Stop-motion animation is a traditional form of animation that has been practised for over 100 years. While the unique look and feel of stop-motion animation has been retained in modern productions, the production process has been modernised to take advantage of technological advancements. Modern stop-frame animation production integrates digital imaging technology and computational methods with traditional hand-crafted skills. This portfolio documents three projects undertaken at Aardman Animations, each investigated with the aim of improving efficiency in the stop-motion production process: - Rig removal is the removal of equipment, or ‘rigging’, used on set during stop-motion animation to hold characters or objects in unstable positions. All rigging captured in frames must be removed in post-production and currently manual methods are used which can be very time-consuming. The key task is to separate the character from the rig. In Chapter 2, I present a novel spatio-temporal segmentation algorithm for segmenting characters from stop-motion footage. The algorithm has been designed to work with stop-motion animated content, in contrast to other state of the art algorithms which struggled when tested on stop-motion footage. - Set shift is a problem which occurs when background items on set move subtly over the time taken to shoot a scene. For example, temperature and humidity changes can cause wood to warp during a weekend, changing the position of a background object the following week. These small ‘shifts’ are recorded in the footage and must be corrected in post-production. Chapter 3 describes the problem in detail, investigates potential solutions and explains why solving set shift automatically is a significant challenge. - Plasticine shading is required when a plasticine model has to be generated computationally. One motivation for producing footage computationally is that problems such as rig removal and set shift do not arise. In order to simulate plasticine accurately, the distinct reflectance model of this material must be known and reproduced. By collecting experimental data from plasticine samples and fitting parametric models, I have developed a bespoke surface shading model for plasticine (Chapter 4). This new model provides the best fit to the measured data when compared to existing state of the art surface shaders. It has been implemented into commercially used production systems, for use with existing rendering software. Advancing state of the art research is only one of the challenges when working in a production studio such as Aardman Animations. Additionally, findings must be integrated into the production pipeline. Chapter 5 discusses the challenges and constraints faced when conducting research in this environment. In order for stop-motion animation to remain competitive it is vital that production companies stay up-to-date with technological advancements in research areas that can contribute to their production processes. I conclude by discussing whether technological advancements can help Aardman Animations in improving the efficiency of their stop-motion production pipeline.

Computer animation projects, specifically feature film productions, require large teams of artists to manage and coordinate the use of enormous amounts of data containing both aesthetic and technical information within a specific time frame and while using finite resources. Mismanagement through information loss or inefficiency can result in both a compromised artistic vision and a financial loss. This thesis presents the conceptualization of a work management system based upon a successful system used in architecture and construction called Building Information Modeling, or BIM. BIM principles are adapted for use in animation production through the use of images as containers of information. The thesis does not include implementation of the management system described but does predict, based upon comparisons with architecture and construction, that a significant level of information carry-through can be achieved from concept art to final frames and we expect a positive gains in the efficient use of production resources. Adoption of this proposed project management structure could reduce production budgets, improve the communication flow between directors and artists, and develop an empirical based record for predicting the resource usage requirements for proposed projects in the future.

This diploma thesis deals with the concept of creating a graphical user interface for the animation of a production process. The thesis is divided into theoretical and practical part. The theoretical part contains a research of the development of the software used for the process simulation. Further there are described the basics of using simulation and animation, its advantages and disadvantages. The theoretical part of this work is completed by the description of the technology and software, which was used for creating graphical interfaces for the animation. The practical part is focused on developing software interfaces. It describes the elements which were used in programming and there are explained basic functions of the software. The practical part is completed with a summary of the output data which the program offers the user. The thesis is accompanied by a CD, which contains the source code and the final vision of the program.