F. Thomas and O. Johnson. Disney Animation: The Illusion of Life. New York, Abbeville, 1984.  Home/Search Document Not in Database Summary Related Articles Check |
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Excercises Of Style For Virtual Humans - Zsfia Ruttkay Catherine (Correct)
....different instances of face and body motion, also in idle state of the character. Badler and his colleagues have developed EMOTE [4] a computational framework inspired by Laban dance annotation, to modify expressiveness of hand, body and face gestures of ECAs. In the computer animation world [24] it has been recognized how important it is to add style to (captured or synthesized) motion. Recently, there have been initiatives to develop XML base markup languages to encode some of the human aspects of multi modal communication [25] 1. 3 Our objectives We are interested in making ....
Thomas F., Johnston O., Disney animation: The illusion of life, Abbeville Press, New York,1981.
A Survey of Socially Interactive Robots - Fong, Nourbakhsh, Dautenhahn (2003) (15 citations) (Correct)
....human creature relationships are simpler than human human relationships and because our expectations of what constitutes realistic animal morphology tends to be lower. 2.3.5. Caricatured Animators have long shown that a character does not have to appear realistic in order to be believable [156]. Moreover, caricature can be used to create desired interaction biases (e.g. implied abilities) and to focus attention on, or distract attention from, specific robot features. Scheeff et al. 142] discusses how techniques from traditional animation can be used in social robot design. Schulte et ....
F. Thomas, O. Johnston, Disney Animation: The Illusion of Life, Abbeville Press, 1981.
A Survey of Socially Interactive Robots - Fong, Nourbakhsh, Dautenhahn (2002) (15 citations) (Correct)
....because human creature relationships are simpler than human human relationships and because our expectations of what constitutes realistic animal morphology tends to be lower. Caricatured Animators have long shown that a character does not have to appear realistic in order to be believable [159]. Moreover, caricature can be used to create desired interaction biases (e.g. implied abilities) and to focus attention on, or distract attention from, specific robot features. Schee# et al. discusses how techniques from traditional animation can be used in social robot design[145] Schulte et ....
F. Thomas and O. Johnston, Disney animation: the illusion of life, Abbeville Press, 1981.
Synthetic Actor Model for Long-Term Computer Games - Silva, Siebra, Valadares.. (2001) (Correct)
....entertainment media and computer games is that here the user can interact, causing unpredictable changes in the plot. Consequently, the games characters believability can only be achieved by making them capable of autonomously managing and expressing personality, emotions and social behavior [10]. Human professionals guarantee the character believability in traditional media during film or cartoon production. As discussed in the following Section, the autonomy of these Synthetic Actors has been implemented by modeling them as intelligent agents. Personality is generally considered a ....
....The main difference is the fact that we model them according to the Object Oriented paradigm in order to improve reusability and modularity. 4.2. 1 Mood Mood is represented by the object SAMood containing objects named SAMoodFeature, whose attributes are name and intensity, defined along a [ 10, 10] axis. Opposite mood features are represented by the same object, according to different values of intensity. For instance, joy is designated by an instance of SAMoodFeature, whose name is joy , and whose intensity is a value close to 10, whereas the same object represents sadness with an ....
Thomas, F. & Johnston, O. Disney Animation: The Illusion of Life. New York: Abbeville Press. (1981)
MPML 2.0e : Multimodal Presentation Markup Language.. - Yuan Zong Hiroshi (2000) (Correct)
....a character agent should not only have communication abilities, but also personality traits, which lets users feel affection. If a character agent, who has the face and body, but can only perform machine like actions, the audience will soon feel bored when communicating with the character agent [7,2]. Considering personality and social behavior of the character agent, we focus on emotion expression functions [4,6] Emotion can be expressed as joy, sadness, anger, surprise, hate, fear and so forth. There is no generally accepted classification system of emotions yet. So we focus on research ....
Thomas, F., Johnson, O.: Disney Animation: The Illusion of Life. Abbeville Press, New York, 1981.
Painterly Rendering for Animation - Meier (1996) (70 citations) (Correct)
....static images that do not invite the viewer into the process. In particular, when creating images for animation, focus and simplification are essential to showing action in a clear way since the temporal nature of the image gives the viewer much less time to let their eyes wander about the scene [16]. Certainly focus and simplicity can be achieved with computer rendering tools by carefully controlling lighting and surface attributes and unnecessary detail can be obscured using hierarchical modeling, but it is still difficult to obtain the level of abstraction that is evident in a good ....
Frank Thomas and Ollie Johnston. Disney Animation--The Illusion of Life. Abbeville Press, 1981.
Texture Mapping for Cel Animation - Correa, Jensen, Thayer, Finkelstein (1998) (7 citations) (Correct)
....enjoys an economy of line [14] where just a few gestures with a pen can suggest life and emotion that is difficult to achieve by moving 3 D models. Finally, there exists an entire art form (and industry) built around hand drawn animation, whose techniques have been refined for more than 80 years [27]. While the industry is increasingly using computer generated elements in animated films, the vast majority of characters are hand drawn in 2 D, especially when the figure should convey a sense of life and emotion. In this project, we begin with hand drawn characters created by a traditional ....
....picture shows the 3 D model with the texture applied to it, and the right picture shows the final frame from the movie: hand drawn art composited with the warped model and the background. In these frames the ball exhibits squash and stretch , a fundamental principle of traditional cel animation [27]. The 3 D model for this case is a simple sphere with a hand painted beachball texture applied to it. The sphere rotates with respect to the camera, so that it appears to be rolling. To guide the warp for this simple model, we used exactly one pair of marker curves per frame. In Figure 14 we show ....
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Frank Thomas and Ollie Johnston. Disney Animation: The Illusion of Life. Walt Disney Productions, New York, 1981.
Animating Sand, Mud, and Snow - Sumner, O'Brien, Hodgins (1998) (Correct)
....that the viewer should never be unintentionally surprised by the From The Proceedings of Graphics Interface 98, Vancouver, B.C. Canada, June 17 21, pp 125 132. Figure 1: Image of tracks left in the sand by a group of fast moving, motion blurred, alien bikers. motion or lack of it in a scene[25]. Movie directors face a related problem because they must ensure that the viewer is presented with a consistent view of the world and the characters. An actor s clothing should not inexplicably change from scene to scene, lighting should be consistent across edits, and absent, unexpected, or ....
F. Thomas and O. Johnston. Disney Animation: The Illusion of Life. Abbeville Press, New York, 1984.
Emotion Expression Function in Multimodal Presentation - Zong, Dohi, Prendinger.. (2000) (Correct)
....a character agent should not only have communication abilities, but also personality traits which lets users feel affection. If a character agent, which has the face and body, but can only perform machine like reactions, the audience will soon feel bored when communicating with the character agent [7,2]. Considering personality and social behavior of the character agent, we focus on emotion expression functions [4,6] Emotion can be expressed as joy, sadness, anger, surprise, hate, fear and so forth. There is no generally accepted classification system of emotions yet. So we focus on research ....
Thomas, F., Johnson, O.: Disney Animation: The Illusion of Life . Abbeville Press, New York, 1981.
Shadows for Cel Animation - Petrovic, Fujito, Williams.. (2000) (4 citations) (Correct)
....animators, shadows were used in cel animation even from the very early days because they anchored the figure to the ground. Without some kind of contact with the background, the characters seemed to float around, walking on air, no matter how much weight had been animated into their movements. [12] Traditionally, shadow mattes have been drawn by hand, and while modern digital image manipulation tools provide simple operations that assist in the creation of mattes, the process is still largely manual. In this paper, we present a semi automatic method of creating shadow mattes from the ....
THOMAS,F.,AND JOHNSTON,O. Disney Animation: The Illusion of Life. Walt Disney Productions, New York, 1981.
Animation From Observation: Motion Capture and Motion Editing - Gleicher (1999) (5 citations) (Correct)
....usually divide methods into three categories: manual specification, procedural and simulation, and motion capture. Traditionally, motion for animation has been created by specifying the position of objects at each instant in time [Lutz] These methods became highly evolved as the art developed [TJ]. Manual specification has the obvious drawback of being laborious, but also requires a great deal of skill to create convincing motion by specifying a series of individual poses as properties of the motion are created over many individual poses. While computers can reduce some of the labor by ....
Frank Thomas and Ollie Johnson. Disney Animation: The Illusion of Life. Abbeville Press, 1981.
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F. Thomas and O. Johnson. Disney Animation: The Illusion of Life. New York, Abbeville, 1984.
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F. Thomas and O. Johnson. Disney Animation: The Illusion of Life. New York, Abbeville, 1984.
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F. Thomas and O. Johnston, Disney Animation: The Illusion of Life. New York: Hyperion, 1995.
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Frank, T. & Johnston, O. 1981. Disney Animation -- The Illusion of Life, New York: Abbeville Press.
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Thomas, F., and Johnson, O. Disney Animation: The Illusion of Life. Abbeville Press, 1984.
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F. Thomas and O. Johnson. Disney Animation: The Illusion of Life. New York, Abbeville, 1984.
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Frank Thomas and Ollie Johnston. Disney Animation: The Illusion of Life. Abbeville Press, New York, NY, 1984.
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Frank Thomas and Ollie Johnston. Disney Animation: The Illusion of Life. Abbeville Press, New York, NY, 1984.
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Thomas, F. & Johnson, O., Disney Animation: The Illusion of Life. NewYork, Abbeville, 1984.
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Thomas F., Johnston O.: "Disney Animation: The Illusion of Life", Abbeville Press, 1981
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Thomas,F.,and Jonhnston, "Disney Animation:The illusion of life" Abbeyville Publishers,NY 1981
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Frank Thomas and Ollie Johnston. Disney Animation: The Illusion of Life. Abbeville Press, New York, NY, 1984.
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