Det här kandidatarbetet undersöker hur Physically based rendering kan påverkar en 3D-grafikers arbete. Målet är att skapa förståelse kring physically based rendering och hur denna tekniken kan komma att påverkar en 3D-grafikers arbete. För att undersöka problemområdet skapades en virtuell miljö i 3D med hjälp av physically based rendering. Arbetsupplevelsen jämfördes senare med det tidigare arbetssättet. Undersökningen beskriver tidigare arbetsätt och hur arbetet har ändrats med physically based rendering.

Det här kandidatarbetet undersöker hur Physically based rendering kan påverkar en 3D-grafikers arbete. Målet är att skapa förståelse kring physically based rendering och hur denna tekniken kan komma att påverkar en 3D-grafikers arbete. För att undersöka problemområdet skapades en virtuell miljö i 3D med hjälp av physically based rendering. Arbetsupplevelsen jämfördes senare med det tidigare arbetssättet. Undersökningen beskriver tidigare arbetsätt och hur arbetet har ändrats med physically based rendering.

The purpose of the paper is to show some possible factors that affect the animators? choices when working on photorealistic animation based on references. Research in computer graphics has since 1970 had as a main goal to achieve photorealism. When working on 3D-production for film, animation is a part of the process. This part aims to give life to digital characters, among other things.

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.

Kandidatuppsats om animation skapad för synkronisering med musik. En kortfattad historik är inkluderad. Del ett är en rapport från 3d-projektionsprojektet jag deltog i som praktikant på digitala reklambyrån North Kingdom. Den andra delen består av fyra analyser av olika audiovisuella verk från olika tider och stilar. Den sista delen är en diskussion om hur animation relaterar till musik, hur musik ser ut och vad skillnaden är mellan projektion för tredimensionella objekt jämfört med plana ytor, genom att titta både på mitt projekt och dessa fyra analyser..

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.

This thesis describes a system for dealing with free surface fluid simulations, and the components needed in order to construct such a system. It builds upon recent research, but in a computer graphics context the amount of available literature is limited and difficult to implement. Because of this, the text aims at providing a solid foundation of the mathematics needed, at explaining in greater detail the steps needed to solve the problem, and lastly at improving some aspects of the animation process as it has been described in earlier works. The aim of the system itself is to provide visually plausible renditions of animated fluids in three dimensions in a manner that allows it to be usable in a visual effects production context. The novel features described include a generalized interaction layer providing greater control to artists, a new way of dealing with moving objects that interact with the fluid and a method for adding source and drain capabilities..

I denna studie behandlas effort shapes kopplat till digital animation med syfte att undersöka om det finns en könsbaserad skillnad i uppfattning och bedömning av karaktärsdrag. De animationer som har producerats är grundade på effort shapes som härstammar från Laban Movement Analysis. Metoden som har tillämpats för att samla in data är en kvalitativ enkät med öppna frågor som har besvarats av tio män samt tio kvinnor. Resultatet visade att det finns en skillnad mellan könen i bedömningen av karaktärerna men inte i uppfattningen av karaktärsdragen..

As my final project I planned to animate a movie. Usually I work with illustration and I see animation as the next step in my design work, to investigate how illustration and movement can collaborate. The purpose with my project was to develop my technical skills, improve my design process and broaden my work to eventually be able to work with animation. My ambition was to make an abstract animation and my focus was mainly on my personal process and knowledge. I also wanted to explore how much one can abstract a movie while still communicating a story or message..

My objective for this project was to create a short but thrilling 2D-animation intended as promotion for an online comic book. The purpose of the project was to learn more about animation and graphics, to further my artistic skills and to learn how to work in Adobe After Effects. I also wanted to learn more about scheduling, project methods and how to handle stress. During the ten weeks of the project I have created the story, the storyboard, the character design, the backgrounds and the animation. The voice over was recorded with the help of a fellow student who also made the music and the sound effects.

Detta examensarbete utfördes på spelföretaget Grin i Stockholm från den 22:a Mars till den 30:e maj. Tanken med examensarbetet är att kunna ge en inblick i hur det fungerar att vara animatör på ett större spelföretag..

This project is a study in how to represent the Swedish magician and variety artist Carl-Einar Häckner in a web-based environment. With a starting point focusing on illustration I wanted to produce a web environment that would function as a prototype for a webpage. My personal aim was to explore and gain new experiences from working in a digital interactive environment. I wanted to use animation and illustration to create an atmosphere and communicate emotions, and in the end find out a way of how to integrate that with a more text based content. The project is a personal project based on my interpretation of the work of Carl-Einar Häckner and an effort to translate Häckners expression and the emotions he evokes in his variety shows into image..

Detta arbete kommer att visa hur det är att jobba som animatör på Framestores reklamavdelning i London. Jag går igenom den del av pipelinen som är relevant för mig som animatör och jag kommer även att redovisa arbetsmetoder för att snabbast leverera korrekta animationer..

Det här examensarbetet undersöker om klassiska användbarhetsprinciper kan appliceras på en rigg i en dataspelsproduktion och göra den mer lättanimerad. Arbetet beskriver problemen med riggar som är väldigt svåranimerade på grund av ett krångligt gränssnitt. Den beskriver också det praktiska arbetet vilket innebär att ta en produkt från en idé till en färdig fullt animerad 3D-modell, som kan importeras i en spelmotor. Den behandlar vikten av att samla referensmaterial inför animation, hur Disneys tolv animationsprinciper kan appliceras inom 3D-animation och hur en produktionspipeline kan se ut. Rapporten behandlar hur man genomför användbarhetstester och vad som skiljer att rigga för olika medium som film och spelproduktioner.

In 1896, a French cinema pioneer named George Méliès demonstrated that an object could be set to motion by changing the objects shape or movement frame by frame. But it was not until the early 1900s that this specific genre of filmmaking became a great success. The animations were essentially short and were animated and published in The United States of America. The interest in animated movies began to increase, not only in the west, but also in Europe and Asia. The art of animation grew especially popular in Japan, and emerged as a parallel to Japanese comic books known more commonly as Manga.The history of Japanese animation is not as commonly known as the history of American animation.