreground character painted by (a) the conventional method, and (b) our system. Abstract 1 INTRODUCTION We present a method for applying complex textures to hand-drawn In traditional cel animation, moving characters are illustrated with characters in cel animation. The method correlates features in a flat, constant colors, whereas background scenery is painted in simple, textured, 3-D model with features on a hand-drawn figure, subtle and exquisite detail (Figure 1a). This disparity in render- and then distorts the model to conform to the hand-drawn artwork. ing quality may be desirable to distinguish the animated characters The process uses two new algorithms: a silhouette detection scheme from the background; however, there are many figures for which and a depth-preserving warp. The silhouette detection algorithm is complex textures would be advantageous. Unfortunately, there are simple and efficient, and it produces continuous, smooth, visible two factors that prohibit animators from painting moving charac- contours on a 3-D model. The warp distorts the model in only two ters with detailed textures. First, moving characters are drawn dif- dimensions to match the artwork from a given camera perspective, ferently from frame to frame, requiring any complex shading to yet preserves 3-D effects such as self-occlusion and foreshortening. be replicated for every frame, adapting to the movements of the The entire process allows animators to combine complex textures characters—an extremely daunting task. -
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. -
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. -
The Formation of Temporary Communities in Anime Fandom: a Story of Bottom-Up Globalization ______
THE FORMATION OF TEMPORARY COMMUNITIES IN ANIME FANDOM: A STORY OF BOTTOM-UP GLOBALIZATION ____________________________________ A Thesis Presented to the Faculty of California State University, Fullerton ____________________________________ In Partial Fulfillment of the Requirements for the Degree Master of Arts in Geography ____________________________________ By Cynthia R. Davis Thesis Committee Approval: Mark Drayse, Department of Geography & the Environment, Chair Jonathan Taylor, Department of Geography & the Environment Zia Salim, Department of Geography & the Environment Summer, 2017 ABSTRACT Japanese animation, commonly referred to as anime, has earned a strong foothold in the American entertainment industry over the last few decades. Anime is known by many to be a more mature option for animation fans since Western animation has typically been sanitized to be “kid-friendly.” This thesis explores how this came to be, by exploring the following questions: (1) What were the differences in the development and perception of the animation industries in Japan and the United States? (2) Why/how did people in the United States take such interest in anime? (3) What is the role of anime conventions within the anime fandom community, both historically and in the present? These questions were answered with a mix of historical research, mapping, and interviews that were conducted in 2015 at Anime Expo, North America’s largest anime convention. This thesis concludes that anime would not have succeeded as it has in the United States without the heavy involvement of domestic animation fans. Fans created networks, clubs, and conventions that allowed for the exchange of information on anime, before Japanese companies started to officially release anime titles for distribution in the United States. -
Introduction Examples of Early Animation
Sabine Fox, 21101363 Introduction Animation first started out as still drawings, such as in cave paintings, which depicted animals or humans with multiple sets of legs, giving the illusion of movement. There has also been an ancient bowl found in Iran which features sequential images of a goat leaping to a tree. When putting animation into context of portraying actual movement by using mechanisms and sequential images, the earliest known animation was created for devices of Chinese inventor Ting Huan in 180 AD. The device was an earlier version of the zoetrope, where it held a series of drawings that rotated when the device was suspended over a lamp. When rotated at the right speed, it created an illusion of movement. Examples of early animation Thaumatrope, 1826, created by English physician John Ayrton Paris. -- It consisted of a disc with two images on opposite sides that merged together when the disc was quickly spun using strings. An example is a bird on one side and a cage on the other. In 1831 Joseph Plateau created the phenakistiscope -- a wheel that had slits around the edge. Under each slit were images on a paper slip that are almost similar to one another, and when the wheel is spun facing the mirror, the images appear to move. The zoetrope, designed by William George Homer in 1834 but wasn’t widely used until 1867. The device was similar to how the phenakistiscope worked -- did not require a mirror to see the images and was moved by turning the cylinder around. It also allowed for the images to be changed, which wasn’t possible with the phenakistiscope. -
FLUID MODELING with STOCHASTIC and STRUCTURAL FEATURES a Dissertation Submitted to Kent State University in Partial Fulfillment
FLUID MODELING WITH STOCHASTIC AND STRUCTURAL FEATURES A dissertation submitted to Kent State University in partial fulfillment of the requirements for the degree of Doctor of Philosophy by Zhi Yuan August 2013 Dissertation written by Zhi Yuan B.S., Huazhong University of Science and Technology, 2005 Ph.D., Kent State University, 2013 Approved by Dr. Ye Zhao , Chair, Doctoral Dissertation Committee Dr. Ruoming Jin , Members, Doctoral Dissertation Committee Dr. Austin Melton Dr. Xiaoyu Zheng Dr. Robin Selinger Accepted by Dr. Javed Khan , Chair, Department of Computer Science Dr. Raymond A. Craig , Dean, College of Arts and Sciences ii TABLE OF CONTENTS LISTOFFIGURES..................................... vi LISTOFTABLES ..................................... ix Acknowledgements ................................... .. x Dedication......................................... xi 1 Introduction ...................................... 1 1.1 Significance,ChallengeandObjectives. ........ 1 1.2 MethodologyandContribution . .... 3 1.3 Background.................................... 5 1.3.1 PhysicallyBasedFluidSimulationMethods . ...... 5 1.3.2 FluidTurbulence ............................. 6 1.3.3 FluidControl ............................... 7 1.3.4 FluidCompression ............................ 8 2 Incorporating Fluctuation and Uncertainty in Particle-basedFluidSimulation. 10 2.1 Introduction.................................... 10 2.2 BasicSPHAlgorithm............................... 15 2.3 StochasticTurbulenceinSPH . ... 16 2.4 TurbulenceEvolution . .. 17 -
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. -
LEVY-MASTERSREPORT-2017.Pdf (7.541Mb)
Copyright by Dylan Olim Levy 2017 The Report Committee for Dylan Olim Levy Certifies that this is the approved version of the following report: Animating History and Memory: the Productions and Aesthetics of Waltz with Bashir and Tower APPROVED BY SUPERVISING COMMITTEE: Supervisor: Lalitha Gopalan Charles Ramìrez Berg Animating History and Memory: the Productions and Aesthetics of Waltz with Bashir and Tower by Dylan Olim Levy, B.A. Report Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Master of Arts The University of Texas at Austin May 2017 Abstract Animating History and Memory: the Productions and Aesthetics of Waltz with Bashir and Tower Dylan Olim Levy, M.A. The University of Texas at Austin, 2017 Supervisor: Lalitha Gopalan Films like Waltz with Bashir (2008) and Tower (2016) are unique in that they not only fit within accepted frameworks of documentary filmmaking, but they also use animation as their primary method of storytelling. Anabelle Honess Roe thoroughly explores animated documentaries in her book Animated Documentary, arguing that animation is used in these kinds of films to either “substitute” for traditional means to represent the real world (24), such as live action footage, or to “evoke” the psychology, emotional states, and other subjective experiences of an individual (25). Ultimately, Roe argues that animation is a suitable “representational strategy for documentary” filmmaking because of its “visual dialectic of absence and excess” (39). This report applies Roe’s arguments to the analysis of the aesthetics and roles of animation in Waltz with Bashir and Tower.