As humans, our fascination with recreating images of ourselves began with parietal art many thousands of years ago, and has continued throughout the ages. However, we also now strive to create moving, thinking, believable, virtual humans, rather than focus entirely on static images. Moreover, computer generated humans are now integral to the digital world that encompasses us, yet 3D animation remains rife with challenges. The overarching objective of the thesis, therefore, is to systematically investigate and design a comprehensive computational model that leverages the effect of natural motion from the real-world to mediate enhanced 3D animation production. Thus natural motion is simulated to support user engagement, leveraged through real-time mapping, and for control of digital characters through enabling devices for markerless capture. Captured data is analysed offline to identify potential creative enhancements. As a result of the comprehensive investigation, contributions include an innovative animation framework to support real and virtual engagement within immersive environments. The novel approach simulates motion, through combining elements of real-time game technology with facets of behaviour simulation from Embodied Conversational Agents. Contributions are also proposed towards bridging the gap between realistic motion capture and authoring more stylised 3D cartoon animations. Shortcomings of transferring natural motion to exaggerated cartoon styled animation are systematically studied and a solution based on parametric motion curve optimization is proposed. Intelligent reasoning for validation of temporal sequencing of animation assets using a structured knowledge model, further contributes towards animation production through facilitating sharing animation planning across different domains. The computational model, thus embodies the concept that through systematic investigation of synergies and differences between natural motion and keyframe animation, the benefits of both can be fused together to target more efficient, yet believable, and even creative animation authoring.

Att filmens värld skapar magi är ett faktum som inte kan förnekas, i film efter film dras vi som tittare in i äventyr, komplexa historier och dramatiska stunder. I kombination med förtrollande musik till dessa scener får filmerna oss att gråta, skratta eller till och med att häpnas. Men hur kommer det sig egentligen att vi låter oss bli så förförda? Och hur kan filmskaparna konstruera dessa världar dit vi sugs in? Mycket har självklart med teknik att göra och människans kontinuerliga uppfinningsrikedom, inte bara via den tekniska utvecklingen utan även genom de berättelser som människan har skrivit och som har berättats sedan den mänskliga tidens begynnelse. Denna studie kommer att ta upp vissa delar av filmens historia och uppkomst samt hur animering tillkom och hur den har påverkat branschen. Anledningen till detta är just för att jag själv är producent och en motivering till varför jag skriver denna uppsats är för att se hur filmerna mottas av tittaren eftersom det kan säga mig en hel del om vad tittaren vill ha samtidigt som jag får en inblick i hur teknologin fungerar. Vad bör jag tänka på som producent? Vilken typ av realism eftersträvas av tittaren? Med utgångspunkt i detta är uppsatsens huvudfråga, ”Vad vill tittaren ha – berättelse eller effekter?” Denna fråga kommer att brytas ner till olika delfrågor som behandlar ämnet och gör det lättare att besvara huvudfrågan, och de frågorna kommer även att användas som en analysmodell. Då det nuförtiden är möjligt att skapa datorgenererade världar som ser otroligt realistiska ut och ger möjligheter som inte förr fanns har detta skapat ett annorlunda intresse för film, då tittaren inte bara ser till den narrativa delen utan även till den skapade scenen. Delfrågorna samt huvudfrågan kommer att besvaras med hjälp av att titta på olika filmer som har använt sig av den teknologi som fanns tillgänglig för att bygga upp världar med hjälp av datoranimerade bakgrunder och andra digitala effekter. Detta med en viss fokus på tekniken bakom då det kommer att diskuteras av personerna som ser filmerna. Dessa filmer kommer sedan att jämföras med varandra för att se vad tittarna tyckte om de olika filmerna, men även för att se vad teknologin har erbjudit och vilka möjligheter den har kommit med för dessa filmer. Utöver detta kommer jag även att söka mig till kommentarer som är gjorda av gemene man från det populära och stora filmforumet IMDb samt etablerade skribenter, dessa skribenter kommer dock att smalnas av så gott som det går till svenska filmrecensenter som jobbar på olika tidningar och forum medan den mer allmänna åsikten som finns på IMDb kommer att behandla människors åsikter från hela världen. Jag har även ett begreppskapitel där jag kommer att gå igenom de vanligaste begreppen inom filmbranschen så att läsaren får en större förståelse samt inblick i filmbranschen. Slutligen finns det en hel del saker att säga om ”Hur vi tittar på film” och att göra en studie på detta hoppas jag att läsaren finner intressant eftersom vi som tittare lever i en sådan tid där tekniken påverkar oss hela tiden.

Susannah is the opera written and composed by American composer Carlisle Floyd in 1955. The opera is based on a story from the Biblical Apocrypha. For the live performance of this opera at the Jefferson Center in Roanoke, I designed the animations that projected onto a screen which was designed and fitted as a part of the set design. I created the series of animations that enhanced the story of the entire length of the opera. This project was in collaboration with Opera Roanoke's 2016-2017 season. Carlisle Floyd's Susannah was performed at the Jefferson Center in Roanoke, Virginia on April 28 and 30, 2017. / Master of Fine Arts

Learning to read body language is something we do throughout our whole life. It is a complex non-verbal language that can express more than words. In this study we investigate the possibility to use only body language to portray emotions to the viewer. In a background of a game project we have used a character that has his face covered, therefore, facial expression is not visible during the online survey, which we used as a method for our investigation. As a foundation we have created four character animations to portray anger, frustration, exhaustion and hurt. To find the answer if it is possible to recognize those five emotions in the character animations survey, participants were obligated to name the emotion expressed on each of the video clips. The results of this study show that the characters body language could be sufficient to portray those five emotions. However, it was concluded that body language could be enough to represent the character's emotional state to the viewer; but by including facial expressions we could help to portray the emotion even further.

Nowhere fast.

3D modelling is a technology in massive demand now and can potentially become a key factor for enabling subsequent technological evolutions such as metaverses, digital twins, and virtual reality. Current 3D modellings include high-precision 3D human body modelling and rapid modelling through single or multiple monocular photos. However, some problems persist in both modellings. The modelling based on high-precision equipment has low practicability, few applicable scenarios, and high cost. Modelling through monocular photos, on the other hand, has low accuracy and is sensitive to noisy data. And both modellings generate static 3D models. Therefore, to realize the model's dynamic effect in various fields while retaining fast modelling, we propose a system that recovers a 3D model from a single photo to fuse skeleton animation extracted from videos, for a realization of the Digital Twin (DT). DT is defined as "digital replications of living as well as non-living entities that enable data to be seamlessly transmitted between the physical and virtual worlds". Rigging is setting up the skeleton-based animation to combine the 3D model and skeleton animation. Traditional rigging method is time-consuming and non-reusable, since rigging is often done manually or semi-automatically. In this thesis, we propose an automatic rigging method to achieve a loose coupling fusion of one-to-many or many-to-one 3D models and skeletal animations. Our rigging method is fast and efficient, and only needs a single photo as input.

The Spoon Theory is a 3D animated short film that tells the story of a dancer struggling with an invisible disability. There is a variety of media that focuses on the struggles of the disabled, however the spoon theory focuses on a different aspect by exploring disabilities that are not easily seen. The film uses visual symbols to communicate these hard to discern conditions, creating a visually interesting spectacle while effectively conveying an important message. The Spoon Theory invites the viewer to experience a different perspective on life and raise awareness about the unknown struggles of others.

Genom spatial närvaro i en experimentell medieteknisk filminstallation siktar arbetet på att ge kännedom om det naturliga fenomenet sömnparalys (SP). Det här görs genom en medieteknisk undersökning som blandar mytologi, som tros ha uppstått på grund utav SP, med verkliga fakta om SP. Arbetet resulterade i en animerad film i 3D som presenterades i en filminstallation. Upplevelsen av installationen ska simulera hur det känns att drabbas av fenomenet. Tanken är att deltagarna ska kunna identifiera SP i deras dåtid och framtid och få veta att det är en naturlig process och ej är farligt. Arbetet togs fram genom designperspektiven x for change och edutainment som låg till grund för filminstallationen. / Through immersion in an experimental media technological video installation this work aims to give awareness of the natural phenomenon sleep paralysis (SP). This was done through a research in media technologies that mixes mythology, that is believed to be based on SP, with real facts about SP. The work resulted in a 3D animated movie that was presented in a video installation. The experience is supposed to simulate how it feels to be affected by the phenomenon. The idea was that the participant will be able to identify SP in their past and future and to know that it is a natural process that is not dangerous. The work was done through the design perspectives x for change and edutainment that was the foundation for the video installation.

<p><strong>Study</strong> <strong>objects</strong>: Three different productions companies which the authors have chosen to be anonymous. <strong>Purpose</strong>: The purpose with this study is to examine why production companies choose to use 3D-animations in television commercials, and what different kind of aspects affects their decisions. <strong>Theoretical</strong>: The theoretical chapter reviews the history of 3D-animation andtelevision commercials and other fields that will be relevant laterin the analysis and discussion. <strong>Method</strong>: A case study has been made on three different companies, two of the companies are active in post-production and the other one is active in the consulting area. Data was collected through semistructured interviews with two of the companies. The last interview was conducted via e-mail. <strong>Conclusions</strong>: There were different ground aspects (economy, control, targetaudience, consumer impression) that affected a productioncompany’s decision in whether or not to use 3D-animation in theirproductions of television commercials.</p>

Study objects: Three different productions companies which the authors have chosen to be anonymous. Purpose: The purpose with this study is to examine why production companies choose to use 3D-animations in television commercials, and what different kind of aspects affects their decisions. Theoretical: The theoretical chapter reviews the history of 3D-animation andtelevision commercials and other fields that will be relevant laterin the analysis and discussion. Method: A case study has been made on three different companies, two of the companies are active in post-production and the other one is active in the consulting area. Data was collected through semistructured interviews with two of the companies. The last interview was conducted via e-mail. Conclusions: There were different ground aspects (economy, control, targetaudience, consumer impression) that affected a productioncompany’s decision in whether or not to use 3D-animation in theirproductions of television commercials.