Commercial Animation Research Articles

AIGC Technology: Reshaping the Future of the Animation Industry

This paper explores the transformative role of Artificial Intelligence-assisted Generative Content (AIGC) technology in the animation industry. AIGC's key components, including Generative Adversarial Networks (GANs), Natural Language Processing (NLP), Reinforcement Learning, Virtual Reality (VR), and Augmented Reality (AR) are elucidated. The technology is seen to catalyze innovations in character and scene design, storyline construction, and scriptwriting, enhancing creativity and efficiency. AIGC's application in music and sound effects production, special effects and editing workflows, as well as in rendering and collaboration stages is also discussed, showcasing the improved work efficiency and quality of final products achieved through AI-assisted tools. Through a case study of the pioneering AIGC-assisted animation, "The Dog and the Boy," we demonstrate the potential of AIGC in driving commercial animation. Despite its current limitations, the study concludes that AIGC technology is poised to reshape the animation industry, promising a future marked by enhanced creative expression, increased efficiency, and the successful integration of AI in traditional workflows.

In Search of the Plastic Image

Scan processing is an analog electronic image manipulation technology which emerged in the late 1960's, reached its apex during the 1970's, and was made obsolete by digital computing in the 1980's. During this period, scan processing instruments such as the Scanimate (1969) and the Rutt/Etra Video Synthesizer (1973) revolutionized commercial animation and inspired a generation of experimental video artists. This paper presents a media archaeological examination of scan processing which analyzes the history and functioning of the instruments used, what sorts of possibilities they afforded their users, and how those affordances were realized with technology of the era. The author proposes the reenactment of historical media technologies as an investigative methodology which helps us understand the relation of past and present, and details a reenactment of scan processing involving the display of digitally synthesized audio signals on an analog Cathode Ray Tube vector monitor.

Research on the Character Creation of Chinese 3D Commercial Animation Films

In recent years, China is vigorously developing the film and television animation industry. Character design is the core of animation design in this cultural industry and the key to the animation industry chain. Chinese animation once had an important position in the history of world development. However, currently, the character design of 3D commercial animation in China is weak and lacks a style with Chinese characteristics. Therefore, this article analyzes and contrasts the classic animation works of Fang, China, and the United States, explores the weakness of domestic 3D commercial animation, and uses character modeling as the research center to study the character modeling of Chinese 3D commercial animation films. Analyze the characteristics of Chinese animation in modeling design from different aspects such as social and cultural background, market economy development, and technological progress. Summarize and explore the unique style and aesthetic value of Chinese animation design. The purpose is to explore the preservation of the traditional outstanding clan characteristics and provide a theoretical and historical basis for Chinese 3D commercial animation creation and research.

La complejidad narrativa en los cuentos de brujas del anime contemporáneo: autoconsciencia y cognoscibilidad en Kurozuka y Madoka Magica

El fantástico es uno de los principales marcos temáticos de las producciones de la animación comercial japonesa. Dentro de este género, las diversas adaptaciones y reelaboraciones de mitos y cuentos tradicionales suponen recursos fértiles con los que cubrir las demandas de una industria extremadamente prolífica. Sin embargo, pese a su popularidad como objeto de estudio, las exploraciones textuales sobre anime fantástico rara vez se aventuran más allá de las coordenadas temáticas o históricas de sus argumentos. El presente artículo persigue atender a la relación entre la intricada narración de dos series televisivas significativas dentro del fantástico en el anime —Kurozuka y Madoka Magica— y la representación de las brujas que las protagonizan. Mediante el uso de las categorías narratológicas de la autoconsciencia y de la cognoscibilidad indagamos en la relación entre la tradición representacional japonesa y la narración compleja del audiovisual contemporáneo.

Animation of Free Time and Support for Psychomotor Development of Infants Aged Over 3 Months

This article constitutes a desk study regarding animation of free time and its influence on the psychomotor development of infants aged over 3 months. The article discusses the concept of free time of infants. The motor and psychological development of children between the age of three months to one year is presented. Moreover, different ways of spending free time by the parent and child are shown. The aim of this article is to raise awareness of the role of supporting early child development through appropriate selection of games and other activities in line with the individual stage of development of an infant. The article has been prepared based on a literature review (including PubMed, Research Gate, EBSCO) as well as analysis of selected offers of commercial animation activities available in the city of Poznan, taking into account the individual stages of development and their impact on the comprehensive development of infants. Moreover, a list of activities recommended for children which are adequate to specific periods of their development was also prepared.

상업 애니메이션 창작을 위한 창의적 상상방식의 체계적 패턴화

상업 애니메이션 창작을 위한 창의적 상상방식의 체계적 패턴화

Kawaii Aesthetics from Japan to Europe: Theory of the Japanese “Cute” and Transcultural Adoption of Its Styles in Italian and French Comics Production and Commodified Culture Goods

Kawaii culture and aesthetics are a peculiarity of contemporary Japan and move across mass media, impulse goods, creative industries, and juvenile tendencies. The concept, graphic styles, and commodities related to a kawaii culture are composite. This article, in its first part, outlines the theories and general features of this cultural trend in Japan and as it is framed in most western countries. In the second part, it also focuses on whether and how the concept and the related styles and commodities have found a place in Europe, with particular reference to Italy and France. These two countries, in fact, have been since the late 1970s the key markets in the Euro-American region for Japanese contemporary culture for youths, namely Japanese comics (generally called manga) and commercial animation (or anime). Anime and manga are, in effect, an integral part of the theoretical discourse on kawaii in the two markets considered, as it is discussed accordingly in the second part of the article. In its last section, the article addresses the impact of kawaii styles on youth cultures in Europe, which is, although limited, multidimensional: it has involved spontaneous drawings among children, a certain amateur and professional comics production, amateur and commercial animation, toys and a diverse merchandising, street art, and fashion design.

Recreando el fotorrealismo: la consultoría visual del director de fotografía Roger Deakins en Wall-E

<p>El dominio creciente de las técnicas de animación 3D a comienzos de la década de 2000 ha provocado un interesante cambio dentro del canon artístico de los largometrajes comerciales de animación estadounidenses. Aunque la animación 2D hollywoodiense siempre ha coqueteado con el estilo fotorrealista, esta tendencia visual se ha estandarizado en la producción de animación gracias a las posibilidades del paradigma digital. El artículo considera el estreno de Wall•E (Andrew Stanton, 2008), una de las obras visualmente más impactantes en la filmografía Disney/Pixar, como un momento crucial dentro de este proceso estético, ya que marca la primera colaboración entre el director de fotografía Roger Deakins y un estudio de animación. El artículo analiza los primeros diez minutos del largometraje para establecer si la labor de asesoría visual de Deakins pueden considerarse un hito que abrió nuevos caminos a la dirección de fotografía digital de imagen real. </p>

日本の商業アニメーションのビジネスデザインに関する一考察 : アニメーション制作会社とアニメーション産業振興政策の現状を踏まえて(画像デザイン)

日本の商業アニメーションのビジネスデザインに関する一考察 : アニメーション制作会社とアニメーション産業振興政策の現状を踏まえて(画像デザイン)

A Model of Protection of Intangible Cultural Heritage by Commercial Three-Dimensional Animation - Taking “Little Master of Brocade” as an Example

Though China has carried out protection of intangible cultural heritage by three-dimensional animation, to protect intangible cultural heritage by commercial three-dimensional animation still requires further discussion and promotion. “Little Master of Brocade” (Yun Jing Xiao Dang Jia) is a cartoon gaining a good reputation at home and abroad and it has achieved certain economic benefits and social and cultural benefits in respect of protection of intangible cultural heritage. On the basis the status of protection of intangible cultural heritage by three-dimensional animation, this paper discussed a new model and the future trend of protection of intangible cultural heritage by commercial three-dimensional animation by taking “Little Master of Brocade” (Yun Jing Xiao Dang Jia) as an example.

Crowdfunding Japanese Commercial Animation: Collective Financing Experiences in Anime

ABSTRACTThe current article offers an exploration of the incipient development of crowdfunding anime projects for short and medium-length films. Japanese commercial animation is characterized by the support of a strong production industry that primarily targets local audiences through cross-media projects, developed in synergy with other cultural sectors (such as the publishing industry, record labels, or video game developers). The growing acceptance of anime in markets around the world has strengthened it as one of the most well-known forms of Japanese popular culture and has also resulted in changes to some of the dominant dynamics of its production to adapt to technological innovations. One of these changes has been the rise of crowdfunding, an increasingly popular form of financing involving the patronage of fans from all corners of the world who want to participate in these audiovisual projects. This article analyses the response to some of the more popular initiatives from a historiographical perspective on the production and reception of commercial animation and the main theories related to the relationship between the hyperactive nature of Japanese fandom and collective financing. The conclusions include the confirmation of the increasing receptiveness to anime crowdfunding among potential sponsors—especially among fans based outside Japan on platforms with a global reach, such as Kickstarter—and a consideration of the transformative potential of this phenomenon for a precarious industry and its usefulness as a tool for exploring the viability of the production and distribution of projects by animation studios.

Surgical Simulation Update for Resident Education in Plastic Surgery

Simulation is defined as replication of a real-world process or system over time. Surgical Simulations have gained popularity in the recent years. There have been many studies evaluating the role of computer and real-life simulations in surgical training. In several surgical specialties, the use of standardized simulators has become a mandatory portion of the resident’s training, such as the fundamentals of laparoscopic surgery, which is a required part of the residency in general surgery.1 Simulators employ various types of models to represent real-world objects and systems. Some of the most common types of models in simulations include the following: Physical models: these types of models are physical objects representing a process or system in a controlled and simplified fashion. The systems used for training in fundamentals of laparoscopic surgery represent physical models of the abdomen. Mathematical models: these models provide a description of an object or a system using mathematical algorithms and concepts commonly within a computer simulation. Graphical models: these types of models are based on graphical depiction of an object or a system. Graphical models can be 2-dimensional or 3-dimensional. Finite element models: in this method of modeling, large and complex objects or systems are divided into much smaller and simpler parts with more predictable and defined behavior. The simulators can sum up the behavior of the smaller parts to replicate the larger and more complex objects. With advances in computer technology, the development of models has become easier and more affordable. A readily accessible source of data for creation of anatomical models is the Visible Human Project (https://www.nlm.nih.gov/research/visible/visible_human.html). The members of the American Council of Academic Plastic Surgeons Committee on Simulation in collaboration with a commercial animation company developed a computer-based simulator to teach the latissimus dorsi breast reconstruction technique to the residents and medical students.2 There are numerous other examples of simulators, both physical and computer based, which have been developed in the recent years by interested faculty and residents. An example is a project from the Case Medical Center in Cleveland, Ohio, which was spearheaded by one of the residents. With the help of a small institutional grant, a mobile application was developed to help improve the informed consent process by enabling the patient to visually navigate through a procedure.3 Touch Surgery is a London- and NYC-based company that has developed many simulations of surgical procedures based on real surgical videos. These simulations are accessible on smart phones and tablets (https://www.touchsurgery.com). With the advent of immersion technology, such as Oculus Rift (https://www.oculus.com/en-us/rift/) and Microsoft Hololens (https://www.microsoft.com/microsoft-hololens/en-us), the simulation world is experiencing a rapid shift toward virtual and augmented reality. Augmented reality represents a combination of computer-generated simulation and information superimposed on the real-world objects. The potential applications of these new technologies for medical and surgical training are immense. Surgical simulations have improved significantly in the recent years. Required technology has become more readily available. More surgeon educators should become involved in the development of simulators for training of the next generation of plastic surgeons.

Collectivity in (Stop-)Motion: Lift Animation, Lantern Software, and the Making of Community

This article positions the work of the feminist animation studio Lift Animation as a corrective to the industrialized processes and gendered hierarchies of traditional commercial animation studios. It examines Lift's unique place in the world of contemporary animation as a studio concerned especially with questions of alterity, subjecthood, and community formation in its work. A self-described “socially conscious animation studio,” Lift is structured roughly along the lines of an artistic collective in which many animators freely contribute their skills and time in support of stop-motion animated films that explicitly consider questions of disability, gender, and political action. This article considers in particular the short films The Toll Collector (US, 2003), made by Lift founder Rachel Johnson, and Henrietta Bulkowski, currently in production at Lift. It argues that both films seek to establish empathy with characters ostracized from the boundaries of community by their physical disabilities and draws a connection between these efforts and the studio's recent animated public service announcement for Lantern Software, a program designed to circumvent government Internet censorship efforts around the world through the formation of peer-sharing networks. Each of these animated works speaks in turn to the power of community and collective action grounded in a willed identification with the distant other.

The Experimental Animation and Contemporary Art

It is not enough to focus only on the development of mainstream animation and commercial animation, when China tries its best to develop animation education and industry. It ignores the vitality which the experimental and pioneering efforts bring to animation art. The media material experiments and the expressive languages of the experimental animation are suitable for animation education and therefore, call^_@span style=color:#cccccc ^_# for dynamic application and promotion. Combination, collage, imitation and conversion are the same features of styling language which the experimental animation shares with the contemporary art. I recommen^_@/span^_#^_@span style=color:#999999 ^_# ... ^_@/span^_#^_@a href=javascript:; onclick=nodeUse('NODE02440329|147003') style=color:#999999;font-size:14px;text-decoration:underline; ^_#전체 초록 보기^_@/a^_#

Moving innovation: a history of computer animation

Computer graphics (or CG) has changed the way we experience the art of moving images. Computer graphics is the difference between Steamboat Willie and Buzz Lightyear, between ping pong and PONG. It began in 1963 when an MIT graduate student named Ivan Sutherland created the first true computer animation program. Instead of presenting a series of numbers, Sutherland's Sketchpad program drew lines that created recognizable images. Sutherland noted: Since motion can be put into Sketchpad drawings, it might be exciting to try making cartoons. This book, the first full-length history of CG, shows us how Sutherland's seemingly offhand idea grew into a multibillion dollar industry. In Moving Innovation, Tom Sito -- himself an animator and industry insider for more than thirty years -- describes the evolution of CG. The history of traditional cinema technology is a fairly straight path from Lumire to MGM. Writing the history of CG, Sito maps simultaneous accomplishments in multiple locales -- academia, the military-industrial complex, movie special effects, video games, experimental film, corporate research, and commercial animation. His story features a memorable cast of characters -- math nerds, avant-garde artists, cold warriors, hippies, video game enthusiasts, and studio executives: disparate types united by a common vision. Computer animation did not begin just with Pixar; Sito shows us how fifty years of work by this motley crew made movies like Toy Story and Avatar possible.

A Study on Style and Technical Elements of Animation for Low Budget Commercial Animation

A Study on Style and Technical Elements of Animation for Low Budget Commercial Animation

Condensing the Media Mix: Multiple Possible Worlds in The Tatami Galaxy

Cet article identifie quelques unes des distinctions générales dans les pratiques narratives transmédiatiques plus précisément entre ce qui, en Amérique du Nord, a été appelé la culture de la convergence des médias et ce qui est connu au Japon comme le media mix. Rédigé à partir d’une lecture de la série d’animation La galaxie Tatami (Yojōhan shinwa taikei, 2010), cet article illustre les différentes approches de la cohérence diégétique à l’intérieur de chacune de ces formations industrial-médiatiques. L’article s’inspire des concepts leibnitzien de compossibilité et d’incompossibilité pour dresser un cadre théorique permettant de comprendre les différences dans la création de mondes médiatiques. En lisant La galaxie Tatami comme un méta commentaire sur la pratique du media mix, l’article vise aussi plus généralement à développer les termes pour l’analyse d’oeuvres transmédiatiques.

Volume-preserving FFD for programmable graphics hardware

Free-Form Deformation (FFD) is a well established technique for deforming arbitrary object shapes in space. Although more recent deformation techniques have been introduced, among them skeleton-based deformation and cage-based deformation, the simple and versatile nature of FFD is a strong advantage, and justifies its presence in nowadays leading commercial geometric modeling and animation software systems. Since its introduction in the late 1980s, many improvements have been proposed to the FFD paradigm, including control lattices of arbitrary topology, direct shape manipulation and GPU implementation. Several authors have addressed the problem of volume-preserving FFD. These previous approaches either make use of expensive nonlinear optimization techniques, or resort to first order approximation suitable only for small-scale deformations. In this paper we take advantage of the multi-linear nature of the volume constraint in order to derive a simple, exact and explicit solution to the problem of volume-preserving FFD. Two variants of the algorithm are given, without and with direct shape manipulation. Moreover, the linearity of our solution enables to implement it efficiently on GPU.

The Future of Machinima as a Professional Animation Resource and its Growth as Real-Time Animation in Virtual Worlds

The author argues that although machinima is a relatively specialized field, it offers a newer and faster production pipeline for the commercial animation industry as a whole. Pioneered by individuals who have turned their passion for gaming into a powerful professional animation medium, machinima has a great potential. After comparing the development of machinima to the evolution of the internet, the author concludes that the emergence of virtual worlds such as Second Life was instrumental in the growth of this particular type of real-time computer animation.

Performance-driven animation of hand-drawn cartoon faces

We present a novel performance-driven approach to animating cartoon faces starting from pure 2D drawings. A 3D approximate facial model automatically built from front and side view master frames of character drawings is introduced to enable the animated cartoon faces to be viewed from angles different from that in the input video. The expressive mappings are built by artificial neural network (ANN) trained from the examples of the real face in the video and the cartoon facial drawings in the facial expression graph for a specific character. The learned mapping model makes the resultant facial animation to properly get the desired expressiveness, instead of a mere reproduction of the facial actions in the input video sequence. Furthermore, the lit sphere, capturing the lighting in the painting artwork of faces, is utilized to color the cartoon faces in terms of the 3D approximate facial model, reinforcing the hand-drawn appearance of the resulting facial animation. We made a series of comparative experiments to test the effectiveness of our method by recreating the facial expression in the commercial animation. The comparison results clearly demonstrate the superiority of our method not only in generating high quality cartoon-style facial expressions, but also in speeding up the animation production of cartoon faces. Copyright © 2011 John Wiley & Sons, Ltd.