Detta arbete undersöker hur animerat teckenspråk upplevs inom förstapersonsperspektiv i spel för svenska teckenspråksanvändare. Studien är inspirerad av en liknande undersökning av Kerstin Liliedahl (2017). Bakgrunden redogör om teckenspråkets nuvarande representation inom digital media, de tekniker samt avatarer som används och dess användning i digitala spel. Hur det svenska teckenspråket är uppbyggt samt hur det används. Frågeställningen till denna studie har försökt undersöka om förstapersonsperspektiv till spelmiljöer, är ett lämpligt perspektiv för användandet av digitalt teckenspråk för svenska teckenspråkstalare. Artefakten består av två 3D-animerade spelsimulationer i videoform, där deltagarna till studien fick rangordna samt resonera om hur användandet av digitalt teckenspråk fungerade till perspektivet. Urvalsgruppen bestod utav svenska tekenspråksanvändare. Varav 22 testpersoner deltog i enkäten. 14 svarade med att de var hörlsenedsatt eller döv. Tre hade närstående som var hörselnedsatt, och övriga var intresseanvändare. Framtida studier kan vidarutveklas för att förbättra och undersöka nya inkluderingar i speldesign för att öppna nya vägar till inkluderandet av teckenspråk i spelmarknaden idag.

La production de dessins animés 2D, qui suit actuellement un schéma mis en place dans les années 1920, fait intervenir un très nombre de compétences humaines et de métiers différents. Par opposition à ce mode de travail traditionnel, la production de films de synthèse 3D, en exploitant les technologies et outils les plus récents de modélisation et d'animation 3D, s'affranchit pour une bonne part de cette composante artisanale et vient concurrencer l'industrie du dessin animé tradtionnel en termes de délais et de coûts de fabrication.<br /><br />Les défis à relever par l'industrie du dessin animé 2D se formulent donc en termes de:<br /><br /> 1. Réutilisation des contenus selon le paradigme Create once, render many,<br /> 2. Facilité d'échange et de transmission des contenus, ce qui nécessite de disposer d'un unique format de représentation,<br /> 3. Production efficace et économique des contenus, requérant une animation automatisée par ordinateur. <br /><br />Dans ce contexte compétitif, ce travail de thèse, réalisé dans le cadre du projet industriel TOON financé par la société Quadraxis avec le support de l' Agence Nationale de Valorisation de la Recherche (Oséo-ANVAR), a pour objectif de contribuer au développement d'une plate-forme de reconstruction, déformation et animation de modèles 3D pour les dessins animés 2D.<br /><br />Un état de l'art des méthodes et outils contribuant à la reconstruction de modèles 3D et à leur animation est présenté et discuté au regard des contraintes spécifiques des règles de création des dessins animés 2D et de la chaîne de fabrication traditionnelle. Ayant identifié les verrous technologiques à lever, nos contributions ont porté sur :<br /><br /> * l'élaboration d'une méthode de reconstruction de personnages virtuels 3D à partir de dessins 2D,<br /> * la mise au point d'une procédure de reconstruction surfacique par NURBS dotée d'une capacité de déformation interactive 2D/3D,<br /> * la conception d'un module de modélisation 3D pour surfaces maillées, compatible avec le standard d'animation MPEG-4/AFX. <br /><br />Les développements réalisés, intégrés dans un prototype de la plate-forme TOON, montrent un gain en temps de 20% sur l'ensemble de la chaîne de production tout en garantissant une complète interopérabilité des applications via le standard MPEG-4.

In the transition between 2D and 3D animation animators tried to be able to replicate all of the styles and techniques in 3D that they utilized in 2D. Motion blur eventually came to replace a popular 2D technique known as a smear frame. A smear frame is much more than a path of motion or a blur though, it has a style that cannot be replicated with such methods. I present a creative project with the intent on creating 3D smear frames in a self-made character rig. In order to achieve this I will be designing, modeling, texturing, rigging, animating, and rendering the character of Champ Champions.

For any animator either working in stop-motion or 3D-animation the knowledge of the first animation techniques are most important. For it is based on these principles that animation today can create such vibrant characters. With the extreme development 3D-animation has undergone the last twenty years it is easy to lose track of the old ways. But with this thesis a hope to show that it is these old ways that will take animation to its next stage. My aim with this thesis is to find out if it is possible to identify the characteristic features of stop-motion and apply these onto 3D-animation with purpose to create a more expressive style of animation. To be able to do this the method of this thesis is divided in two parts: the production and the perception. First the two work methods straight ahead and pose to pose are analyzed and the biggest differences are then identified. With this information two basic walk cycle animations are created, one with the work method of straight ahead and the other with pose to pose. These animations are kept as simple as possible so that all focus can be directed at the feel of the movement. In the perception part a survey is done where five participants observes the two animations and with a questionnaire answer how they perceive the differences. They answer which of the two they prefer, is most interesting and pleasant. According to the participants, they feel a difference and the majority prefer the animation done with the work method of stop-motion. They feel that it shows more personality and feel more natural. However the result is relatively even. My conclusion is that to achieve an animation that appeals to a larger group, a combination of the two work methods is optimal.

This thesis is focused on the worthwhile lessons learned while creating a short animated film. The conventional way of teaching related to practice is to have students work on projects and learn from their own experience. This thesis strives to save the reader some of the pain, time, and effort required of this learning style, by presenting the hard learned lessons from this project. An overview of the project is provided, along with a reconstructed time-line. Also, each member of the team recounted their own dilemmas and successes on the project, and proposed potential solutions to problems encountered along the way. The findings are presented in the spirit of a post-mortem analysis, which acts to collect the knowledge obtained by those involved with a project in order to increase productivity for the next time a similar task is attempted. The postmortem approach was found to be effective in identifying, illuminating, and articulating the lessons learned concerning general, practical, team-related and problem solving issues encountered while working on a short animated film.

This thesis assesses the marginal field (niche unit) of visual effects while taking into account visible and invisible vfx in virtual and actual geographies in Hollywood movies as part of industry-level studies, all the while seeking to bridge the gap between traditional, theoretical approaches of cinema studies and practitioner experience in the context of production culture. The focus of this essay remains on the many temporal aspects of production processes that identify vfx film production as chief, and vfx for television as subsequential. Encouraging scholars to consider a previously limited and repeatedly mislabeled area by demonstrating the pandemic presence of effects and its workers as a form of Hollywood diaspora, this thesis also seeks to demonstrate the need for involvement by means of scholar-practitioner methodologies.

Submitted by Patricia Figuti Venturini (pfiguti@anhembi.br) on 2018-08-20T20:16:15Z No. of bitstreams: 1 452401.pdf: 5853476 bytes, checksum: 81008480cdf930837a76f42998eef262 (MD5) / Approved for entry into archive by Patricia Figuti Venturini (pfiguti@anhembi.br) on 2018-08-20T20:27:02Z (GMT) No. of bitstreams: 1 452401.pdf: 5853476 bytes, checksum: 81008480cdf930837a76f42998eef262 (MD5) / Approved for entry into archive by Patricia Figuti Venturini (pfiguti@anhembi.br) on 2018-08-21T13:25:11Z (GMT) No. of bitstreams: 1 452401.pdf: 5853476 bytes, checksum: 81008480cdf930837a76f42998eef262 (MD5) / Made available in DSpace on 2018-08-21T13:25:26Z (GMT). No. of bitstreams: 1 452401.pdf: 5853476 bytes, checksum: 81008480cdf930837a76f42998eef262 (MD5) Previous issue date: 2018-02-22 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This essay studies the development of costume design in 3D animation. The process chosen to do so was the comparison of the methodology of costume creation between scenic arts, fashion design, comics and animation itself. The objective of this essay is to inquire the possibility of applying costumes as a narrative element in animation. To this end, it was done a bibliographic research, an analysis of an iconographic compilation and a study of the costume changes on the animated movie The Incredibles (Pixar, 2004). It will be exposed elements referred to design and visual communication, such as colors, shapes and textures as a way to convey the character’s emotionsassociated to the story and scenes. Following that, comparison of the costume creation process on digital, audiovisual and physical sphere. Based on the three images paradigm, the concept presented by Santaella (2005), the simulation on the digital sphere, the concept approached by Couchot (1993) and, lastly,on the concept of immaterial culture presented by Flusser (2007). Those points will be succeeded by indicating the similarities and divergences between fashion drawing and animation concept art drawings, based on topics presented by Gragnato (2008), Hopkins (2011) and Morris (2009) / Este trabalho estuda o processo de criação do design de figurino para personagens de animação tridimensional (3D), por meio de métodos comparativos entre áreas como artes cênicas, design de moda, histórias em quadrinhos e animação. O objetivo é o de averiguar a possibilidade do uso do figurino como elemento narrativo na animação. Para tal propósito, são realizadas revisões bibliográficas, análises de uma compilação iconográfica e o estudo de caso da animação Os Incríveis (The Incredibles, Pixar, 2004). São apresentados elementos projetuais referentes ao design e à comunicação visual como cores, formas e texturas como modo de transmitir ao observador as emoções da personagem em relação à narrativa. Em seguida, é efetuada a comparação do processo de criação do figurino nos meios digital, audiovisual e físico por meio dos três paradigmas da imagem abordados por Santaella (2005), da simulação na esfera digital (Couchot, 1993) e cultura imaterial, conceito apresentado por Flusser (2007). Em sequência, são apontadas as semelhanças e divergências entre os desenhos de moda com as concept arts da animação seguindo tópicos apresentados por Gragnato (2008), Hopkins (2011) e Morris (2009).

Detta arbete undersöker hur virtuellt teckenspråk uppfattas av svenska teckenspråksanvändare i en datorspelsmiljö. I en studie testades olika hanteringar av tredjepersonsperspektiv. Bakgrunden behandlar nutida användningsområden för virtuellt teckenspråk, avatarer, inkludering, animation, spelperspektiv och svenskt teckenspråk. Frågeställningen som undersökningen sökt besvara är vilket perspektiv svenska teckenspråksanvändare föredrar vid hanteringen av teckenspråk i spel. Artefakten består av tre 3D-animerade spelsimulationer i videoform, där testpersonen fick rangordna dem efter tydlighet i teckenspråket och vilket perspektiv de helst hade sett i ett teckenspråksspel. Urvalsgruppen bestod av svenska teckenspråksanvändare, varav 51 testpersoner svarade på enkäten. 27 respondenter svarade att de hade funktionsvariation, 16 personer hade närstående med funktionsvariation, och övriga var intresseanvändare. Framtida studier inom ämnet kan vidareutvecklas för att förbättra inkluderande speldesign, och ge ytterligare tillgänglighet för teckenspråksanvändare.

Facial animation is an integral and increasing part of 3D games. This study investigates how the two most common methods of 3D facial animation compare to each other. The goal of this study is to summarize the situation and to provide animators and software developers with relevant recommendations. The two most utilized methods of facial animation; morph target animation and bone driven animation are examined with their strong and weak aspects presented. The investigation is based on literature analysis as well as a comparative case study approach which was used for comparing multiple formal and informal sources according to seven parameters such as: performance, production time, technical limitations, details and realism, ease of usability, cross platform compatibility and common combinations of systems. The strengths and weaknesses of the two methods of 3D facial animation are compared and discussed followed by a conclusion part which present recommendation to which is the preferable method to use under different circumstances. In some cases, the results are inconclusive due to a lack of data.  It is concluded that a combination of morph target and bone driven animation will give the most artistic control if time is not limited.

<p>Previous research has shown that student-teacher interaction is very important in motivating students to learn a second language. However, it is unclear whether facial expression, which is one of the most important portions of interaction, affects in-game language learning motivation or not. The purpose of this study is to find out the evidence demonstrating the facial expressions of the other party, in this case, virtual characters in game, will or will not influence the learning motivation <a>of Japanese L2 students</a>. The researchers of this study developed four versions of a 3D animated Japanese role-playing game. Each version of the game represents one facial expression that is neutral, happy, sad or angry. The entire research consists of two experiments: a validation study and a motivation study. After validating all the facial expressions of five main characters in the game, <a>eighty-four college students from 200/300 level Japanese courses </a>joined in the motivation study voluntarily. They played a version of the game assigned randomly to them and then did a post-questionnaire. Conclusions were drawn based on the survey results. The findings of this research suggested that virtual characters’ facial expressions in game had no significant effect on participants’ <b>learning motivation</b>. However, significance was found in <b>years of learning Japanese</b> and <b>gender</b>. Meanwhile, it was found <b>facial expression</b> and <b>years of learning Japanese</b> had an interactive effect on the variable <b>immersion into game.</b> </p>