Digital Animation

As in all disciplines, there are some projects that require interdisciplinarity interaction in many forms of art and design. It has been observed many times that interdisciplinarity yields more effective results during the process of a project and it is a unique technique of work that combines different domains of expertise. A production of a film is a whole of complicated interdisciplinary approaches that combining considerably different disciplines. Regardless of animated or live-action, all motion picture projects that are presented to the audience only exist as a draft before emerging as a product. We see a film project as a script first but storyboard is the first part when a film starts to exist visually. Storyboard is a technique of illustration of a script in a simple and effective manner. It is a road map for the team that is working on the film. It is fairly challenging to express the shot angles, actor or characters facial expressions, stage designs in only writing. A sto...

Panelists will present and discuss issues related to producing 3D computer animation and digital image synthesis in the context of long format productions. Top producers of feature films, television shows and specials will be the featured speakers.

Panelists will present and discuss issues related to producing 3D computer animation and digital image synthesis in the context of long format productions. Top producers of feature films, television shows and specials will be the featured speakers.

Complementary subjects contribute to students' learning and professional curriculum; however, we have observed that students are not achieving complementary learning through these subjects due to various factors. These include the fear of retaliation from teachers if students speak up about the issue, and the complete lack of training provided to teachers to help them understand and deliver better classes related to the Digital Animation and Visual Effects program at the Instituto Tecnológico Superior de Progreso. As a result, the classes often fail to connect with or enhance the learning of students in this program. Suggestions include conducting research and offering future training for teachers, taking into account student feedback and teacher evaluations to drive improvement.

Digital animation has evolved from being solely used for entertainment to becoming a key tool in professional training. This article explores the benefits and challenges of implementing digital animation in higher education, based on the perspectives of students from the Digital Animation program at the Instituto Tecnológico Superior de Progreso. Through a survey conducted with 10 students, strengths and areas for improvement in their academic training were identified, aiming to provide recommendations that enhance the preparation of future professionals for the demands of the job market.

Declaro ser autor do presente trabalho de investigação, parte integrante das condições exigidas para a obtenção do grau de Mestre em Audiovisual e Multimédia. Declaro ainda ser este um trabalho original, nunca submetido (no seu todo ou em qualquer das suas partes) a uma instituição de ensino superior para obtenção de um grau académico ou de outra habilitação. Atesto ainda que todas as citações aqui incluídas se encontram devidamente identificadas, e acrescento ter consciência de que o plágio poderá levar à anulação do trabalho agora apresentado. Lisboa, fevereiro de 2021 _____________________________ Nuno Gomes x RESUMO A computação gráfica (computer graphics) nasceu na década de 1960, ajudando na forma como o cinema representa o mundo. Nos dias de hoje é uma ciência multidisciplinar. É responsável pelo constante desenvolvimento e aperfeiçoamento de diversas áreas, desde a medicina à indústria automóvel. A evolução do cinema permitiu à computação gráfica integrar-se na sétima arte. Sendo a mesma, hoje em dia, uma importante ferramenta das produções cinematográficas. Começando por simples introduções da computação gráfica em curtas metragens na década de 1970, acabou por se tornar numa ferramenta muito utilizada em longas metragens totalmente computadorizadas, já no século XXI. O foco desta investigação passa por compreender a construção e animação da personagem virtual, através da captura de movimento de atores. As diversas representações do ser humano através de uma personagem digital, ao longo da história do cinema, demonstram que existem diversas técnicas para chegar ao resultado final. No entanto, ainda há uma indefinição sobre a melhor a ser abordada e utilizada. The Adventures of Tintin: The Secret of the Unicorn (2011). Serve assim, para perceber as características de animação indicadas para determinados momentos cinematográficos, tendo em conta a representação do ser humano através de uma personagem virtual. Esta investigação pretende ser um arquivo de dados relevante, através de uma pesquisa epistemológica reflexiva justificada na literatura das ciências sociais e humanas. Tornar-se um ponto de partida para que mais etapas de conceção, modelação, animação e produção sejam compreendidas e estudadas por novas gerações da era da computação gráfica.

This paper proposes a method for the use the traditional animation technique, the flip book, to analog visualization of motions developed from digital media. Then, the study proposes a method of developing flip books from animations generated with the software Sketchup. With the development of examples the study shows the possibility of representation of motion on representations in paper, and that these motions can be generated from a digital three-dimensional model.

This chapter introduces key concepts of 3D modeling in the humanities. A 3D model can represent a great variety of objects. The objects of 3D modeling of historical architecture are lost or extant buildings, their modifications, and designs that were never executed. These buildings are as much part of the cultural heritage as their plans. The chapter begins with a survey of source-based historical knowledge as the basis of analysis, historic interpretation, and reconstruction of any historical situation. It then addresses modeling in general as a scientific practice, its use in architecture, and the advantages of its digitization. • What are the basic definitions and concepts related to 3D modeling? • Why and how does it with historic architecture and cultural heritage? • What are sources, and what is their purpose? • How is reconstruction done? • Why model, and how can one do this in a scientific way? • What is a model? (in general, and in architecture) • What are the conditions for digital 3D modeling?

In recent years, the animation industry has witnessed a significant transformation driven by advancements in artificial intelligence (AI) technologies. This research article explores the application of AI techniques in animation through a case study of the Ice Age movie series. Through a comprehensive analysis, we explore how AI-driven tools have impacted character animation, facial expressions, background creation, storyboard development, rendering, and audience engagement in the Ice Age franchise. By dissecting the specific AI-driven tools and methodologies employed across the movies, this analysis elucidates how AI has elevated animation quality, streamlined production processes, and fostered unprecedented levels of creativity. By examining the specific AI techniques utilized in the production of these films and their impact on animation quality and efficiency, this study sheds light on the evolving relationship between technology and creative expression in animated filmmaking, landscape of animation production and its implications for storytelling and visual aesthetics.

This paper proposes a method for the use the traditional animation technique, the flip book, to analog visualization of motions developed from digital media. Then, the study proposes a method of developing flip books from animations generated with the software Sketchup. With the development of examples the study shows the possibility of representation of motion on representations in paper, and that these motions can be generated from a digital three-dimensional model.

Las Inteligencias artificiales aplicadas en la animación digital han sido tema de debate, debido a que, por un lado, pueden agilizar procesos e innovar en aspectos técnicos de un proyecto, y por otro lado, violar propiedades intelectuales y presentar

Esse artigo propõe uma análise sobre como determinadas configurações estéticas dentro da animação japonesa vieram a determinar as características distintas do que convencionamos a chamar de Anime. Nós iremos olhar para a história estética do anime, desde os primeiros experimentos com animação de recorte, celofane e celuloide para compreender a formalização do modelo de produção da animação limitada. Posteriormente, iremos analisar como as configurações das técnicas full limited, hyper-limited e superflat propuseram espaços compositivos inovadores e um uso diferenciado do intervalo entre e através das imagens. O campo digital também criou um espaço aberto para o intercâmbio de técnicas aparentemente distintas que trouxeram inovações compositivas para o Anime. Por essa razão, iremos analisar como a habilidade de composição de camadas da animação veio a ser importante na inserção e combinação de elementos móveis e imóveis dentro do espaço digital. Por fim, concluímos sobre como esse ce...

Marking the anniversary of the redevelopment of the Van Nelle Factory in Rotterdam, the related project archive was formally transferred to the Rotterdam City Archive in order to enable proper archival conservation and public accessibility of this essential documentation. This article sheds light on the documentation and redevelopment process of a modern World Heritage (WH) site and on the role of archives as an example for other protected heritage projects or sites.

The paper explains two curatorial concepts that propose viable strategies for exhibiting new media art by presenting two exhibitions of ArtNetLab group as corresponding experimental case studies: Algorithms of Inclusion and Le Genie des Jardins. An aspect of the transformed relation to reality as a consequence of technological innovation is set for each model as the theme that a selection of new media art works reflects upon by building interactive functional communication models.

Tekst był publikowany w: "Opcje" 2007, nr 3.
Jest takie zdjęcie Nam June Paika, zamieszczone na okladce wydawnictwa opublikowanego już po jego śmierci, na którym
artysta - będący jednym z najważniejszych przedstawicieli (nowych) mediów - przeraźliwie ziewa. Nuda? Czy tak mogłaby wyglądać najkrótsza, a przy tym bardzo wymowna, diagnoza kondycji sztuki nowych mediów?

'The Garden of Earthly Delights' by Hieronymus Bosch is one of the world's best-known artworks, a triptych which has captivated audiences for five centuries. Since 2016, Colección SOLO has collected and commissioned contemporary artworks inspired by Bosch's masterpiece across media including digital animation, sound and artificial intelligence as well as painting and ceramics. These works, exhibited at Matadero Madrid in 'The Garden of Earthly Delights through the artworks of Colección SOLO' (October 2021 - February 2022) are brought together in this publication.

The paper explains two curatorial concepts that propose viable strategies for exhibiting new media art by presenting two exhibitions of ArtNetLab group as corresponding experimental case studies: Algorithms of Inclusion and Le Génie des Jardins. An aspect of the transformed relation to reality as a consequence of technological innovation is set for each model as the theme that a selection of new media art works reflects upon by building interactive functional communication models.

The paper explains two curatorial concepts that propose viable strategies for exhibiting new media art by presenting two exhibitions of ArtNetLab group as corresponding experimental case studies: Algorithms of Inclusion and Le Genie des Jardins. An aspect of the transformed relation to reality as a consequence of technological innovation is set for each model as the theme that a selection of new media art works reflects upon by building interactive functional communication models.

In the mixed reality of the computer installation Presence, which functions as a prototype for a smart space, the visitor is placed in the position of a person in audience with the king. The interaction with a digital avatar is structured according to the rules of social behaviours and following the script of the Shakespeare's play. The paper explains different aspects of the conceptualisation of an interdisciplinary collaboration between artists and computer engineers.

It is obvious that Nigerian movies have widely won accolades for creating jobs and boosting the Nigerian entertainment industry‟s economy and popularity. It is obvious too that no Nigerian movie has won any Africa Film award, talk less of an Oscar. This may be because the production techniques with which these movies are churned out are faulty. There are few reasons for this. It is because the pre and post productions procedures are most of the time, rushed for economic reasons. For instance, in the pre-production, certain techniques like the storyboard are not harnessed. This study attempts to show directors that with storyboard, the director of a movie or stage multimedia production can effectively execute the project and earn the desired results. This is due to the fact that storyboard serves two basic purposes. First, it acts as a process tool. This means that the process of creating a storyboard helps the movie or stage director to visualize the final project before it happens....

25 25 Ao observar a necessidade de ordenação e relação entre os métodos de criação de personagem e captura de movimentos, este estudo objetiva conhecer o processo criativo e de desenvolvimento de ambos, reconhecendo as particularidades existentes, para futuramente desenvolver um projeto de animação em que os resultados deste estudo sejam aplicados. Palavras-chave: Criação de personagens. Desenho. Animação. Movimento. Captura de movimento. By observing the need for ordering and relationship between the methods of character creation and motion capture, this study aimed to evaluate the creative and development process of both, recognizing the existing particularities, so that, in the future, it will be possible to develop an animation project in which the results of this study are applied.

This paper critically analyzes some of the results of the International Summer School Priene—Architecture and Archaeology. Survey, Documentation and Design at Priene. The archaeological site of Priene was included in 2018, by Turkey’s delegation to UNESCO, within the provisional list of properties considered cultural and/or natural heritage of outstanding universal value; thus eligible for inclusion in the World Heritage List. The subject of the study concerns the theater, one of the most relevant areas of the archaeological site. A photogrammetric survey of the theater’s area was done during the educational experience. The paper presents a workflow from the initial input phase, of digital acquisition, to the output phase, of data restitution by creating a three-dimensional model. The resulting model obtained, for research and dissemination purposes, were used to experiment with Virtual Reality (VR) and Augmented Reality (AR) applications to show the theater’s original splendor, now in a good state of preservation but still an archaeological ruin.

This article presents innovative approaches to bring art students from secondary school in touch with archival and architectural working methods. This is achieved by analysing and comparing digital and physical archival material that can be found in the Acervo arquitetônico de Oscar Niemeyer in Brazil and the Hamburg Architecture Archive in Germany. The students work practice-based on different research questions focussing on the developments of architectural concepts and their realization.

O referente artigo e baseado na vivencia de uma estagiaria no Centro de Atencao Psicossocial (CAPS) da cidade de Porto Uniao - Estado de Santa Catarina. Baseado em pesquisa bibliografica, foi decidido com a supervisao do psicologo  responsavel, implantar na instituicao uma oficina de cinema, onde os participantes assistiam a um filme e posteriormente uma discussao sobre o conteudo do mesmo era realizada. Atraves dos filmes, destinados ao publico infantil, foram trabalhadas demandas subjetivas de cada usuario, sendo a demanda-alvo usuarios que possuiam dificuldades de expressao, comunicacao e/ou comprometimento cognitivo, que atraves dos personagens dos filmes, entraram em contato com modelos de comportamento e que atraves da exibicao dos mesmos ocorreu tanto a modelacao quanto a potencializacao de emocoes, afim de ampliar e aprimorar o repertorio comportamental dos usuarios, em especial suas  habilidades sociais por meio da psicoeducacao com filmes trabalhando suas crencas centrais,...

Esse tutorial discute, tanto do ponto de vista prático quanto teórico, a animação de personagens e a utilização da captura de movimento para esse fim. Assim, ele apresenta brevemente a história da animação e da captura de movimento. Em seguida, aborda de maneira mais detalhada todo o fluxo de trabalho para realizar a captura de movimento e animar personagens com essa técnica. Ele também apresenta uma solução de código aberto para a captura de movimento proposta pelos autores e o estado atual desse desenvolvimento.

Concert work in four linked movements for violin solo, commissioned by the English Music Festival with a brief (to four separate composers) to write a piece reflecting on King Richard III. Then prefatory note cites Geoffrey Hill's prose introduction to his early sonnet sequence, 'Funeral Music', and each of the four sections carries a superscription drawn from Shakespeare's Richard III. The work has been issued as CD recording by Rupert Marshall-Luck for the English Music label, and is destined also for a DVD release concerning the English Music Festival's Richard III project with the four composers concerned

A captura de movimentos é um dos principais métodos para analise quantitativa de movimento, a partir do século XIX, desenvolveram-se inúmeros sistemas de captura, para aplicações na biomecânica, animações, jogos eletrônicos e filmes. Uma acurada análise de movimentos humanos requer o conhecimento de distintos campos científicos, por isto se necessita de ferramentas didáticos e métodos de pesquisa e aprendizagem. Os dispositivos de captura de movimentos atualmente encontrados no mercado apresentam algumas desvantagens para uso didático, como a dificuldade de transporte, alto custo e pouca liberdade para aquisição de dados. Por estes motivos, análise quantitativa de movimentos requerem laboratórios complexos. Em reação a estes problemas, este trabalho apresenta o desenvolvimento de um sistema de captura barato, leve, portátil, freeware e de fácil uso para fins didáticos. Este projeto inclui a seleção de um dispositivo e o desenvolvimento do software. Um dispositivo foi escolhido e doi...

ser falsos, lo que le ha conducido a una mirada incrédula y puede rastrearse en la manipulación de las imágenes que ofrecían los medios de comunicación sobre la primera guerra del Golfo (1991) o la ceremonia de inauguración de los Juegos Olímpicos de Pekín de 2008 (Catalá, 2005).

This dissertation examines the origins, applications, and functions of visual effects in the historical documentary film. This research study investigates how aesthetic and editorial practices and tools are used for different image forms and as part of the visual presentation. A research design that implements qualitative interviews, visual analysis, and focus groups was incorporated to examine visual effects and images at three specific sites. The pan-and-zoom effect and its variants as well as select titles from the filmography of Ken Burns were used as case studies for this dissertation. The findings from the analyses suggest that visual effects for still image forms and the repetition of these applications and strategies are significant to the content depicted in images, the scope of the visual presentation, and the capacity for audiences to connect to historical information in the film.

This paper presents a new approach to the digital investigation of unbuilt architecture. A navigable world, emulating the architect's graphic style, is built as a 3D non-photorealistic reconstruction of the unbuilt project. A cinematic journey through this world intermediates the exploration of the architect's possible mental visualizations during the creative stages. The goals of the proposed approach are: to open new avenues for investigating the conception of architecture, to help architectural students visualize and experience important unbuilt projects that have shaped the practice of architecture, and to popularize lesserknown architects to the general public. The approach stems from the idea that architectural drawings are the artifacts reflecting most accurately the architect's creative and thinking processes. Anchored in the concept of multi-dimensional space developed by the author, the proposed method uses the original drawing of the artist as the main artifact on which the reconstruction process is based. The present paper concentrates on those aspects related to extracting information from the architect's drawing and embedding historic knowledge in the 3D reconstruction of the unbuilt project. It calls to attention the idea that technological progress creates tools that the Architect uses to operate with the fundamental concepts of place, space, and time.

Certas abordagens do design de animacao 3d procuram aproximar suas esteticas ao fotorrealismo. Essas tentativas correm o risco de causarem ao publico alguns desconfortos ao revelarem a origem artificial dos personagens, fenomeno classificado como Uncanny Valley. Nesse contexto, o presente texto, configurado como pesquisa exploratoria, tem o objetivo de analisar as possiveis causas de tais consequencias a partir das obras do estudio Image Movers Digital, que dedicou suas animacoes em longa-metragem predominantemente as imagens com semelhanca visual fotografica.

Resumo A Ansiedade Social afeta um número significativo de pessoas, limitando-as na vida pessoal e social, e apresentando um nível de comorbilidade elevado com a depressão. Neste artigo descrevemos um projeto que aplica Realidade Virtual, interativa, para a terapia de exposição da Ansiedade Social, recorrendo a Personagens Virtuais exibindo combinações de expressões faciais e corporais. A aplicação descrita neste artigo atualiza e melhora significativamente uma versão anterior, sobretudo no que respeita à qualidade gráfica dos personagens virtuais; é executada em computadores vulgares, sem equipamentos dispendiosos, sendo facilmente utilizada em contextos de aconselhamento e investigação. A possibilidade de controlar de forma minuciosa as expressões faciais permite o seu uso em contextos de investigação do comportamento não-verbal. Embora se tenha recorrido apenas a modelos gratuitos ou de muito baixo custo, adotaram-se estratégias que permitiram obter a qualidade adequada, facto que conseguimos validar através de testes com um conjunto significativo de observadores.

Introduction Sepsis is one of the most common causes of mortality in postnatal women globally and many other women who develop sepsis are left with severe morbidity. Women’s knowledge of postnatal sepsis and how it can be prevented by simple changes to behaviour is lacking. Methods This paper describes the co-development and feasibility testing of a digital animation intervention called DAISI (digital animation in service improvement). This DAISI is designed to enhance postnatal women’s awareness of sepsis and how to reduce their risk of developing the condition. We co-designed the digital animation over a six-month period underpinned by theory, best evidence and key stakeholders, translated it into Urdu then assessed its use, firstly in a focus group with women from different Black, Asian and Minority Ethnic (BAME) groups and secondly with 15 clinical midwives and 15 women (including BAME women). Following exposure to the intervention, midwives completed a questionnaire developed f...

This work consists of a set of eight vector graphics animations exploring phasing loops, intended to be displayed on televisions and monitors, for home use or exhibition in art galleries as Generative Cinema installations. By combining animated loops with different durations it is possible to generate complex images created by simpler basic elements through a phasing effect. After the first loop, the animation gradually desynchronizes. The different combinations resulting from the layering of desynchronized loops generate image variation until the loops return to unison and restart the cycle. The duration of the phasing cycles of six of the eight pieces reach orders of magnitude over 10^19 frames, which, at a rate of 24 frames per second, is equivalent to the estimated age of the universe (14 billion years). The imagery of the resulting pieces is based on research on properties and structural elements of analog and digital electronic media. This work combines different elements that...

Sunshine is a story about growing up. It’s a story that I feel is important to tell, because it’s a hardship that everyone can relate to. By sharing a story that other people can understand, I can create a connection between myself and my audience; or a feeling of empathy. I chose to tell this story through film, so I could share my story primarily through images, or visual narrative. Sunshine is currently in its animatic state, which is the preliminary version of the film. The animatic, or story reel, consists of the film’s storyboards put together and timed out in a video format, and includes a scratch track of the voices and sounds in the film. In this paper, I will be discussing some of the foundations of creating a visual narrative; including the process of story development and character creation, the necessity of storyboarding and its principles in conveying stories, and the digital tools and process that I used to create and assemble the final story reel

Este trabalho recorre a técnicas de Visão por Computador e de Computação Gráfica para caracterizar o movimento 3D de corpos articulados. As técnicas de Visão por Computador são utilizadas para efectuar o seguimento de marcas e para obter a sua posição tridimensional em relação às câmaras. Com recurso a técnicas de Computação Gráfica é efectuada uma animação do movimento tridimensional do corpo articulado, a qual poderá ser um auxiliar precioso, por exemplo, no domínio da Biomecânica. No âmbito deste trabalho, foi efectuada uma aplicação ao caso do estudo da estabilidade articular do tornozelo. Os resultados obtidos mostram que a metodologia é viável.

Historically, the role of drawing in traditional animation was unequivocal. How has this role been affected or changed by the advent of computer animation, and the increasingly widespread use of digital tools in animation? Can the contemporary animator work exclusively with these digital tools and forego the use of drawing, or are these tools an extension of traditional drawing utensils?

Este artigo é um recorte do projeto de conclusão de curso intitulado “Design e afetividade: projeto de um jogo de tabuleiro para expressão de emoções na vida infantil”, do curso de Bacharelado em Design do IFSul. Dessa forma, o destaque foi dado ao desenvolvimento de ilustrações. O estudo contou com pesquisa bibliográfica, questionário voltado para o público-alvo e análises, diante disse ocorreu a definição do projeto e criação dos personagens. A partir da temática escolhida do fundo do mar, as emoções (alegria, tristeza, raiva, amor, medo, nojo e surpresa, consideradas as sete principais) são representadas por animais marinhos. Assim, espera-se que os personagens desenvolvidos possam ser uma ferramenta lúdica que auxilie crianças a entenderem e expressarem suas emoções de forma divertida.

Those people who supported me, challenged me, inspired me, and lent their own hands in help have my utmost gratitude, and recognition goes to theme for this film's successes. On difficult days, and in dire times, my friends, classmates, and collaborators made this film possible. Firstly, my thesis advisor, Brian Larson, whose abounding patience and encouragement were matched only by his expertise and insight, gave constant meaningful feedback and advice during my time as his student. As his student, Professor Larson always pushed us to improve and tested our skillsthis was precisely the reason I asked him to be my advisor on my thesis. He certainly delivered: the most meaningful council came in the form of difficult questions meant to challenge my thoughts on my film, story, and characters. This was a vital step to improving my own understanding of my film, and thus creating a better, more thoughtful piece. In addition to Professor Larson, I received a great deal of advice and feedback from other professors and classmates that did not go to waste. I was always grateful for the information and helpful opinions. There were many thoughts and observations that didn't occur to me, and hearing form outside perspectives that usually did not have much prior knowledge of the film's content was extremely enlightening. It is important to note my main collaborators on this project: my voice actress Christa Elliot and my sound designer Zazu Pitts of Sour Note Productions. Ms. Elliot was incredibly diligent in her work and easy to work with. Likewise, Mr. Pitts is a talented and highly professional sound designer, and his skill truly shows in his work in the film. He made many accommodations and worked extremely hard on this very complicated piece. I am very grateful for their hard work, as they treated this piece like it was their own. This is as much their work of art as it is mine. Lastly, I was truly touched and amazed by the many people who lent their help to complete my film in the final days. Among those friends and classmates credited in my film were people who quite literally banded together to help me clean up line work, color shots, finish backgrounds, create special effects, composite shots, and help with post-production and credits.

The increasing use of computer technologies in projects involving the acquisition, documentation and communication of cultural heritage has led to a fast and ever more high demands of standards and methodologies in order to create best practices models. In the past years, in Europe it has been recorded a considerable interest in the digitization of Cultural Heritage and the creation of databases shared on the network (EUROPEANA, CARARE, 3D Icons), in the implementation of policies for the identification of shared global standards (EPOCH, MINERVA) and in the application of Web Gis (MAPPA, Mapping Gothic France). The research we project suits with this debate by proposing an innovative methodology for the investigation of the urban heritage. It should be able to document and represent the transformations that the city had during the time and the aim is to experiment a new methodology of knowledge and representation of the city.

Through documental research and architectural survey, the paper presents a study on the Balilla House in Teramo (Italy)originally designed by Enrico Del Debbio, on the events that brought to the building of the House and sports centre and on following transformations. The building is referred to a context characterized by urban scale works, by the realization of new social building typologies and by a linguistic experimentation with modernist expressions that put together tradition and research of new expressive ways. The study favours the analysis of the role playedin this kind of worksby Italian designers, public bodies as well as local technicians and institutions.

In this paper we discuss a novel multidisciplinary method for computer animation, using motion capture ('mocap') as reference, combining techniques from 2D and 3D animation, and digital sculpting. Our method develops a process to create animation based on mocap data, without being restricted by standard practices that depend on existing rigged 3D models, allowing for visual expression and improvisation while taking advantage of naturalistic motion and interaction within a 3D environment. The standard mocap methodology for creating animation consists of retargeting (transferring) the recorded data from actors and performers to existing digital characters, providing them with movement. The motion is then polished and tweaked by animators, until the final result is achieved. The character's animation is the result of the captured performance and the original character design, but they are not created at the same time, as they are put together later on. Something similar happens with 3D computer animation: in order for animators to articulate characters into poses that are interpolated by the computer, a model of a character has to be built first. Here, the animators fully control the performance, but the design of the character pre-dates this process, and can only be modified within certain constraints. Mocap is bound by physics and naturalistic movements, animation can be exaggerated, weight and force have to be conveyed, rather than imposed. Both differ aesthetically but none of the approaches takes full advantage of 2D animation methods, where drawings dictate shape, form and motion at the same time. The characters here can be designed for the movement they perform in particular shots. This opens possibilities for a more experimental approach, where abstraction can exist. Our method combines the different disciplines and allows form to be created for each key pose, using digital sculpting tools for development and mocap as reference. Then, poses can be interpolated so the method is still interactive, allowing for experimentation. Using drawing as the starting point from the mocap data allows for greater understanding of the poses by studying the human figure in motion. This creates new opportunities for designing the animation, regarding shapes, forms and movement.

This volume documents the film Roots, a visionary 3-D animation by Italian artist Mariagrazia Potorno (born 1978) in which the skyscrapers of Manhattan, as visible from Central Park, and some of the park's vegetation, are uprooted from the earth and lift off in flight.

The high costs of motion capture systems makes its use impracticable to part of its potencial users. Currently, optical systems shows a solution that allies minor costs and efficiency. However, the use of owner software keeps its high prices. This paper describes the development of an Open Source application that contains the basics of an optical motion capture system, using computer vision and computer graphics techniques.

Through implementation of high quality energy efficiency solutions a remarkable reduction in the energy demand of historic buildings is achievable. Those solutions have to be very specifically targeted and adapted to the particular building case. Impor¬tant basis for this approach is an experienced multi¬disciplinary team which guarantees a failure free implementation. This is the base postulate in FP7 project 3ENCULT. The paper outlines actual experiences with multidisciplinarity in the planning process both in heritage objects and low energy buildings and illustrates how the – in conservation well established – “Raumbuch” (room book) can be integrated with energy issues to support the construc¬tive discussion across disciplines. It describes, which specific issues the conservation and energy experts look at in the survey and documentation phase and how the joint an structured documentation, not only on an aggregated level, but down till the single room supports also the developmen...