近年來，在電腦動畫的應用中，虛擬人群模擬的需求越來越多；但人群運動的模擬對於動畫設計師而言，仍是一件十分繁瑣耗時的工作。過去有許多研究曾以虛擬力場模擬簡單的生物群聚行為，但所模擬出的動畫品質與虛擬力場的參數及虛擬環境息息相關，因此經常需要以人工的方式耗時地調整出適當的虛擬力場參數。因此，我們提議以此問題定義成一個基因演算法的問題，針對不同的移動行為，定義適切的適應函數，再由系統根據不同環境自動演化出適當的虛擬力權重組合，以供產生不同人群移動行為之動畫時參考。在本篇論文中，我們已完成基因演算法的設計及人群動畫模擬系統，並設計了不同的典型環境進行電腦模擬實驗，以驗證此方法的可行性。 / The demands for virtual crowd simulation have been increasing in recent years but creating realistic crowd motions remains a complex and time-consuming task for a computer animator. In the literature、much work has been proposed to use virtual forces to simulate the motion of a group of virtual creatures such as birds and fishes. However、the quality of the simulations largely depends on the weights of the component virtual forces as well as the scene where the agents are situated. Usually it requires the animator to tune these parameters for a specific scene in order to obtain the desired result. In this thesis、we propose to use genetic algorithm to generate an optimal set of weighting parameters for composing virtual forces according to the given environment and desired movement behavior. We have implemented the proposed genetic algorithm as well as the crowd simulation system. Extensive experiments have also been conducted to study the effects of typical scenes and behaviors on the parameter sets and verify the feasibility of the approach.

近年來由於電腦軟硬體及人機介面介面技術的發展，互動數位敘事(Interactive Digital Storytelling, IDS)的應用也逐漸被重視，特別是在新型態電腦遊戲的設計，而這個趨勢也為即時虛擬攝影機的規劃帶來新的機會與挑戰。本研究旨在透過互動數位敘事腳本內容的分析，建置客製化攝影機運鏡實驗平台，即時自動產生符合情境情節、人物情緒的拍攝方式，並參考電影拍攝手法，結合攝影學的專業知識加入不同拍攝風格，讓同一段影片可以有不同的風格效果。我們希望能夠讓現有的互動敘事系統The Theater [1]中的運鏡技術有跡可循，不再只是以人工的方式憑藉直覺來設定攝影機的位置，而能使得虛擬攝影機的操控變得簡易，修正拍攝效果時將更加簡便，成功快速掌握運鏡的每一個細節。我們在The Theater的實驗平台之上，讓敘事者可以根據故事情境客製化虛擬攝影機的拍攝手法，並由電腦自動產生合宜的攝影機拍攝位置，快速完成攝影機規劃。我們以實例透過實驗的方式驗證此系統的有效性。 / The recent advances in computing technologies and human-computer interactions have attracted much attention in the development of interactive digital storytelling (IDS), especially in the application of novel computer game design. This trend does not only bring new opportunities but also new technological challenges to virtual camera planning. Our research in this work aims at building an experimental platform for customized virtual camera planning through the analysis of screen play in an in-teractive story. By adopting the domain knowledge of camera controls in existing films, we hope to design a computer-assisted system that allows an author to easily experiment with different styles of virtual cameras in a same story. We proposed to design an experimental platform based on “The Theater” IDS, which currently uses a pre-authored way to specify the camera position. In the proposed system, we allow an author to quickly customize virtual camera taking according to the context of a story fragment and let the computer generate appropriate camera configurations automati-cally. We use an example story to verify the effectiveness of the system through ex-periments.

無論在電腦動畫、電玩或電影產業，利用電腦自動產生虛擬人群已逐漸成為不可或缺的要素之一。這些虛擬人群，往往是系統先賦與每個虛擬代理人(agent)基礎智能，然後藉由個體之間的互動法則所自動產生。然而，過去因為普遍未考量真實群體情境中的傳播與互動模式，使得虛擬人群所表現的群體行為與現實情況仍有些差距。因此，我們引用社會心理學文獻，建立一個具有溝通機制的人群模擬平台(IMCrowd)，以期自動產生與現實群眾動態更相似的模擬人群。IMCrowd是多代理人(Multi-agent)基礎的系統，其中每個虛擬代理人都具有區域的感知範圍與自主能力，因此他們能夠自動地與環境中的其它物件互動與反應。由於我們為IMCrowd所建立的溝通模型考量了社會心理學的理論，因此虛擬人群能浮現真實群體動態中的社會互動模式，如情緒傳染與從眾效應。本研究以IMCrowd執行了多種情境下群眾暴動與群眾控制的模擬，藉此展現本系統的應用將不僅可提升群體模擬的真實度，亦可做為社會心理學家研究群體行為的工具。 / Using computer to automatically generate simulated crowd has become a trend in animation, computer game, and film productions. Many of these works were produced by modeling the intelligence of the agents in a crowd and their interactions with other nearby agents and the environment. However, the perceived facts or elicited emotions usually do not propagate in the crowd as they should in the real life. In this work we attempt to build up a communication model to simulate a large variety of crowd behaviors including the course of crowd formation. The proposed crowd simulation system, IMCrowd, has been implemented with a multi-agent system in which each agent has a local perception and autonomous abilities to improvise their actions. The algorithms used in our communication model in IMCrowd are based heavily on sociology research. Therefore, the collective behaviors will emerge out of the social process such as emotion contagion and conformity effect among individual agents. Several elaborate riot simulations and riot control simulations are demonstrated and reported in this thesis as the application examples of IMCrowd. Thus, we claim that IMCrowd may not only benefit on enhancing realism of crowd animation but also be useful in studying crowd behaviors such as panic, gathering, and riots.

摘 要 本研究旨在探討台灣網路虛擬偶像發展較為成功的案例，由“均為崛起於網路動畫的台灣本土網路虛擬偶像；均藉由網友病毒式行銷、口碑行銷迅速走紅；均有影視、唱片界等豐富背景的經營創意團隊；均有朝網路虛擬至實體發展的跨媒體行銷計畫；均有台灣寬頻影音娛樂網站之內容提供者定位”共五大因素，挑選出三個代表個案—「阿貴（A-Kuei）」、「訐譙龍（G.G.Long）」、「牛奶糖家族（Miluku）」。研究方法上採取文獻分析以及包含深度訪談、網站內容分析的個案研究法，期望能藉由本初探性研究，予國內虛擬偶像行銷與動畫網站相關業者有所借鏡和全方位行銷策略之參考。 研究目的： 一、由文獻分析及市場現象觀察了解外來與國內虛擬偶像之行銷概況； 二、了解台灣網路虛擬偶像之行銷策略及執行； 三、綜合本研究調查分析結果，提出網路虛擬偶像之全方位行銷策略建議。 研究發現： 一、網路虛擬偶像成功之內外部因素； 二、虛擬偶像動畫網站經營之轉型； 三、網路虛擬偶像角色建構的轉型； 四、以功夫武俠片結合知名巨星朝全球動畫市場發展； 五、愛情成為亙古不變最保險與暢銷的行銷主題； 六、兩大類虛擬與實體結合的虛擬偶像推廣模式。 全方位行銷策略之建議： 一、以病毒行銷結合資料庫管理與網路虛擬社群經營； 二、運用口碑行銷並找出趨勢的引爆點與網路中樞； 三、以商品的植入式行銷結合連續劇商務。

3D電腦動畫電影產業在過去十年間的蓬勃發展有目共睹。在台灣，政府所提出的「兩兆雙星」產業政策中，也以「數位內容」產業為「雙星」計畫之一，而「電腦動畫」則列為優先發展的重點項目之一。 本論文以作者多年的國際媒體產業經驗與觀察為主軸，輔以豐富的產業研究資料及分析，探討台灣在發展3D 電腦動畫電影產業時的各項競爭條件。論文架構採用學者波特在國家競爭優勢中所提出的價值鏈及鑽石模型理論，逐一分析台灣在面臨國際競爭時，各項條件的優勢與不足。 要了解好萊塢如何成功地揉合「創意」與「科技」，不斷創造出一部部席捲全球的3D電腦動畫電影，必須先認識好萊塢電影產業的運作基礎。好萊塢有著相當複雜的產業發展背景，時至今日，這些時空背景仍深深地影響著產業的各個層面。本論文先深入剖析好萊塢電影產業的各項價值活動、產業及人力結構、以及電影投資、融資與風險控管等機制。其後，則進一步分析3D電腦動畫產業的版圖現況及發展趨勢，並以三家領導廠商Pixar、DreamWorks Animation、Blue Sky進行個案分析，透過對這三家廠商發展歷程與運作模式的檢視，台灣可以從中學習成功的經驗，並避免重蹈覆轍。 論文最後，則基於以上之論述，提出兩項論點，說明此刻是台灣以3D電腦動畫電影切入國際數位內容產業的良機。第一項論點是現階段仍屬全球3D電腦動畫產業發展初期，新進入者較易跨入此一新興市場；第二項論點則是台灣世界級的資訊產業提供了優勢的競爭基礎，使台灣具有更高的策略位置。因此，台灣可以高科技產業帶動數位內容產業的發展，延續「科技矽島」的成功經驗，再創「Silicon Hollywood：矽谷+好萊塢」的國家新競爭優勢。 / The 3D feature computer animation industry has grown tremendously in the past 10 years. In Taiwan, the government has identified the “digital content” industry as one of the two rising stars in the “Two Trillions, Twin Stars” national industry development plan, with “computer animation” as its top development priority. Based on the author’s years of observation and experience in international media and business, with abundant industrial research and statistical data, this thesis discusses Taiwan’s competitive advantages in the development of a globally competitive 3D feature computer animation industry. This thesis also refers to Michael Porter’s “Competitive Advantages of Nations”, which uses the Diamond Model to identify a nation’s weaknesses and strengths in the global economy. To realize how Hollywood can successfully combine creativity and technology to create box-office 3D computer animated movies, it is wise to consider how Hollywood fundamentally works. Hollywood is a complicated machine fed by its rich background and history that currently affects every facet of its behavior. This thesis breaks down that behavior into sections that detail topics such as value chain activities, modern industrial and labor structure setup, film financing and risk management. Three leading computer animation studios are Pixar, DreamWorks Animation, and Blue Sky. After understanding how the Hollywood film industry works, the next logical topic to examine is how these studios relate globally with the international 3D feature animation industry’s landscape and development trend. Using these studios as case studies, examining their timeline of development and work methodologies, important lessons can be learned and previous pitfalls avoided as Taiwan takes its first steps towards establishing its own successful 3D computer animation industry. Upon its analysis, this thesis identifies two strong reasons that justify why now is the time for Taiwan to establish its 3D computer animation industry as a means to compete in the global digital content market. The first reason is because the current global landscape of the 3D feature animation industry is just past its infancy and in an early stage of development, making it easier for new entries into the market. The second reason is because Taiwan has the advantage of having a strong resource in its world-leading IT industry that provides strong leverage above the competition. Taiwan is already world famous for being a technologically strong “Silicon Island”. By creating a bridge between technology and creativity, Taiwan can emulate its previous success model and thus create a new international identity as the “Silicon Hollywood”.

過去網站設計相關研究大多強調網站介面設計、導覽設計或消費者使用之易 用性…等，較少研究關注於視覺設計對消費者態度之影響，但學者Gitte, Gary, Cathy & Brown(2006)研究發現，一般瀏覽者在接觸到網頁的0.05 秒內就已經對 於網頁設計的好惡下了決定其實，因此，留住消費者網站的第一印象非常重要。 Holter(2006)認為以動畫組成的片頭首頁(Splash page)就好像是網站的封面，不但 能呈現出網站整體之基本元素與風格，還能表現出網站整體之策略，更是表現企 業創意的最佳所在。因此，本研究主要是探討網站設計中片頭首頁(Splash pages) 之有無、生動性程度與時間長短對消費者態度之影響。 本研究採用實驗法，以2x2x2(實驗組)+1x2(控制組)之多因子設計，主要的 自變項為「片頭首頁有無(有vs.無)」、「片頭首頁生動性(高vs.低)」和「片頭首 頁時間(10 秒vs.20 秒)」；依變項是「消費者態度」，其中又分為「片頭首頁態度 度」、「網站態度」和「品牌態度」；調節變項是「網路使用目的(目標導向vs.經 驗導向」。研究結果發現： 1. 片頭首頁之有無，不會影響消費者對網站及品牌態度之偏好。 2. 片頭首頁生動性高低，不會影響消費者對片頭首頁、網站及品牌態度之偏好。 3. 片頭首頁時間長短，不會影響消費者對片頭首頁、網站及品牌態度之偏好。 4. 消費者網路使用目的之差異，不會影響消費者對片頭首頁、網站及品牌態度 之偏好。 5. 片頭首頁生動性與時間長短之間具有交互效果：當消費者在瀏覽高生動片頭 首頁時，10 秒片頭首頁比20 秒片頭首頁會有較高的品牌態度偏好。