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What Software Was Used To Animate The Music Video For Revenge By Captainsparklez

Written By Wednesday, June 15, 2022 Add Comment Edit

Art of creating moving images using computers

An case of computer animation which is produced from the "motion capture" technique

Computer animation is the process used for digitally generating blithe images. The more than general term computer-generated imagery (CGI) encompasses both static scenes and dynamic images, while computer blitheness but refers to moving images. Modern computer animation usually uses 3D figurer graphics to generate a three-dimensional picture. Sometimes, the target of the animation is the calculator itself, but sometimes film besides.

Computer animation is essentially a digital successor to finish motion techniques, but using 3D models, and traditional animation techniques using frame-by-frame animation of second illustrations. Computer-generated animations can as well allow a single graphic artist to produce such content without the employ of actors, expensive set pieces, or props. To create the illusion of movement, an epitome is displayed on the computer monitor and repeatedly replaced by a new image that is similar to it but advanced slightly in time (ordinarily at a rate of 24, 25, or xxx frames/second). This technique is identical to how the illusion of movement is achieved with television and motility pictures.

For 3D animations, objects (models) are built on the reckoner monitor (modeled) and 3D figures are rigged with a virtual skeleton. Then the limbs, eyes, oral cavity, dress, etc. of the figure are moved by the animator on key frames. The differences in appearance between fundamental frames are automatically calculated past the figurer in a process known as tweening or morphing. Finally, the blitheness is rendered.[1]

For 3D animations, all frames must exist rendered after the modeling is complete. For pre-recorded presentations, the rendered frames are transferred to a different format or medium, like digital video. The frames may also be rendered in real time as they are presented to the end-user audience. Low bandwidth animations transmitted via the internet (eastward.g. Adobe Flash, X3D) often employ software on the end-user's computer to render in existent time equally an alternative to streaming or pre-loaded high bandwidth animations.

Explanation [edit]

To pull a fast one on the center and the brain into thinking they are seeing a smoothly moving object, the pictures should be fatigued at around 12 frames per 2nd or faster.[2] (A frame is one complete image.) With rates to a higher place 75-120 frames per second, no comeback in realism or smoothness is perceivable due to the way the eye and the brain both process images. At rates below 12 frames per 2d, most people can detect jerkiness associated with the drawing of new images that detracts from the illusion of realistic motion.[3] Conventional hand-fatigued drawing animation often uses 15 frames per second in lodge to save on the number of drawings needed, but this is normally accepted considering of the stylized nature of cartoons. To produce more than realistic imagery, computer animation demands college frame rates.

Films seen in theaters in the U.s.a. run at 24 frames per 2d, which is sufficient to create the illusion of continuous movement. For high resolution, adapters are used.

History [edit]

Early on digital computer animation was developed at Bell Telephone Laboratories in the 1960s by Edward E. Zajac, Frank Due west. Sinden, Kenneth C. Knowlton, and A. Michael Noll.[4] Other digital blitheness was also expert at the Lawrence Livermore National Laboratory.[v]

In 1967, a figurer animation named "Hummingbird" was created by Charles Csuri and James Shaffer.[half-dozen] In 1968, a estimator blitheness called "Kitty" was created with BESM-4 past Nikolai Konstantinov, depicting a cat moving around.[vii] In 1971, a reckoner animation called "Metadata" was created, showing various shapes.[viii]

An early step in the history of computer animation was the sequel to the 1973 film Westworld, a science-fiction film about a society in which robots live and work among humans.[9] The sequel, Futureworld (1976), used the 3D wire-frame imagery, which featured a figurer-animated mitt and face up both created by University of Utah graduates Edwin Catmull and Fred Parke.[ten] This imagery originally appeared in their student film A Computer Animated Paw, which they completed in 1972.[xi] [12]

Developments in CGI technologies are reported each yr at SIGGRAPH,[13] an annual conference on computer graphics and interactive techniques that is attended by thousands of computer professionals each year.[14] Developers of computer games and 3D video cards strive to achieve the same visual quality on personal computers in real-time as is possible for CGI films and blitheness. With the rapid advancement of real-fourth dimension rendering quality, artists began to use game engines to render non-interactive movies, which led to the art grade Machinima.

Moving-picture show and television [edit]

"Spring", a 3D blithe brusque film made using Blender

CGI short films have been produced every bit independent animation since 1976.[15] Early on examples of feature films incorporating CGI blitheness include the live-action films Star Expedition II: The Wrath of Khan and Tron (both 1982),[16] and the Japanese anime film Golgo 13: The Professional person (1983).[17] VeggieTales is the first American fully 3D computer blithe series sold straight (made in 1993); its success inspired other blitheness series, such as ReBoot (1994) and Transformers: Animate being Wars (1996) to adopt a fully computer-generated manner.

The starting time full length computer blithe television series was ReBoot,[18] which debuted in September 1994; the serial followed the adventures of characters who lived within a computer.[19] The first characteristic-length estimator animated motion picture is Toy Story (1995), which was made by Disney and Pixar:[20] [21] [22] following an hazard centered around anthropomorphic toys and their owners, this groundbreaking flick was as well the offset of many fully computer-blithe movies.[21]

The popularity of computer animation (especially in the field of special effects) skyrocketed during the modern era of U.S. blitheness.[23] Films like Avatar (2009) and The Jungle Book (2016) utilise CGI for the majority of the movie runtime, but still comprise human being actors into the mix.[24] Estimator blitheness in this era has achieved photorealism, to the signal that computer blithe films such as The Lion King (2019) are able to be marketed as if they were live-activity.[25] [26]

Animation methods [edit]

In nigh 3D computer animation systems, an animator creates a simplified representation of a character's anatomy, which is analogous to a skeleton or stick effigy.[27] They are arranged into a default position known as a bind pose, or T-Pose. The position of each segment of the skeletal model is defined by animation variables, or Avars for brusk. In human and beast characters, many parts of the skeletal model correspond to the bodily bones, but skeletal animation is also used to animate other things, with facial features (though other methods for facial animation exist).[28] The character "Woody" in Toy Story, for instance, uses 712 Avars (212 in the face alone). The estimator doesn't usually return the skeletal model directly (it is invisible), but it does apply the skeletal model to compute the exact position and orientation of that certain character, which is eventually rendered into an image. Thus by changing the values of Avars over time, the animator creates motion by making the grapheme move from frame to frame.

There are several methods for generating the Avar values to obtain realistic motion. Traditionally, animators manipulate the Avars straight.[29] Rather than set Avars for every frame, they commonly set Avars at strategic points (frames) in fourth dimension and let the figurer interpolate or tween betwixt them in a process called keyframing. Keyframing puts command in the hands of the animator and has roots in hand-drawn traditional blitheness.[30]

In contrast, a newer method called motion capture makes utilise of live action footage.[31] When estimator blitheness is driven by motion capture, a real performer acts out the scene every bit if they were the character to exist animated.[32] Their motion is recorded to a figurer using video cameras and markers and that performance is so applied to the blithe character.[33]

Each method has its advantages and as of 2007, games and films are using either or both of these methods in productions. Keyframe animation tin produce motions that would be difficult or incommunicable to deed out, while motility capture can reproduce the subtleties of a particular actor.[34] For example, in the 2006 film Pirates of the Caribbean: Expressionless Man'south Chest, Neb Nighy provided the functioning for the character Davy Jones. Even though Nighy doesn't announced in the movie himself, the moving-picture show benefited from his operation by recording the nuances of his body language, posture, facial expressions, etc. Thus motion capture is advisable in situations where believable, realistic beliefs and action is required, but the types of characters required exceed what can be done throughout the conventional costuming.

Modeling [edit]

3D computer animation combines 3D models of objects and programmed or hand "keyframed" move. These models are constructed out of geometrical vertices, faces, and edges in a 3D coordinate system. Objects are sculpted much like existent clay or plaster, working from general forms to specific details with various sculpting tools. Unless a 3D model is intended to be a solid colour, it must be painted with "textures" for realism. A bone/joint blitheness system is set up to deform the CGI model (east.thou., to brand a humanoid model walk). In a process known as rigging, the virtual marionette is given various controllers and handles for decision-making movement.[35] Blitheness data can exist created using motion capture, or keyframing by a human being animator, or a combination of the two.[36]

3D models rigged for animation may incorporate thousands of command points — for case, "Woody" from Toy Story uses 700 specialized blitheness controllers. Rhythm and Hues Studios labored for ii years to create Aslan in the moving-picture show The Chronicles of Narnia: The Lion, the Witch and the Wardrobe, which had about 1,851 controllers (742 in the face alone). In the 2004 movie The Day Afterward Tomorrow, designers had to blueprint forces of extreme atmospheric condition with the assistance of video references and accurate meteorological facts. For the 2005 remake of King Kong, actor Andy Serkis was used to help designers pinpoint the gorilla's prime number location in the shots and used his expressions to model "human being" characteristics onto the creature. Serkis had before provided the voice and performance for Gollum in J. R. R. Tolkien'southward The Lord of the Rings trilogy.

Equipment [edit]

A ray-traced iii-D model of a jack within a cube, and the jack alone below.

Computer animation can exist created with a calculator and an animation software. Some impressive animation tin can be achieved even with basic programs; however, the rendering can require much time on an ordinary domicile computer.[37] Professional person animators of movies, television and video games could make photorealistic animation with high detail. This level of quality for moving picture animation would take hundreds of years to create on a dwelling calculator. Instead, many powerful workstation computers are used.[38] Graphics workstation computers use two to iv processors, and they are a lot more than powerful than an actual home computer and are specialized for rendering. Many workstations (known as a "return farm") are networked together to finer human action as a giant computer,[39] resulting in a computer-animated moving picture that can be completed in about one to v years (nevertheless, this process is non equanimous solely of rendering). A workstation typically costs $2,000-sixteen,000 with the more expensive stations being able to render much faster due to the more than technologically-advanced hardware that they contain. Professionals also use digital movie cameras, motility/performance capture, bluescreens, pic editing software, props, and other tools used for movie blitheness. Programs like Blender allow for people who can't beget expensive animation and rendering software to exist able to piece of work in a similar manner to those who use the commercial form equipment.[40]

Facial animation [edit]

The realistic modeling of human facial features is both i of the most challenging and sought after elements in computer-generated imagery. Reckoner facial animation is a highly complex field where models typically include a very large number of animation variables.[41] Historically speaking, the first SIGGRAPH tutorials on State of the art in Facial Blitheness in 1989 and 1990 proved to be a turning point in the field by bringing together and consolidating multiple inquiry elements and sparked interest amongst a number of researchers.[42]

The Facial Action Coding System (with 46 "activity units", "lip bite" or "squint"), which had been adult in 1976, became a popular basis for many systems.[43] As early on as 2001, MPEG-4 included 68 Face Animation Parameters (FAPs) for lips, jaws, etc., and the field has made significant progress since then and the apply of facial microexpression has increased.[43] [44]

In some cases, an affective infinite, the PAD emotional state model, can exist used to assign specific emotions to the faces of avatars.[45] In this approach, the PAD model is used as a high level emotional space and the lower level space is the MPEG-4 Facial Animation Parameters (FAP). A mid-level Partial Expression Parameters (PEP) infinite is then used to in a two-level construction – the PAD-PEP mapping and the PEP-FAP translation model.[46]

Realism [edit]

Joy & Heron - A typical example of realistic animation

Realism in estimator animation can hateful making each frame look photorealistic, in the sense that the scene is rendered to resemble a photograph or make the characters' blitheness believable and lifelike.[47] Computer animation can also be realistic with or without the photorealistic rendering.[48]

Ane of the greatest challenges in reckoner blitheness has been creating homo characters that look and move with the highest degree of realism. Function of the difficulty in making pleasing, realistic human being characters is the uncanny valley, the concept where the human audience (upwardly to a indicate) tends to accept an increasingly negative, emotional response equally a man replica looks and acts more than and more man. Films that take attempted photorealistic human characters, such as The Polar Express,[49] [50] [51] Beowulf,[52] and A Christmas Carol [53] [54] have been criticized as "disconcerting" and "creepy".

The goal of estimator animation is non always to emulate alive action as closely as possible, so many blithe films instead feature characters who are anthropomorphic animals, legendary creatures and characters, superheroes, or otherwise take non-realistic, drawing-like proportions.[55] Computer animation tin can also exist tailored to mimic or substitute for other kinds of animation, like traditional stop-motion animation (as shown in Flushed Abroad or The Peanuts Movie). Some of the long-continuing basic principles of animation, like squash & stretch, call for movement that is not strictly realistic, and such principles still see widespread application in estimator animation.[56]

Animation studios [edit]

Some notable producers of computer-animated characteristic films include:

  • Animal Logic – Films include Happy Anxiety (2006), Legend of the Guardians: The Owls of Ga'Hoole (2010), Walking with Dinosaurs (2013), The Lego Movie (2014)
  • Aardman Animations  – Films include Flushed Away (2006), Arthur Christmas (2011)
  • Large Idea Entertainment – Jonah: A VeggieTales Moving picture (2002) and The Pirates Who Don't Practice Anything: A VeggieTales Picture (2008)
  • Bron Studios – Films include The Addams Family unit (2019), The Willoughbys (2020)
  • Blueish Sky Studios – Films include Ice Historic period (2002), Robots (2005), Horton Hears a Who! (2008), Rio (2011), Epic (2013), The Peanuts Motion-picture show (2015)
  • DNA Productions  – Films include Jimmy Neutron: Boy Genius (2001), Santa vs. the Snowman 3D (2002) and The Ant Dandy (2006)
  • DNEG  - Films includes Ron'due south Gone Wrong (2021)
  • DreamWorks Blitheness – Films include Shrek (2001), Shark Tale (2004), Madagascar (2005), Over the Hedge (2006), Bee Moving picture (2007), Kung Fu Panda (2008), Monsters vs. Aliens (2009), How to Railroad train Your Dragon (2010), Rise of the Guardians (2012), The Croods (2013), Trolls (2016), The Boss Baby (2017)
  • ImageMovers  – Films include The Polar Express (2004), Monster Business firm (2006), Beowulf (2007), A Christmas Carol (2009), Mars Needs Moms (2011)
  • Ilion Blitheness Studios — Films include Planet 51 (2009), Mortadelo and Filemon: Mission Implausible (2014) Wonder Park (2019)
  • Illumination — Films include Despicable Me (2010), The Lorax (2012), Minions (2015), The Surreptitious Life of Pets (2016), Sing (2016), The Grinch (2018), The Secret Life of Pets 2 (2019)
  • Industrial Light & Magic – Films include Rango (2011) and Strange Magic (2015)
  • Pacific Data Images – Films include Antz (1998), Shrek (2001), Shrek ii (2004), Madagascar (2005), Megamind (2010), Mr. Peabody and Sherman (2014)
  • Paramount Animation – Films include The SpongeBob Movie: Sponge Out of H2o (2015), Monster Trucks (2017), Sherlock Gnomes (2018), Wonder Park (2019), The SpongeBob Movie: Sponge on the Run (2020; 2021)
  • Pixar Blitheness Studios – Films include Toy Story (1995), Monsters, Inc. (2001), Finding Nemo (2003), The Incredibles (2004), Cars (2006), Ratatouille (2007), WALL-Eastward (2008), Upward (2009), Brave (2012), Inside Out (2015), Coco (2017), and Soul (2020)
  • Rainmaker Studios – Films include Escape from Planet Globe (2013) and Ratchet & Clank (2016)
  • Reel FX Blitheness Studios – Films include Costless Birds (2013) and The Book of Life (2014)
  • Wizart Animation – Films include The Snow Queen (2012), Sheep and Wolves (2016)
  • Shirogumi – Films include Friends: Mononoke Shima no Naki (2011), Stand past Me Doraemon (2014) and Dragon Quest: Your Story (2019)
  • Square Pictures – Films include Last Fantasy: The Spirits Within (2001)
  • Sony Pictures Animation - Films include Hotel Transylvania (2012), Spider-Human being: Into the Spider-Poetry (2018), and The Mitchells vs. the Machines (2021)
  • Sony Pictures Imageworks  – Films include The Angry Birds Flick (2016) and Over the Moon (2020)
  • Triggerfish Animation Studios – Films include Zambezia (2013), Khumba (2014)
  • Vanguard Animation - Films include Valiant (2005), Space Chimps (2008)
  • Walt Disney Animation Studios – Films include Commodities (2008), Tangled (2010), Wreck-It Ralph (2012), Frozen (2013), Big Hero half-dozen (2014), Zootopia (2016), Moana (2016) and Encanto (2021)
  • Warner Animation Group – Films include The Lego Movie (2014), Storks (2016), The Lego Batman Movie (2017), Smallfoot (2018), Scoob! (2020)
  • Weta Digital – Films include The Adventures of Tintin (2011) The Pawpatrol Pic (2021) Frozen 2 (2019)

Web animations [edit]

The popularity of websites that allow members to upload their own movies for others to view has created a growing community of contained and amateur computer animators.[57] With utilities and programs often included free with modernistic operating systems, many users can make their own blithe movies and shorts. Several complimentary and open-source blitheness software applications exist as well. The ease at which these animations can be distributed has attracted professional animation talent besides. Companies such as PowToon and Vyond endeavor to span the gap by giving amateurs admission to professional animations as prune art.

The oldest (nearly backward compatible) spider web-based animations are in the blithe GIF format, which tin can be uploaded and seen on the web easily.[58] However, the raster graphics format of GIF animations slows the download and frame rate, especially with larger screen sizes. The growing demand for higher quality spider web-based animations was met by a vector graphics culling that relied on the employ of a plugin. For decades, Wink animations were the virtually pop format, until the web evolution community abandoned support for the Flash Histrion plugin. Web browsers on mobile devices and mobile operating systems never fully supported the Flash plugin.

By this time, internet bandwidth and download speeds increased, making raster graphic animations more convenient. Some of the more circuitous vector graphic animations had a slower frame rate due to complex rendering compared to some of the raster graphic alternatives. Many of the GIF and Wink animations were already converted to digital video formats, which were compatible with mobile devices and reduced file sizes via video compression technology. However, compatibility was still problematic every bit some of the popular video formats such as Apple's QuickTime and Microsoft Silverlight required plugins. YouTube, the almost popular video sharing website, was also relying on the Flash plugin to deliver digital video in the Flash Video format.

The latest alternatives are HTML5 compatible animations. Technologies such as JavaScript and CSS animations made sequencing the movement of images in HTML5 web pages more convenient. SVG animations offered a vector graphic alternative to the original Flash graphic format, SmartSketch. YouTube offers an HTML5 alternative for digital video. APNG (Blithe PNG) offered a raster graphic alternative to animated GIF files that enables multi-level transparency not bachelor in GIFs.

Detailed examples [edit]

Reckoner blitheness uses different techniques to produce animations. Well-nigh frequently, sophisticated mathematics is used to dispense complex three-dimensional polygons, apply "textures", lighting and other effects to the polygons and finally rendering the complete paradigm. A sophisticated graphical user interface may exist used to create the animation and arrange its choreography. Another technique called constructive solid geometry defines objects by conducting boolean operations on regular shapes, and has the advantage that animations may be accurately produced at any resolution.

Estimator-generated blitheness [edit]

To breathing means, figuratively, to "give life to". There are ii basic methods that animators commonly use to achieve this.

Computer-generated blitheness is known as three-dimensional (3D) animation. Creators design an object or character with an X, a Y and a Z centrality. No pencil-to-paper drawings create the way computer-generated animation works. The object or graphic symbol created will and then be taken into a software. Key-framing and tweening are also carried out in reckoner-generated animation but then are many techniques unrelated to traditional animation. Animators can break physical laws by using mathematical algorithms to crook mass, forcefulness and gravity rulings. Fundamentally, time scale and quality could be said to be a preferred way to produce animation as they are major aspects enhanced by using computer-generated animation. Another positive aspect of CGA is the fact i tin create a flock of creatures to act independently when created as a group. An animal's fur can be programmed to wave in the wind and lie apartment when it rains instead of separately programming each strand of pilus.[59]

A few examples of computer-generated animation movies are Toy Story, Antz, Ice Age, Happy Feet, Despicable Me, Frozen, and Shrek.

second Reckoner Animation [edit]

2D calculator graphics are still used for stylistic, low bandwidth, and faster real-time renderings.

Computer animation is essentially a digital successor to stop move techniques, but using 3D models, and traditional blitheness techniques using frame-past-frame animation of 2D illustrations

For 2d figure animations, separate objects (illustrations) and separate transparent layers are used with or without that virtual skeleton.

2nd sprites and pseudocode [edit]

In 2D computer animation, moving objects are oftentimes referred to as "sprites." A sprite is an prototype that has a location associated with information technology. The location of the sprite is changed slightly, betwixt each displayed frame, to make the sprite appear to move.[threescore] The post-obit pseudocode makes a sprite motion from left to right: 

          var          int          ten := 0, y := screenHeight / 2;          while          x < screenWidth drawBackground() drawSpriteAtXY (ten, y)          // depict on height of the background          10 := x + 5          // move to the correct

Computer-assisted animation [edit]

Computer-assisted blitheness is usually classed as ii-dimensional (2D) animation. Drawings are either paw drawn (pencil to paper) or interactively drawn (on the calculator) using different assisting appliances and are positioned into specific software packages. Within the software bundle, the creator places drawings into unlike cardinal frames which fundamentally create an outline of the most important movements.[61] The computer then fills in the "in-between frames", a process commonly known as Tweening.[62] Computer-assisted animation employs new technologies to produce content faster than is possible with traditional animation, while still retaining the stylistic elements of traditionally drawn characters or objects.[59]

Examples of films produced using computer-assisted blitheness are The Footling Mermaid, The Rescuers Downwards Nether, Dazzler and the Beast, Aladdin, The Lion King, Pocahontas, The Hunchback of Notre Dame, Hercules, Mulan, The Road to El Dorado and Tarzan.

See also [edit]

  • Animation
  • Blitheness database
  • Autodesk
  • Avar (animation variable)
  • Computer-generated imagery (CGI)
  • New York Institute of Applied science Computer Graphics Lab
  • Computer representation of surfaces
  • Hand-Over
  • Humanoid animation
  • Listing of animation studios
  • List of computer-blithe films
  • List of reckoner-animated television series
  • Medical animation
  • Morph target blitheness
  • Machinima (recording video from games and virtual worlds)
  • Motility capture
  • Procedural animation
  • Ray tracing
  • Rich Representation Linguistic communication
  • Skeletal animation
  • Timeline of computer animation in picture and boob tube
  • Virtual artifact
  • Wire-frame model
  • Twelve basic principles of animation

References [edit]

Citations [edit]

  1. ^ Sito 2013, p. 232.
  2. ^ Masson 1999, p. 148.
  3. ^ Parent 2012, pp. 100–101, 255.
  4. ^ Masson 1999, pp. 390–394.
  5. ^ Sito 2013, pp. 69–75.
  6. ^ "Charles Csuri, Fragmentation Animations, 1967 - 1970: Hummingbird (1967)". YouTube.
  7. ^ ""Kitten" 1968 estimator animation". YouTube.
  8. ^ "Metadata 1971". YouTube.
  9. ^ Masson 1999, p. 404.
  10. ^ Masson 1999, pp. 282–288.
  11. ^ Sito 2013, p. 64.
  12. ^ Means 2011.
  13. ^ Sito 2013, pp. 97–98.
  14. ^ Sito 2013, pp. 95–97.
  15. ^ Masson 1999, p. 58.
  16. ^ "The Making of Tron". Video Games Thespian. Vol. 1, no. 1. Carnegie Publications. September 1982. pp. l–v.
  17. ^ Beck, Jerry (2005). The Animated Motion-picture show Guide . Chicago Review Printing. p. 216. ISBN1569762228.
  18. ^ Sito 2013, p. 188.
  19. ^ Masson 1999, p. 430.
  20. ^ Masson 1999, p. 432.
  21. ^ a b Masson 1999, p. 302.
  22. ^ "Our Story", Pixar, 1986-2013. Retrieved on 2013-02-15. "The Pixar Timeline, 1979 to Present". Pixar. Archived from the original on 2015-09-05.
  23. ^ Masson 1999, p. 52.
  24. ^ Thompson, Anne (2010-01-01). "How James Cameron's Innovative New 3D Tech Created Avatar". Popular Mechanics . Retrieved 2019-04-24 .
  25. ^ Fleming, Mike Jr. (October xiii, 2016). "Disney'due south Live-Action 'Lion Male monarch' Taps Jeff Nathanson Equally Writer". Borderline Hollywood. Archived from the original on October xv, 2016. Retrieved July 9, 2019.
  26. ^ Rottenberg, Josh (July 19, 2019). "'The Lion King': Is it blithe or live-activeness? Information technology's complicated". Los Angeles Times . Retrieved December thirteen, 2021.
  27. ^ Parent 2012, pp. 193–196.
  28. ^ Parent 2012, pp. 324–326.
  29. ^ Parent 2012, pp. 111–118.
  30. ^ Sito 2013, p. 132.
  31. ^ Masson 1999, p. 118.
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  34. ^ Masson 1999, p. 204.
  35. ^ Parent 2012, p. 289.
  36. ^ Beane 2012, p. 2-15.
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  38. ^ Sito 2013, p. 144.
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  40. ^ Foundation, Blender. "blender.org - Home of the Blender projection - Gratuitous and Open 3D Creation Software". blender.org . Retrieved 2019-04-24 .
  41. ^ Masson 1999, pp. 110–116.
  42. ^ Parke & Waters 2008, p. xi.
  43. ^ a b Magnenat Thalmann & Thalmann 2004, p. 122.
  44. ^ Pereira & Ebrahimi 2002, p. 404.
  45. ^ Pereira & Ebrahimi 2002, pp. 60–61.
  46. ^ Paiva, Prada & Picard 2007, pp. 24–33.
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  49. ^ Zacharek, Stephanie (2004-11-x). "The Polar Express". Salon . Retrieved 2015-06-08 .
  50. ^ Herman, Barbara (2013-x-xxx). "The ten Scariest Movies and Why They Creep Us Out". Newsweek . Retrieved 2015-06-08 .
  51. ^ Clinton, Paul (2004-11-10). "Review: 'Polar Express' a creepy ride". CNN . Retrieved 2015-06-08 .
  52. ^ Digital Actors in 'Beowulf' Are Merely Uncanny – New York Times, Nov 14, 2007
  53. ^ Neumaier, Joe (November 5, 2009). "Blah, humbug! 'A Christmas Carol's 3-D spin on Dickens well done in parts but lacks spirit". New York Daily News . Retrieved October 10, 2015.
  54. ^ Williams, Mary Elizabeth (November 5, 2009). "Disney's 'A Christmas Carol': Bah, braggadocio!". Salon.com. Archived from the original on Jan xi, 2010. Retrieved October ten, 2015.
  55. ^ Sito 2013, p. vii.
  56. ^ Sito 2013, p. 59.
  57. ^ Sito 2013, pp. 82, 89.
  58. ^ Kuperberg 2002, pp. 112–113.
  59. ^ a b Roos, Dave (2013). "How Calculator Animation Works". HowStuffWorks. Retrieved 2013-02-15 .
  60. ^ Masson 1999, p. 123.
  61. ^ Masson 1999, p. 115.
  62. ^ Masson 1999, p. 284.

Works cited [edit]

  • Beane, Andy (2012). 3D Animation Essentials. Indianapolis, Indiana: John Wiley & Sons. ISBN978-1-118-14748-1.
  • Kuperberg, Marcia (2002). A Guide to Calculator Animation: For Television receiver, Games, Multimedia and Web. Focal Press. ISBN0-240-51671-0.
  • Magnenat Thalmann, Nadia; Thalmann, Daniel (2004). Handbook of Virtual Humans. Wiley Publishing. ISBN0-470-02316-3.
  • Masson, Terrence (1999). CG 101: A Computer Graphics Industry Reference. Digital Fauxtography Inc. ISBN0-7357-0046-10.
  • Means, Sean P. (December 28, 2011). "Pixar founder'south Utah-made Manus added to National Movie Registry". The Salt Lake Tribune . Retrieved January 8, 2012.
  • Paiva, Ana; Prada, Rui; Picard, Rosalind Due west. (2007). "Facial Expression Synthesis using PAD Emotional Parameters for a Chinese Expressive Avatar". Affective Computing and Intelligent Interaction. Lecture Notes in Computer Science. Springer Science+Business Media. 4738. doi:10.1007/978-three-540-74889-ii. ISBN978-3-540-74888-five.
  • Parent, Rick (2012). Estimator Animation: Algorithms and Techniques. Ohio: Elsevier. ISBN978-0-12-415842-9.
  • Pereira, Fernando C. N.; Ebrahimi, Touradj (2002). The MPEG-four Book. New Jersey: IMSC Printing. ISBN0-xiii-061621-iv.
  • Parke, Frederic I.; Waters, Keith (2008). Computer Facial Animation (2nd ed.). Massachusetts: A.Yard. Peters, Ltd. ISBN978-1-56881-448-iii.
  • Sito, Tom (2013). Moving Innovation: A History of Figurer Blitheness. Massachusetts: MIT Press. ISBN978-0-262-01909-five.

External links [edit]

  • Media related to Computer animations at Wikimedia Commons

Source: https://en.wikipedia.org/wiki/Computer_animation

Posted by: rodriguezrecke1963.blogspot.com

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