Three Dimensional Animation Design and Production Based on Computer Graphics

2014 ◽  
Vol 926-930 ◽  
pp. 1767-1770
Author(s):  
Ya Dong Guo
Keyword(s):  
Computer Graphics ◽  
Three Dimensional ◽  
Great Influence ◽  
Computer Software ◽  
3D Animation ◽  
Scene Design ◽  
Main Work ◽  
Post Production ◽  
Role Design ◽  
Design And Production

This paper presents the design and production of 3D animation based on computer graphics. The main work includes the animated scene design, role design and the post production using computer software. Design software tools are Autodesk Maya and Adobe EffectsCS4. Scene design and role design are very important parts of the animation form. The good scene and role design can improve the animation level and effect; make the animation and rendering a fuller picture. In addition, rich post production can promote the additional value of animation works, has a great influence on the final result of the whole works of taste and art.

scholarly journals Application of 3D Reality Technology Combined with CAD in Animation Modeling Design

2020 ◽  
Vol 18 (S3) ◽  
pp. 164-175
Author(s):  
Yang Jing ◽  
Yang Song
Keyword(s):  
Comparative Research ◽  
Three Dimensional ◽  
Computer Software ◽  
Small Scale ◽  
3D Animation ◽  
Virtual Camera ◽  
Market Situation ◽  
Character Design ◽  
New Type ◽  
Software And Hardware

Computer three-dimensional animation is a new type of animation with the development of computer software and hardware technology in recent years. Three-dimensional animation should apply the software of three-dimensional animation technology to establish a virtual world in the computer. In this virtual three-dimensional world, designers build animated character models and scene models according to the shape and scale of the objects to be represented. Then set the motion trajectory of the character model, the motion of the virtual camera and other animation parameters according to the requirements, and then assign specific materials to the model and add lights to the model. Then the computer can automatically calculate and generate the final continuous picture. Under this background, the research on 3D animation character shaping in this paper is to analyze and study the market situation from the standpoint of small-scale 3D animation companies (teams) with relatively weak technology, and through the author's own creative practice, this paper summarizes some principles for the design and production of 3D animation characters, and tries to improve the education system of 3D animation character design. It promotes the production and dissemination of 3D animation and distinct 3D animation characters. Starting with the comparative research method, this paper summarizes the differences of 3D animation character shaping from the comparison of the characteristics of 3D animation and traditional animation, and then summarizes the efficient ways and methods of how to shape 3D animation characters by combining practice with theory.

scholarly journals Research on the Computer Case Design of 3D Human Animation Visual Experience

2021 ◽  
Vol 2021 ◽  
pp. 1-7
Author(s):  
Kai Liu ◽  
Qinghan Yang ◽  
Yuhao Lu ◽  
Taoyu Zhang ◽  
Shuo Chen
Keyword(s):  
New Technology ◽  
Three Dimensional ◽  
Computer Software ◽  
Production Method ◽  
Scene Design ◽  
Animation Industry ◽  
Virtual Camera ◽  
Human Animation ◽  
3D Software ◽  
Animation Software

In the animation industry, with the development of computer software and hardware technology, a new technology began to emerge, that is, three-dimensional animation. Three-dimensional animation software first creates a virtual world in the computer. In this virtual three-dimensional world, the designer builds the model and scene according to the shape and size of the object to be represented and then sets the motion trajectory of the model, the motion of the virtual camera, and the scene according to the requirements. When setting other animation parameters, we need to assign specific materials to the model and turn on lights. When all this is completed, the computer can automatically calculate and generate the final picture. The software Maya can just help animators to complete this work. When using Maya, we can apply many professional courses such as action design, scene design, and storyboarding script design that we have learned. Maya is a 3D software with convenient operability. It can combine the rendered sequence frames with AE to show unique animations. Therefore, the three-dimensional production method is preferred in the production method. The production of animation based on the 3D software Maya brings infinite challenges. At the same time, it also helps everyone grow and has a good position for our employment direction.

Three-Dimensional Computer Graphics for Surgical Procedure Learning: Web Three-Dimensional Application for Cleft Lip Repair

2006 ◽  
Vol 43 (3) ◽  
pp. 266-271 ◽  
Author(s):  
Masahiro Kobayashi ◽  
Tatsuo Nakajima ◽  
Ayako Mori ◽  
Daigo Tanaka ◽  
Toyomi Fujino ◽  
...  
Keyword(s):  
Computer Graphics ◽  
Surgical Procedures ◽  
Cleft Lip ◽  
Skin Flap ◽  
3D Structure ◽  
Three Dimensional ◽  
Image Data ◽  
3D Animation ◽  
3D Ct ◽  
Flap Design

Objective In surgical procedures for cleft lip, surgeons attempt to use various skin incisions and small flaps to achieve a better and more natural shape postoperatively. They must understand the three-dimensional (3D) structure of the lips. However, they may have difficulty learning the surgical procedures precisely from normal textbooks with two-dimensional illustrations. Recent developments in 3D computed tomography (3D-CT) and laser stereolithography have enabled surgeons to visualize the structures of cleft lips from desired viewpoints. However, this method cannot reflect the advantages offered by specific surgical procedures. To solve this problem, we used the benefits offered by 3D computer graphics (3D-CG) and 3D animation. Design and Results By using scanning 3D-CT image data of patients with cleft lips, 3D-CG models of the cleft lips were created. Several animations for surgical procedures such as incision designs, rotation of small skin flaps, and sutures were made. This system can recognize the details of an operation procedure clearly from any viewpoint, which cannot be acquired from the usual textbook illustrations. This animation system can be used for developing new skin-flap design, understanding the operational procedure, and using tools in case presentations. The 3D animations can also be uploaded to the World Wide Web for use in teleconferencing.

Shading Rig: Dynamic Art-directable Stylised Shading for 3D Characters

2021 ◽  
Vol 40 (5) ◽  
pp. 1-14
Author(s):  
Lohit Petikam ◽  
Ken Anjyo ◽  
Taehyun Rhee
Keyword(s):  
Real Time ◽  
State Of The Art ◽  
Three Dimensional ◽  
3D Animation ◽  
Feature Film ◽  
Interactive Applications ◽  
Manual Intervention ◽  
Shape Interpolation ◽  
Mesh Density ◽  
Post Production

Despite the popularity of three-dimensional (3D) animation techniques, the style of 2D cel animation is seeing increased use in games and interactive applications. However, conventional 3D toon shading frequently requires manual editing to clean up undesired shadows or add stylistic details based on art direction. This editing is impractical for the frame-by-frame editing in cartoon feature film post-production. For interactive stylised media and games, post-production is unavailable due to real-time constraints, so art-direction must be preserved automatically. For these reasons, artists often resort to mesh and texture edits to mitigate undesired shadows typical of toon shaders. Such edits allow real-time rendering but are limited in resolution, animation quality and lack detail control for stylised shadow design. In our framework, artists build a “shading rig,” a collection of these edits, that allows artists to animate toon shading. Artists pre-animate the shading rig under changing lighting, to dynamically preserve artistic intent in a live application, without manual intervention. We show our method preserves continuous motion and shape interpolation, with fewer keyframes than previous work. Our shading shape interpolation is computationally cheaper than state-of-the-art image interpolation techniques. We achieve these improvements while preserving vector quality rendering, without resorting either to high texture resolution or mesh density.

Motions Blur Effects in the Process of Three-Dimensional Animation Technology Research

2014 ◽  
Vol 687-691 ◽  
pp. 1170-1173
Author(s):  
Shen Wang
Keyword(s):  
Three Dimensional ◽  
Computer Software ◽  
Motion Blur ◽  
Computer Hardware ◽  
3D Animation ◽  
Basic Principles ◽  
Real Effects ◽  
Process Implementation ◽  
2D Animation ◽  
Visual Style

Three-dimensional animation is an emerging technology and animation technology with the development of computer hardware and software generated. Compared to traditional 2D animation is concerned, 3D animation has more fluid camera movement, mice richer, more delicate visual style, more stunning visual effects. Attributed to computer software to simulate the real effects in terms of the characteristics of three-dimensional animation has the advantage of a great extent, and one of the important effects that simulate real motion blur effect. According to the technical differences between the three-dimensional animation of the various stages of the process, implementation and effects of different motion blur effects are not the same. Based on the study of the basic principles of motion blur effects of the above, and analysis focuses on the different stages of its technology in animation and in effect differences.

scholarly journals Desain Dan Animasi 3D Pesawat Terbang Menggunakan Teknik NURBS

2016 ◽  
Vol 2 ◽  
pp. 85
Author(s):  
Nurcahyani Dewi Retnowati
Keyword(s):  
3D Modeling ◽  
Three Dimensional ◽  
Mathematical Representation ◽  
3D Animation ◽  
Video Editing ◽  
Specialized Software ◽  
Production Stage ◽  
Three Stages ◽  
Post Production ◽  
Dimensional Surface

Abstract— 3D computer graphics are often referred to as 3D modeling is the process of developing a mathematical representation of any three-dimensional surface of an object (either inanimate or living) via specialized software. The design of aircraft at the present time can use a variety of methods one using software Blender and NURBS technique. In the manufacture of aircraft models used animation production process flow is divided into three stages: pre-production, production and post-production. Pre-production stage such as modeling, texturing, rigging. Stage productions such as animating, lighting, rendering. In the manufacture of pre-production stage takes precision accuracy settings using NURBS techniques. While in the post-production stage that is animating, lighting and rendering is done by using video editing blender. Keywords—NURBS Technique, design, 3D animation

Improved 3-D reconstruction using stereo computer graphics and multiple tilt EM images

1995 ◽  
Vol 53 ◽  
pp. 630-631
Author(s):  
Lee D. Peachey ◽  
Lou Fodor ◽  
John C. Haselgrove ◽  
Stanley M. Dunn ◽  
Junqing Huang
Keyword(s):  
Computer Graphics ◽  
High Performance ◽  
Transverse Section ◽  
Three Dimensional ◽  
Stereo Pair ◽  
3D Reconstructions ◽  
Video Cameras ◽  
Biological Objects ◽  
Microscope Images ◽  
High Performance Computer

Stereo pairs of electron microscope images provide valuable visual impressions of the three-dimensional nature of specimens, including biological objects. Beyond this one seeks quantitatively accurate models and measurements of the three dimensional positions and sizes of structures in the specimen. In our laboratory, we have sought to combine high resolution video cameras with high performance computer graphics systems to improve both the ease of building 3D reconstructions and the accuracy of 3D measurements, by using multiple tilt images of the same specimen tilted over a wider range of angles than can be viewed stereoscopically. Ultimately we also wish to automate the reconstruction and measurement process, and have initiated work in that direction.Figure 1 is a stereo pair of 400 kV images from a 1 micrometer thick transverse section of frog skeletal muscle stained with the Golgi stain. This stain selectively increases the density of the transverse tubular network in these muscle cells, and it is this network that we reconstruct in this example.

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