Magnenat-Thalmann / Thalmann Computer Animation

Theory and Practice
1985
ISBN: 978-4-431-68433-6
Verlag: Springer Tokyo
Format: PDF
Kopierschutz: 1 - PDF Watermark

E-Book, Englisch, 242 Seiten, eBook

Reihe: Computer Science Workbench

Zielgruppe

Research

Autoren/Hrsg.

Magnenat-Thalmann, Nadia

Thalmann, Daniel

Inhaltsverzeichnis

1. Introduction.- 2. Conventional Animation.- 2.1 Basic Principles of Conventional Animation.- 2.2 How Are Cartoon Animated Films Made?.- 2.3 Multiplane and Shooting Phase.- 2.4 Some Techniques and Special Camera Effects.- 2 5 Bar, Route, Model and Exposure Sheets.- 2.6 Postproduction.- 2 7 Historical Background.- 2 8 Applications of Animation.- 3. Computer Animation.- 3 1 The Role of the Computer in Animation.- 3.2 How to Classify Computer Animation Systems?.- 3.3 Real-time vs. Frame-by-frame.- 3.4 Frame Buffer Animation and Real-time Playback.- 3 5 Systems vs. Languages.- 4. The Development of Computer Animation in Various Organizations.- 4.1 The Early Systems: BEFLIX and EXPLOR.- 4.2 Picture-driven Animation: GENESYS.- 4.3 Analog Systems· SCANIMATE and CAESAR.- 4.4 ANIMATOR, ARTA and MOP.- 4.5 Computer Animation at the National Research Council of Canada.- 4.6 Computer Animation at Ohio State University.- 4.7 From GRASS to ZGRASS.- 4.8 New York Institute of Technology and Lucasfilm.- 4.9 MAGI/Synthavision, Robert Abel, Triple I and Digital Effects.- 4.10 And the Others?.- 5. Key Frame and Painting Systems.- 5.1 Computer-assisted Animation.- 5.2 The Input of Drawings.- 5.3 In-between Calculations.- 5.4 The Laws of Animation.- 5.5 Skeleton Techniques.- 5.6 The Path of Motion and P-curves.- 57 In-betweening Using Moving Point Constraints.- 5.8 Coloring Techniques.- 5.9 Paint Systems.- 5.10 Color simulation and Dithering.- 5.11 Gradation Techniques.- 5.12 A Case Study: The Multiple Track Animator System.- 6. Modeled Animation.- 6.1 What Is Modeled Animation?.- 6.2 Object Modeling.- 6 3 Object Creation.- 6.4 Motion Specification.- 7. Hidden Surfaces, Reflectance and Shading.- 7.1 Hidden Surfaces.- 7.2 Light Reflection Models.- 7 3 Shading.- 7.4 Structured ShadedGraphical Types.- 7.5 Rendering of Parametric and Patch Surfaces.- 8. Transparency, Texture, Shadows and Anti-aliasing.- 8.1 Ray-tracing Algorithms.- 8 2 Transparency.- 8.3 Texture.- 8 4 Fractals.- 8 5 Fuzzy Objects Modeling and Particle Systems.- 8 6 Shadows.- 8 7 Spatial Anti-aliasing.- 8 8 Motion Blur and Temporal Anti-aliasing.- 9. Human Modeling and Animation.- 9.1 Stick, Surface and Volume Models.- 9 2 The NUDES System.- 9 3 The Badler Bubbleman.- 9 4 Labanotation.- 9.5 Hand Representation.- 9.6 Facial Animation.- 10. Object-oriented and Actor Languages and Systems.- 10 1 Classes, Modules and Processes.- 10 2 Kay’s Work and SMALLTALK.- 10.3 Hewitt’s Actor Theory.- 10.4 LOGO and the DIRECTOR Actor-based Animation Language.- 10.5 ASAS· The Actor/Scriptor Animation System.- 10.6 CINEMIRA: A Language Based on Actor and Camera Data Types.- 10.7 MIRANIM· An Extensible Director-oriented 3D Animation System.- 11. Case Studies.- 11.1 Decor with Bridges and Houses.- 11.2 Computer Animation of a Robotic Arm.- 11.3 An Example of the Design of a Camera Path.- 11.4 A Scene with a Shaded Corvette.- 11.5 Fireworks.- 12. A Case Study: Dream Flight.- 12.1 Why Dream Flight?.- 12.2 Scenario and Storyboard.- 12.3 Decor Creation.- 12.4 Actors and Dynamic Objects in the Forest.- 12.5 Seascape.- 12.6 Undersea Scene.- 12.7 The Organization of a Scene and Shooting.- References.- Appendix A: Computer Animation Organizations and Teams.- Appendix B: Computer Animation Systems and Languages.- Appendix C: Computer-generated Films.