@phdthesis{DiFiore:2004:2MA,
month = jun,
optwww = {},
author = {Fabian {Di Fiore}},
optkey = {},
optannote = {},
opttype = {},
url = {http://research.edm.uhasselt.be/~fdifiore/research/PhD/},
title = {{A} {2.5D} {M}odelling and {A}nimation {F}ramework {S}upporting
{C}omputer {A}ssisted {T}raditional {A}nimation},
abstract = {Traditionally, 2D animation production has been a labour-intensive
artisan process of building up sequences of drawn images by hand
which, when shown one after the other at a fixed rate, resemble a
movement. Most work and hence time is spent on drawing, inking and
colouring the individual animated characters for each of the
frames. Existing computer assisted animation already has a huge
impact on traditional animation. However, the most time-consuming
and labour-intensive aspect — in-betweening — is not well enough
computerised that it could be (completely) performed by the
computer and thus replacing traditional animation. Moreover, there
is also a legitimate concern that the extensive computerisation
will remove much of the creative aspects of the process. This
dissertation introduces a new method for automatic in-betweening
in computer assisted traditional animation. The solution is based
on novel 2.5D modelling and animation techniques within the
context of a multi-level approach, starting with basic 2D drawing
primitives at level 0, over explicit 2.5D modelling structures at
level 1 and inclusion of 3D information at level 2, to high-level
tools at level 3. Similar to the 3D animation process, our method
also distinguishes clearly between a modelling and an animation
phase. Next to automatically calculating in-between frames, we
particularly focus on reintroducing necessary 3D information —
which is only present in the animator’s mind — in order to
preserve volumes and proportions, and to prevent temporal
aliasing. We also present new techniques and tools to draw,
manipulate and animate (stylised brush) strokes, in order to
preserve the natural way of drawing and editing, and to give the
animator the same freedom of exaggeration to create animations as
s/he is bearing in mind. Furthermore, we describe a novel approach
to design artistic and believable trees in a cartoon-like style,
and an extension of this approach to the more turbulent movements
of a series of gaseous phenomena. We believe that the provided
solutions are easy to use, and empower a much quicker cartoon
production without hampering the artists’ creativity.},
school = {School of Information Technology, Transnational University of
Limburg},
address = {Belgium},
localfile = {papers/DiFiore.2004.2MA.pdf},
year = {2004},
}
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