Procedural Animation Algorithm For Sasandu Playing Performance in 3D Animated Film “Bako”

2019 ◽  
Author(s):  
Chanel Maria Novel ◽  
Andrew Willis
Keyword(s):  
Procedural Animation ◽  
Animated Film

scholarly journals Procedural Animation Algorithm For Sasandu Playing Performance in 3D Animated Film 'Bako'

2019 ◽  
Vol 1 (1) ◽  
pp. 229-243
Author(s):  
Chanel Maria Novela ◽  
Andrew Willis
Keyword(s):  
Musical Instrument ◽  
Short Film ◽  
3D Animation ◽  
Procedural Animation ◽  
Repetitive Movements ◽  
Animated Film ◽  
Scripting Language ◽  
Human Joints

Many techniques can be implemented to create a 3D animation; one of them is procedural animation. Procedural animation is a type of animation  in  which  all  movements  are  created  using  programming  languages or scripting. This technique is very effective to animate repetitive movements. Therefore, the motion  created  using  procedural algorithms  in  “Bako”  3D  animation  short  film  is  playing musical  instruments. Phyton is used as the scripting language, with Sasandu as the musical instrument. Sasandu is a unique musical instrument of the island of Rote that is starting to go extinct. Playing the Sasandu is relatively difficult to animate manually, as we have to keep synchronizing it with the melody and tempo of the music. In the attempt of creating a fluid and believable animation of the finger striking, the rig should also be adjusted to mimics the structure of the hand and the human joints. Also, the logic of the algorithm created should be able to create a proper strumming movement with the tone and timing. This is to make sure that the resulting animated movements are correct according to the song's notations.

Somethin’ about Scandinavia: Danish Shorts on the Post-war International Scene

2018 ◽  
Author(s):  
C. Claire Thomson
Keyword(s):  
United Nations ◽  
International Collaboration ◽  
Marshall Plan ◽  
The Third ◽  
Animated Film ◽  
International Audience ◽  
Post War ◽  
Nordic Cooperation

Building on the picture of post-war Anglo-Danish documentary collaboration established in the previous chapter, this chapter examines three cases of international collaboration in which Dansk Kulturfilm and Ministeriernes Filmudvalg were involved in the late 1940s and 1950s. They Guide You Across (Ingolf Boisen, 1949) was commissioned to showcase Scandinavian cooperation in the realm of aviation (SAS) and was adopted by the newly-established United Nations Film Board. The complexities of this film’s production, funding and distribution are illustrative of the activities of the UN Film Board in its first years of operation. The second case study considers Alle mine Skibe (All My Ships, Theodor Christensen, 1951) as an example of a film commissioned and funded under the auspices of the Marshall Plan. This US initiative sponsored informational films across Europe, emphasising national solutions to post-war reconstruction. The third case study, Bent Barfod’s animated film Noget om Norden (Somethin’ about Scandinavia, 1956) explains Nordic cooperation for an international audience, but ironically exposed some gaps in inter-Nordic collaboration in the realm of film.

Horror and Death: Rethinking Coco's Border Politics

2020 ◽  
Vol 73 (4) ◽  
pp. 41-49
Author(s):  
Orquidea Morales
Keyword(s):  
The United States ◽  
Horror Film ◽  
Walt Disney Company ◽  
Life And Death ◽  
Walt Disney ◽  
Day Of The Dead ◽  
Animated Film ◽  
Border Politics ◽  
The Dead ◽  
The U.S

In 2013, the Walt Disney Company submitted an application to trademark “Día de los muertos” (Day of the Dead) as they prepared to launch a holiday themed movie. Almost immediately after this became public Disney faced such strong criticism and backlash they withdrew their petition. By October of 2017 Disney/Pixar released the animated film Coco. Audiences in Mexico and the U.S. praised it's accurate and authentic representation of the celebration of Day of the Dead. In this essay, I argue that despite its generic framing, Coco mobilizes many elements of horror in its account of Miguel's trespassing into the forbidden space of the dead and his transformation into a liminal figure, both dead and alive. Specifically, with its horror so deftly deployed through tropes and images of borders, whether between life and death or the United States and Mexico, Coco falls within a new genre, the border horror film.

VERBALIZATION OF THE ANTAGONIST IMAGE: FROM THE BYLINA TO THE ANIMATED FILM

2020 ◽  
Vol 3 (96) ◽  
pp. 39-48
Author(s):  
Elena N. Ilyina ◽  
Violetta S. Tivo
Keyword(s):  
Animated Film

Book Reviews

Projections ◽  
2020 ◽  
Vol 14 (2) ◽  
pp. 102-123
Author(s):  
Kata Szita ◽  
Paul Taberham ◽  
Grant Tavinor
Keyword(s):  
Video Games ◽  
Film Industry ◽  
Indiana University ◽  
Animated Film ◽  
The Mind

Bernard Perron and Felix Schröter, eds., Video Games and the Mind: Essays on Cognition, Affect and Emotion (Jefferson, NC: McFarland, 2016), 224 pp., $39.95 (softcover), ISBN: 9780786499090.Christopher Holliday, The Computer-Animated Film: Industry, Style and Genre (Edinburgh: Edinburgh University Press, 2018), 272 pp., $39.95 (paperback), ISBN: 9781474427890.Aubrey Anable, Playing with Feelings: Video Games and Affect (Minneapolis: Minnesota University Press, 2018), 200 pp., $25.00 (paperback), ISBN: 9781517900250. and Christopher Hanson, Game Time: Understanding Temporality in Video Games (Bloomington: Indiana University Press, 2018), 296 pp., $38.00 (paperback), ISBN: 9780253032867.

Designing Emotion Of Characters By Referencing From Facs In Short Animated Film “RANA”

2018 ◽  
Vol 9 (2) ◽  
pp. 31-38
Author(s):  
Fransisca Adis ◽  
Yohanes Merci Widiastomo
Keyword(s):  
Facial Expression ◽  
Basic Characteristic ◽  
Early Stage ◽  
3D Animation ◽  
Coding System ◽  
Facial Action Coding System ◽  
Facial Action ◽  
Animated Film ◽  
Character Design ◽  
The Face

Facial expression is one of some aspects that can deliver story and character’s emotion in 3D animation. To achieve that, we need to plan the character facial from very beginning of the production. At early stage, the character designer need to think about the expression after theu done the character design. Rigger need to create a flexible rigging to achieve the design. Animator can get the clear picture how they animate the facial. Facial Action Coding System (FACS) that originally developed by Carl-Herman Hjortsjo and adopted by Paul Ekman and Wallace V. can be used to identify emotion in a person generally. This paper is going to explain how the Writer use FACS to help designing the facial expression in 3D characters. FACS will be used to determine the basic characteristic of basic shapes of the face when show emotions, while compare with actual face reference. Keywords: animation, facial expression, non-dialog

‘An Elegant Legacy?’

2019 ◽  
pp. 181-203
Author(s):  
Danielle Birkett
Keyword(s):  
Archival Research ◽  
Animated Film ◽  
Political Message ◽  
Broadway Musicals ◽  
Frank Sinatra

Different issues challenged the screen adaptation of Finian’s Rainbow, which was one of the most successful Broadway musicals of the 1940s but took more than twenty years to be released as a film. Using archival research, this chapter reveals the frustrated early attempts to make Finian’s into an animated film musical, partly blighted by the blacklisting of lyricist E. Y. Harburg in 1951. Ex-Disney animator John Hubley was hired to work on the film and created more than 400 storyboard sketches, designs, and character drafts for the movie. By 1954, ten key songs had been recorded by leading artists such as Frank Sinatra, Ella Fitzgerald, and Louis Armstrong; indeed, in an attempt to make the project as commercial as possible, Sinatra was assigned a part in nearly all the songs. A new prologue was added and changes were made to the story to soften its vigorous political message, but for a mixture of political and financial reasons the production was abruptly closed down; Finian’s Rainbow would not reach the screen until late the following decade.

Sign in / Sign up

Export Citation Format

Share Document