三维动画设计外文翻译文献

目录1 引言 ........................................................................................................ 错误!未定义书签。

2 目前做法 ................................................................................................ 错误!未定义书签。

3 相关工作 ................................................................................................ 错误!未定义书签。

4 游艇的绘制 ............................................................................................ 错误!未定义书签。

5 特点和数据结构 .................................................................................... 错误!未定义书签。

6 成立曲线 ................................................................................................ 错误!未定义书签。

自由曲线 ........................................................................................... 错误!未定义书签。

约束曲线 ........................................................................................... 错误!未定义书签。

外文资料翻译—原文部分Fundamentals of Human Animation(From Peter Ratner.3D Human Modeling and Animation[M].America:Wiley,2003:243~249)If you are reading this part, then you have most likely finished building your human character, created textures for it, set up its skeleton, made morph targets for facial expressions, and arranged lights around the model. You have then arrived at perhaps the most exciting part of 3-D design, which is animating a character. Up to now the work has been somewhat creative, sometimes tedious, and often difficult.It is very gratifying when all your previous efforts start to pay off as you enliven your character. When animating, there is a creative flow that increases gradually over time. You are now at the phase where you become both the actor and the director of a movie or play.Although animation appears to be a more spontaneous act, it is nevertheless just as challenging, if not more so, than all the previous steps that led up to it. Your animations will look pitiful if you do not understand some basic fundamentals and principles. The following pointers are meant to give you some direction. Feel free to experiment with them. Bend and break the rules whenever you think it will improve the animation.SOME ANIMATION POINTERS1. Try isolating parts. Sometimes this is referred to as animating in stages. Rather than trying to move every part of a body at the same time, concentrate on specific areas. Only one section of the body is moved for the duration of the animation. Then returning to the beginning of the timeline, another section is animated. By successively returning to the beginning and animating a different part each time, the entire process is less confusing.2. Put in some lag time. Different parts of the body should not start and stop at the same time. When an arm swings, the lower arm should follow a few frames after that. The hand swings after the lower arm. It is like a chain reaction that works its way through the entire length of the limb.3. Nothing ever comes to a total stop. In life, only machines appear to come to a dead stop. Muscles, tendons, force, and gravity all affect the movement of a human. You can prove this to yourself. Try punching the air with a full extension. Notice that your fist has a bounce at the end. If a part comes to a stop such as a motion hold, keyframe it once and then again after three to eight or more keyframes. Your motion graph will then have a curve between the two identical keyframes. This will make the part appear to bounce rather than come to a dead stop.4. Add facial expressions and finger movements. Your digital human should exhibit signs of life by blinking and breathing. A blink will normally occur every 60 seconds. A typical blink might be as follows:Frame 60: Both eyes are open.Frame 61: The right eye closes halfway.Frame 62: The right eye closes all the way and the left eye closes halfway.Frame 63: The right eye opens halfway and the left eye closes all the way.Frame 64: The right eye opens all the way and left eye opens halfway.Frame 65: The left eye opens all the way.Closing the eyes at slightly different times makes the blink less mechanical.Changing facial expressions could be just using eye movements to indicate thoughts running through your model's head. The hands will appear stiff if you do not add finger movements. Too many students are too lazy to take the time to add facial and hand movements. If you make the extra effort for these details you will find that your animations become much more interesting.5. What is not seen by the camera is unimportant. If an arm goes through a leg but is not seen in the camera view, then do not bother to fix it. If you want a hand to appear close to the body and the camera view makes it seem to be close even though it is not, then why move it any closer? This also applies to sets. There is no need to build an entire house if all the action takes place in the living room. Consider painting backdrops rather than modeling every part of a scene.6. Use a minimum amount of keyframes. Too many keyframes can make the character appear to move in spastic motions. Sharp, cartoonlike movements are created with closely spaced keyframes. Floaty or soft, languid motions are the result of widely spaced keyframes. An animation will often be a mixture of both. Try to look for ways that will abbreviate the motions. You can retain the essential elements of an animation while reducing the amount of keyframes necessary to create a gesture.7.Anchor a part of the body. Unless your character is in the air, it should have some part of itself locked to the ground. This could be a foot, a hand, or both. Whichever portion is on the ground should be held in the same spot for a number of frames. This prevents unwanted sliding motions. When the model shifts its weight, the foot that touches down becomes locked in place. This is especially true with walking motions.There are a number of ways to lock parts of a model to the ground. One method is to use inverse kinematics. The goal object, which could be a null, automatically locks a foot or hand to the bottom surface. Another method is to manually keyframe the part that needs to be motionless in the same spot. The character or its limbs will have to be moved and rotated, so that foot or hand stays in the same place. If you are using forward kinematics, then this could mean keyframing practically every frame until it is time to unlock that foot or hand.8.A character should exhibit weight. One of the most challenging tasks in 3-D animation is to have a digital actor appear to have weight and mass. You can use several techniques to achieve this. Squash and stretch, or weight and recoil, one of the 12 principles of animation discussed in Chapter 12, is an excellent way to give your character weight.By adding a little bounce to your human, he or she will appear to respond to the force of gravity. For example, if your character jumps up and lands, lift the body up a little after it makes contact. For a heavy character, you can do this several times and have it decrease over time. This will make it seem as if the force of the contact causes the body to vibrate a little.Secondary actions, another one of the 12 principles of animation discussed in Chapter 12, are an important way to show the effects of gravity and mass. Using the previous example of a jumping character, when he or she lands, the belly could bounce up and down, the arms could have some spring to them, the head could tilt forward, and so on.Moving or vibrating the object that comes in contact with the traveling entity is another method for showing the force of mass and gravity. A floor could vibrate or a chair that a person sits in respond to the weight by the seat going down and recovering back up a little. Sometimes an animator will shake the camera to indicate the effects of a force.It is important to take into consideration the size and weight of a character. Heavy objects such as an elephant will spend more time on the ground, while a light character like a rabbit will spendmore time in the air. The hopping rabbit hardly shows the effects of gravity and mass.9. Take the time to act out the action. So often, it is too easy to just sit at the computer and try to solve all the problems of animating a human. Put some life into the performance by getting up and acting out the motions. This will make the character's actions more unique and also solve many timing and positioning problems. The best animators are also excellent actors. A mirror is an indispensable tool for the animator. Videotaping yourself can also be a great help.10. Decide whether to use IK, FK, or a blend of both. Forward kinematics and inverse kinematics have their advantages and disadvantages. FK allows full control over the motions of different body parts. A bone can be rotated and moved to the exact degree and location one desires. The disadvantage to using FK is that when your person has to interact within an environment, simple movements become difficult. Anchoring a foot to the ground so it does not move is challenging because whenever you move the body, the feet slide. A hand resting on a desk has the same problem.IK moves the skeleton with goal objects such as a null. Using IK, the task of anchoring feet and hands becomes very simple. The disadvantage to IK is that a great amount of control is packed together into the goal objects. Certain poses become very difficult to achieve.If the upper body does not require any interaction with its environment, then consider a blend of both IK and FK. IK can be set up for the lower half of the body to anchor the feet to the ground, while FK on the upper body allows greater freedom and precision of movements.Every situation involves a different approach. Use your judgment to decide which setup fits the animation most reliably.11. Add dialogue. It has been said that more than 90% of student animations that are submitted to companies lack dialogue. The few that incorporate speech in their animations make their work highly noticeable. If the animation and dialogue are well done, then those few have a greater advantage than their competition. Companies understand that it takes extra effort and skill tocreate animation with dialogue.When you plan your story, think about creating interaction between characters not only on a physical level but through dialogue as well. There are several techniques, discussed in this chapter, that can be used to make dialogue manageable.12. Use the graph editor to clean up your animations. The graph editor is a useful tool that all 3-D animators should become familiar with. It is basically a representation of all the objects, lights, and cameras in your scene. It keeps track of all their activities and properties.A good use of the graph editor is to clean up morph targets after animating facial expressions. If the default incoming curve in your graph editor is set to arcs rather than straight lines, you will most likely find that sometimes splines in the graph editor will curve below a value of zero. This can yield some unpredictable results. The facial morph targets begin to take on negative values that lead to undesirable facial expressions. Whenever you see a curve bend below a value of zero, select the first keyframe point to the right of the arc and set its curve to linear. A more detailed discussion of the graph editor will be found in a later part of this chapter.ANIMATING IN STAGESAll the various components that can be moved on a human model often become confusing if you try to change them at the same time. The performance quickly deteriorates into a mechanical routine if you try to alter all these parts at the same keyframes. Remember, you are trying to create humanqualities, not robotic ones.Isolating areas to be moved means that you can look for the parts of the body that have motion over time and concentrate on just a few of those. For example, the first thing you can move is the body and legs. When you are done moving them around over the entire timeline, then try rotating the spine. You might do this by moving individual spine bones or using an inverse kinematics chain. Now that you have the body moving around and bending, concentrate on the arms. If you are not using an IK chain to move the arms, hands, and fingers, then rotate the bones for the upper and lower arm. Do not forget the wrist. Finger movements can be animated as one of the last parts. Facial expressions can also be animated last.Example movies showing the same character animated in stages can be viewed on the CD-ROM as CD11-1 AnimationStagesMovies. Some sample images from the animations can also be seen in Figure 11-1. The first movie shows movement only in the body and legs. During the second stage, the spine and head were animated. The third time, the arms were moved. Finally, in the fourth and final stage, facial expressions and finger movements were added.Animating in successive passes should simplify the process. Some final stages would be used to clean up or edit the animation.Sometimes the animation switches from one part of the body leading to another. For example, somewhere during the middle of an animation the upper body begins to lead the lower one. In a case like this, you would then switch from animating the lower body first to moving the upper part before the lower one.The order in which one animates can be a matter of personal choice. Some people may prefer to do facial animation first or perhaps they like to move the arms before anything else. Following is a summary of how someone might animate a human.1. First pass: Move the body and legs.2. Second pass: Move or rotate the spinal bones, neck, and head.3. Third pass: Move or rotate the arms and hands.4. Fourth pass: Animate the fingers.5. Fifth pass: Animate the eyes blinking.6. Sixth pass: Animate eye movements.7. Seventh pass: Animate the mouth, eyebrows, nose, jaw, and cheeks (you can break these up into separate passes).Most movement starts at the hips. Athletes often begin with a windup action in the pelvic area that works its way outward to the extreme parts of the body. This whiplike activity can even be observed in just about any mundane act. It is interesting to note that people who study martial arts learn that most of their power comes from the lower torso.Students are often too lazy to make finger movements a part of their animation. There are several methods that can make the process less time consuming.One way is to create morph targets of the finger positions and then use shape shifting to move the various digits. Each finger is positioned in an open and fistlike closed posture. For example, the sections of the index finger are closed, while the others are left in an open, relaxed position for one morph target. The next morph target would have only the ring finger closed while keeping the others open. During the animation, sliders are then used to open and close the fingers and/or thumbs. Another method to create finger movements is to animate them in both closed and open positions and then save the motion files for each digit. Anytime you animate the same character, you can load the motions into your new scene file. It then becomes a simple process of selecting either the closed or the open position for each finger and thumb and keyframing them wherever you desire.DIALOGUEKnowing how to make your humans talk is a crucial part of character animation. Once you add dialogue, you should notice a livelier performance and a greater personality in your character. At first, dialogue may seem too great a challenge to attempt. Actually, if you follow some simple rules, you will find that adding speech to your animations is not as daunting a task as one would think. The following suggestions should help.DIALOGUE ESSENTIALS1. Look in the mirror. Before animating, use a mirror or a reflective surface such as that on a CD to follow lip movements and facial expressions.2. The eyes, mouth, and brows change the most. The parts of the face that contain the greatest amount of muscle groups are the eyes, brows, and mouth. Therefore, these are the areas that change the most when creating expressions.3. The head constantly moves during dialogue. Animate random head movements, no matter how small, during the entire animation. Involuntary motions of the head make a point without having to state it outright. For example, nodding and shaking the head communicate, respectively, positive and negative responses. Leaning the head forward can show anger, while a downward movement communicates sadness. Move the head to accentuate and emphasize certain statements. Listen to thewords that are stressed and add extra head movements to them.4. Communicate emotions. There are six recognizable universal emotions: sadness, anger, joy, fear, disgust, and surprise. Other, more ambiguous states are pain, sleepiness, passion, physical exertion, shyness, embarrassment, worry, disdain, sternness, skepticism, laughter, yelling, vanity, impatience, and awe.5. Use phonemes and visemes. Phonemes are the individual sounds we hear in speech. Rather than trying to spell out a word, recreate the word as a phoneme. For example, the word computer is phonetically spelled "cumpewtrr." Visemes are the mouth shapes and tongue positions employed during speech. It helps tremendously to draw a chart that recreates speech as phonemes combined with mouth shapes (visemes) above or below a timeline with the frames marked and the sound and volume indicated.6. Never animate behind the dialogue. It is better to make the mouth shapes one or two frames before the dialogue.7. Don't overstate. Realistic facial movements are fairly limited. The mouth does not open that much when talking.8. Blinking is always a part of facial animation. It occurs about every two seconds. Different emotional states affect the rate of blinking. Nervousness increases the rate of blinking, while anger decreases it.9. Move the eyes. To make the character appear to be alive, be sure to add eye motions. About 80% of the time is spent watching the eyes and mouth, while about 20% is focused on the hands and body.10. Breathing should be a part of facial animation. Opening the mouth and moving the head back slightly will show an intake of air, while flaring the nostrils and having the head nod forward a little can show exhalation. Breathing movements should be very subtle and hardly noticeable...外文资料翻译—译文部分人体动画基础(引自Peter Ratner.3D Human Modeling and Animation[M].America:Wiley,2003:243~249)如果你读到了这部分，说明你很可能已构建好了人物角色，为它创建了纹理，建立起了人体骨骼，为面部表情制作了morph修改器并在模型周围安排好了灯光。

动画设计电视广告论文中英文外文翻译文献Copywriting for Visual MediaBefore XXX。

and film advertising were the primary meansof advertising。

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local ads can still be seen in some movie theaters before the start of the program。

The practice of selling time een programming for commercial messages has e a standard in the visual media XXX format for delivering shortvisual commercial messages very XXX.⑵Types of Ads and PSAsThere are us types of ads and public service announcements (PSAs) that XXX ads。

service ads。

and XXX a specific product。

while service ads promote a specific service。

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on theother hand。

promote an entire company or industry。

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AnimationAnimation is the rapid display of a sequence of images of 2-D or 3—D artwork or model positions to create an illusion of movement. The effect is an optical illusion of motion due to the phenomenon of persistence of vision，and can be created and demonstrated in several ways。

The most common method of presenting animation is as a motion picture or video program，although there are other methods.Early examplesAn Egyptian burial chamber mural，approximately 4000 years old，showing wrestlers in action. Even though this may appear similar to a series of animation drawings，there was no way of viewing the images in motion. It does，however，indicate the artist's intention of depicting motion.Early examples of attempts to capture the phenomenon of motion drawing can be found in paleolithic cave paintings，where animals are depicted with multiple legs in superimposed positions，clearly attempting to convey the perception of motion。

关于动画的毕业设计论文英文文献翻译附录附录A:外文资料翻译,原文部分The needs of the development of the Chinese animationWhy the development of cultural industries such as animation and game? Who isthe model for the development of animation and game industry in China? By following the survey report in Japan and the U.S. can be seen, animation, games and other cultural industries to each country to bring much benefit. Not ugly, social progress, to a certain period of time, the development of cultural industries is inevitable.Japan's animation industry can be described as a model, andtherefore the reference object and catch up with the target of China's animation industry. However, reporters found that a series of data on the Japanese animation industry is also confusing, especially back in five or six years ago, a number of widely cited data today seems very absurd.In many articles in 2006, reporters found that when the output value of the global animation industry between $ 200,000,000,000 to $500,000,000,000, the annual output value of Japan's animation industry to reach 230 trillion yen, Japan's second-pillar industry. " According to the 2010 release in Japan this year Japan's gross domestic product (GDP) at current prices of479.1791 trillion yen, while Japan's economicgrowth in recent years is not, you can estimate when the Japanese animation industry, the proportion of GDP is likely to exceed 50%!The most popular data is the Japanese animation industry share of GDP over 10%, this estimate, the Japanese anime industry output shouldbe about 48 trillion yen, which is $ 800,000,000,000. Which is basically the global animation industry and its industrial output value of derivatives and the United States topped the list where the shelter?According to the Japan Association of digital content, the White Paper 2004 "of the" digital animation industry as an important part of Japanese culture and creative industries, the output value in 2004 reached 12.8 trillion yen, accounting for Japan's gross domestic product 2.5%, Imaging Products 4.4 trillion yen, 1.7 trillion yen of the music products, books and periodicals published 5.6 trillion yen, 1.1 trillion yen of the game, more than agriculture, forestry, aquatic production value of 10 trillion yen. Andcommunications, information services, printing, advertising, appliances and other aggregate, it is up to the scale of 59 trillion yen. Only in this way the scope of the animation industry generalized, so as to achieve 10% of the proportion of domestic widespread.The integration of information seems relatively reasonable, "White Paper on digital content 2004 to data released, with some reference value, that is, Japan's animation industry's share of GDP should be between 2-5%. This way, the domestic animation industry is also a lot less pressure, but the runner-up position in the global animationindustry, is the total GDP has exceeded Japan's, China is still beyond the reach of being the so-called efforts will be necessary.About 20% of GDP of the U.S. cultural industries, especiallyfollowing a set of data appear most frequently in a variety of articles: 2006 U.S. GDP was $ 13.22 trillion, the cultural industries for the $2.64 trillion; cultural products occupy 40% of international market share. The United States controlled 75 percent of global production and production of television programs; the American animation industryoutput accounted for almost 30% of the global market to reach $ 31 billion; film production in the United States accounted for 6.7 percent of the world, but occupied 50% of the world screening time; In addition, the total size of the sports industry in the United States is about $300 000 000 000, accounting for 2.3% of GDP which only NBA a $ 10billion. However, we can see that this so-called American cultureindustry output is included, including sports and related industries,its scope is greater than the domestic cultural industry classification.Last article published on the web on the proportion of cultural industry in the United States, the earliest dating back to the Economic Daily News October 27, 2000 published in the Chinese culture, industry, academic Yearbook (1979-2002 Volume) cultural entrepreneurship space is there much ". Mentioned According to statistics, 18-25 percent of theU.S. cultural industries accounted for the total GDP, the 400 richest American companies, there are 72 cultural enterprises, the U.S. audioand video have been more than the aerospace industry ranks exports tradefirst. " Since then, the concept of "cultural industries" in the Research Office of CPC Central Committee from 2002 release of "2001-2002: China Cultural Industry Development Report", the official presentationof its background "article is the first official document reference the data. Now, the "Economic Daily News, the data from wherehas been untraceable, however, has passed 10 years, the data arestill widely various articles and government documents referenced, justa little floating, such as to 1/3 or dropped to 12%, the value ratio of72 cultural enterprises "in the past 10 years has never been subject to change. At least the data, has 11 years, there is a problem.The definition of cultural industries, the classification system, statistical methods and cultural enterprises related to the composition. Culture Research Center of the Chinese Academy of Social Sciences,deputy director Zhang Xiaoming, in an interview with reporters: "to a large extent, today's American culture industry is more frommultinational companies to operate these multinational corporations majority of United States as the main body. This seems to be one kind of paradox: American culture industry backed by multinational companies to benefit from all over the world, but the ultimate holding company liesin the hands of the merchants of other countries, although the countryis still the biggest beneficiary the United States during the GDP statistics still this part of the cross-cultural enterprises to join them. It is reported that, among the most powerful movie studios of Hollywood, Columbia TriStar is a subsidiary of Sony Corporation of Japan,parent company of Fox (Fox) is Australia's News Corporation. Especially in the popular music industry sector, in addition to the WEA, the more money earned in the U.S. market is the Sony of Japan, the Netherlands, Polygram, BMG in Germany, the United Kingdom Thorn EMIcompanies.China in recent years to increase the development of cultural industries such as animation and game, the seventh international animation festival, the statistics of the number of Chinese animation turnover super-Japan, to become the first in the world. We need more quality to support domestic animation to the world.[1] Marilyn Hugh著, Andrea Jane译外文资料翻译,中文部分中国动画发展的需求中国为什么要发展动漫游戏等文化产业,中国发展动漫游戏产业的榜样是谁,通过下面对日本与美国的调查报告可以看出来，动漫游戏等文化产业给每个国家带来了多大的利益。

三维建模外文资料翻译3000字外文资料翻译—原文部分Fundamentals of Human Animation(From Peter Ratner.3D Human Modeling andAnimation[M].America:Wiley,2003:243~249)If you are reading this part, then you have most likely finished building your human character, created textures for it, set up its skeleton, made morph targets for facial expressions, and arranged lights around the model. You have then arrived at perhaps the most exciting part of 3-D design, which is animating a character. Up to now the work has been somewhat creative, sometimes tedious, and often difficult.It is very gratifying when all your previous efforts start to pay off as you enliven your character. When animating, there is a creative flow that increases gradually over time. You are now at the phase where you become both the actor and the director of a movie or play.Although animation appears to be a more spontaneous act, it is nevertheless just as challenging, if not more so, than all the previous steps that led up to it. Your animations will look pitiful if you do not understand some basic fundamentals and principles. The following pointers are meant to give you some direction. Feel free to experiment with them. Bend and break the rules whenever you think it will improve the animation.SOME ANIMATION POINTERS1. Try isolating parts. Sometimes this is referred to as animating in stages. Rather than trying to move every part of a body at the same time, concentrate on specific areas. Only one section of the body is moved for the duration of the animation. Then returning to the beginning of the timeline, another section is animated. By successively returning to the beginning and animating a different part each time, the entire process is less confusing.2. Put in some lag time. Different parts of the body should not start and stop at the same time. When an arm swings, the lower arm should follow a few frames after that. The hand swings after the lower arm. It is like a chain reaction that works its way through the entire length of the limb.3. Nothing ever comes to a total stop. In life, only machines appear to come to a dead stop. Muscles, tendons, force, and gravity all affect the movement of a human. You can prove this to yourself. Try punching the air with a full extension. Notice that your fist has a bounce at the end. If a part comes to a stop such as a motion hold, keyframe it once and then again after three to eight or more keyframes. Your motion graph will then have a curve between the two identical keyframes. This will make the part appear to bounce rather than come to a dead stop.4. Add facial expressions and finger movements. Your digital human should exhibit signs of life by blinking and breathing. A blink will normally occur every 60 seconds. A typical blink might be as follows:Frame 60: Both eyes are open.Frame 61: The right eye closes halfway.Frame 62: The right eye closes all the way and the left eye closes halfway.Frame 63: The right eye opens halfway and the left eye closes all the way.Frame 64: The right eye opens all the way and left eye opens halfway.Frame 65: The left eye opens all the way.Closing the eyes at slightly different times makes the blink less mechanical.Changing facial expressions could be just using eye movements to indicate thoughts running through your model's head. The hands will appear stiff if you do not add finger movements. Too many students are too lazy to take the time to add facial and hand movements. If you make the extra effort for these details you will find that your animations become much more interesting.5. What is not seen by the camera is unimportant. If an arm goes through a leg but is not seen in the camera view, then do not bother to fix it. If you want a hand to appear close to the body and the camera view makes it seem to be close even though it is not, then why move it any closer? This also applies to sets. There is no need to build an entire house if all the action takes place in the living room. Consider painting backdrops rather than modeling every part of a scene.6. Use a minimum amount of keyframes. Too many keyframes can make the character appear to move in spastic motions. Sharp, cartoonlike movements are created with closely spaced keyframes. Floaty or soft, languid motions are the result of widely spaced keyframes. An animation will often be a mixture of both. Try to look for ways that will abbreviate the motions. You can retain the essential elements of an animation while reducing the amount of keyframes necessary to create a gesture.7.Anchor a part of the body. Unless your character is in the air, it should have some part of itself locked to the ground. This could be a foot, a hand, or both. Whichever portionis on the ground should be held in the same spot for a number of frames. This prevents unwanted sliding motions. When the model shifts its weight, the foot that touches down becomes locked in place. This is especially true with walking motions.There are a number of ways to lock parts of a model to the ground. One method is to use inverse kinematics. The goal object, which could be a null, automatically locks a foot or hand to the bottom surface. Another method is to manually keyframe the part that needs to be motionless in the same spot. The character or its limbs will have to be moved and rotated, so that foot or hand stays in the same place. If you are using forward kinematics, then this could mean keyframing practically every frame until it is time to unlock that foot or hand.8.A character should exhibit weight. One of the most challenging tasks in 3-D animation is to have a digital actor appear to have weight and mass. You can use several techniques to achieve this. Squash and stretch, or weight and recoil, one of the 12 principles of animation discussed in Chapter 12, is an excellent way to give your character weight.By adding a little bounce to your human, he or she will appear to respond to the force of gravity. For example, if your character jumps up and lands, lift the body up a little after it makes contact. For a heavy character, you can do this several times andhave it decrease over time. This will make it seem as if the force of the contact causes the body to vibrate a little.Secondary actions, another one of the 12 principles of animation discussed in Chapter 12, are an important way to show the effects of gravity and mass. Using the previous example of a jumping character, when he or she lands, the belly could bounce up and down, the arms could have some spring to them, the head could tilt forward, and so on.Moving or vibrating the object that comes in contact with the traveling entity is another method for showing the force of mass and gravity. A floor could vibrate or a chair that a person sits in respond to the weight by the seat going down and recovering back up a little. Sometimes an animator will shake the camera to indicate the effects of a force.It is important to take into consideration the size and weight of a character. Heavy objects such as an elephant will spend more time on the ground, while a light character like a rabbit will spend more time in the air. The hopping rabbit hardly shows the effects of gravity and mass.9. Take the time to act out the action. So often, it is too easy to just sit at the computer and try to solve all the problems of animating a human. Put some life into the performance by getting up and acting out the motions. This will make the character's actions more unique and also solve many timing and positioning problems. The best animators are also excellent actors. A mirror is an indispensable tool for the animator. Videotaping yourself can also be a great help.10. Decide whether to use IK, FK, or a blend of both. Forward kinematics and inverse kinematics have their advantages and disadvantages. FK allows full control over the motions of different body parts. A bone can be rotated and moved to the exact degree and location one desires. The disadvantage to using FK is that when your person has to interact within an environment, simple movements become difficult. Anchoring a foot to the ground so it does not move is challenging because whenever you move the body, the feet slide. A hand resting on a desk has the same problem.IK moves the skeleton with goal objects such as a null. Using IK, the task of anchoring feet and hands becomes very simple. The disadvantage to IK is that a great amount of control is packed together into the goal objects. Certain poses become very difficult to achieve.If the upper body does not require any interaction with its environment, then consider a blend of both IK and FK. IK can be set up for the lower half of the body to anchor the feet to the ground, while FK on the upper body allows greater freedom and precision of movements.Every situation involves a different approach. Use your judgment to decide which setup fits the animation most reliably.11. Add dialogue. It has been said that more than 90% of student animations that are submitted to companies lack dialogue. The few that incorporate speech in their animations make their work highly noticeable. If the animation and dialogue are well done, then those few have a greater advantage than their competition. Companies understand that it takes extra effort and skill tocreate animation with dialogue.When you plan your story, think about creating interaction between characters not only on a physical level but through dialogue as well. There are several techniques, discussed in this chapter, that can be used to make dialogue manageable.12. Use the graph editor to clean up your animations. The graph editor is a useful tool that all 3-D animators should become familiar with. It is basically a representation of all the objects, lights, and cameras in your scene. It keeps track of all their activities and properties.A good use of the graph editor is to clean up morph targets after animating facial expressions. If the default incoming curve in your graph editor is set to arcs rather than straight lines, you will most likely find that sometimes splines in the graph editor will curve below a value of zero. This can yield some unpredictable results. The facial morph targets begin to take on negative values that lead to undesirable facial expressions. Whenever you see a curve bend below a value of zero, select the first keyframe point to the right of the arc and set its curve to linear. A more detailed discussion of the graph editor will be found in a later part of this chapter.ANIMATING IN STAGESAll the various components that can be moved on a human model often become confusing if you try to change them at the same time. The performance quickly deteriorates into a mechanical routine if you try to alter all these parts at the same keyframes. Remember, you are trying to create human qualities, not robotic ones. Isolating areas to be moved means that you can look for the parts of the body that have motion over time and concentrate on just a few of those. For example, the first thing you can move is the body and legs. When you are done moving them around over the entire timeline, then try rotating the spine. You might do this by moving individual spine bones or using an inverse kinematics chain. Now that you have the body moving around and bending, concentrate on the arms. If you are not using an IK chain to move the arms, hands, and fingers, then rotate the bones for the upper and lower arm. Do not forget the wrist. Finger movements can be animated as one of the last parts. Facial expressions can also be animated last.Example movies showing the same character animated in stages can be viewed on the CD-ROM as CD11-1 AnimationStagesMovies. Some sample images from the animations can also be seen in Figure 11-1. The first movie shows movement only in the body and legs. During the second stage, the spine and head were animated. The third time, the arms were moved. Finally, in the fourth and final stage, facial expressions and finger movements were added.Animating in successive passes should simplify the process. Some final stages would be used to clean up or edit the animation.Sometimes the animation switches from one part of the body leading to another. For example, somewhere during the middle of an animation the upper body begins to lead the lower one. In a case like this, you would then switch from animating the lower body first to moving the upper part before the lower one.The order in which one animates can be a matter of personal choice. Some people may prefer to do facial animation first or perhaps they like to move the arms before anything else. Following is a summary of how someone might animate a human.1. First pass: Move the body and legs.2. Second pass: Move or rotate the spinal bones, neck, and head.3. Third pass: Move or rotate the arms and hands.4. Fourth pass: Animate the fingers.5. Fifth pass: Animate the eyes blinking.6. Sixth pass: Animate eye movements.7. Seventh pass: Animate the mouth, eyebrows, nose, jaw, and cheeks (you can break these up into separate passes).Most movement starts at the hips. Athletes often begin with a windup action in the pelvic area that works its way outward to the extreme parts of the body. This whiplike activity can even be observed in just about any mundane act. It is interesting to note that people who study martial arts learn that most of their power comes from the lower torso. Students are often too lazy to make finger movements a part of their animation. There are several methods that can make the process less time consuming.One way is to create morph targets of the finger positions and then use shape shifting to move the various digits. Each finger is positioned in an open and fistlike closed posture. For example, the sections of the index finger are closed, while the others are left in an open, relaxed position for one morph target. The next morph target would have only the ring finger closed while keeping the others open. During the animation, sliders are then used to open and close the fingers and/or thumbs.Another method to create finger movements is to animate them in both closed and open positions and then save the motion files for each digit. Anytime you animate the same character, you can load the motions into your new scene file. It then becomes a simple process of selecting either the closed or the open position for each finger and thumb and keyframing them wherever you desire.DIALOGUEKnowing how to make your humans talk is a crucial part of character animation. Once you add dialogue, you should notice a livelier performance and a greater personality in your character. At first, dialogue may seem too great a challenge to attempt. Actually, if you follow some simple rules, you will find that adding speech to your animations is not as daunting a task as one would think. The following suggestions should help.DIALOGUE ESSENTIALS1. Look in the mirror. Before animating, use a mirror or a reflective surface such as that on a CD to follow lip movements and facial expressions.2. The eyes, mouth, and brows change the most. The parts of the face that contain the greatest amount of muscle groups are the eyes, brows, and mouth. Therefore, these are the areas that change the most when creating expressions.3. The head constantly moves during dialogue. Animate random head movements, no matter how small, during the entire animation. Involuntary motions of the head make a point without having to state it outright. For example, nodding and shaking the head communicate, respectively, positive and negative responses. Leaning the head forward can show anger, while a downward movement communicates sadness. Move the head to accentuate and emphasize certain statements. Listen to the words that are stressed and add extra head movements to them.4. Communicate emotions. There are six recognizable universal emotions: sadness, anger, joy, fear, disgust, and surprise. Other, more ambiguous states are pain, sleepiness, passion, physical exertion, shyness, embarrassment, worry, disdain, sternness, skepticism, laughter, yelling, vanity, impatience, and awe.5. Use phonemes and visemes. Phonemes are the individual sounds we hear in speech. Rather than trying to spell out a word, recreate the word as a phoneme. For example, the word computer is phonetically spelled "cumpewtrr." Visemes are the mouth shapes and tongue positions employed during speech. It helps tremendously to draw a chart that recreates speech as phonemes combined with mouth shapes (visemes) above or below a timeline with the frames marked and the sound and volume indicated.6. Never animate behind the dialogue. It is better to make the mouth shapes one or two frames before the dialogue.7. Don't overstate. Realistic facial movements are fairly limited. The mouth does not open that much when talking.8. Blinking is always a part of facial animation. It occurs about every two seconds. Different emotional states affect the rate of blinking. Nervousness increases the rate of blinking, while anger decreases it.9. Move the eyes. To make the character appear to be alive, be sure to add eye motions. About 80% of the time is spent watching the eyes and mouth, while about 20% is focused on the hands and body.10. Breathing should be a part of facial animation. Opening the mouth and moving the head back slightly will show an intake of air, while flaring the nostrils and having the head nod forward a little can show exhalation. Breathing movements should be very subtle and hardly noticeable...外文资料翻译—译文部分人体动画基础(引自 Peter Ratner.3D Human Modeling andAnimation[M].America:Wiley,2003:243~249)如果你读到了这部分，说明你很可能已构建好了人物角色，为它创建了纹理，建立起了人体骨骼，为面部表情制作了morph修改器并在模型周围安排好了灯光。

3d建模ip形象设计外文文献Title: Designing IP Characters with 3D ModelingAbstract:This article explores the process of creating IP characters through 3D modeling. It delves into the importance of designing unique and visually appealing characters that resonate with the target audience. The article emphasizes the need to approach the design from a human perspective, infusing emotions and storytelling elements to bring the characters to life. The goal is to create a natural and fluid narrative that captivates readers and evokes a genuine human experience.Introduction:In the realm of IP (Intellectual Property), character design plays a vital role in capturing the attention and imagination of the audience. With the advent of 3D modeling technology, designers now have the ability to bring these characters to life in a realistic and immersive manner. However, it is crucial to approach the design process with a human perspective, ensuring that the characters resonate with the viewers on an emotional level.Creating Unique and Memorable Characters:When designing IP characters, it is essential to prioritize uniquenessand memorability. The characters should stand out from the crowd and have distinctive traits that make them easily recognizable. This can be achieved through careful consideration of their physical appearance, personality, and backstory. By infusing the characters with depth and complexity, they become more relatable to the audience and foster a stronger emotional connection.The Importance of 3D Modeling:3D modeling provides designers with a powerful tool to bring their characters to life. It allows for the creation of realistic and detailed models that can be viewed from any angle. Through this process, designers can meticulously craft the characters' features, expressions, and movements, making them more believable and captivating. Additionally, 3D modeling enables seamless integration of the characters into various media formats, such as animations, games, and merchandise.Infusing Emotion and Storytelling:To enhance the authenticity of IP characters, it is crucial to infuse them with emotions and storytelling elements. Characters that evoke emotions such as joy, sadness, or excitement are more likely to resonate with the audience. By creating compelling narratives that showcase the characters' growth, relationships, and challenges,designers can create a captivating world that draws readers in and keeps them engaged.The Role of Human Perspective:Throughout the design process, it is essential to maintain a human perspective. This involves considering the characters' interactions, expressions, and movements from a real-life standpoint. By observing how humans naturally behave and react, designers can create characters that feel genuine and relatable. This human touch adds a layer of authenticity to the characters, making them more compelling and memorable.Conclusion:Designing IP characters through 3D modeling is a multifaceted process that requires careful attention to detail, creativity, and empathy. By prioritizing uniqueness, infusing emotion, and maintaining a human perspective, designers can create characters that leave a lasting impression on the audience. It is through these characters that stories come to life, forging a strong connection between the IP and its consumers.。

U n i t y3D A n i m a t i o n外文文献Untiy3D AnimationUnity’s Animation features include Retargetable animations, Full control of animation weights at runtime, Event calling from within the animation playback, Sophisticated State Machine hierarchies and transitions, Blend shapes for facial animations, and more.Read this section to find out how to import and work with imported animation and how to animate objects, colours, and any other parameters within Unity itself.Animation System OverviewUnity has a rich and sophisticated animation system (sometimes referred to as ‘Mecanim’). It provides:Easy workflow and setup of animations for all elements of Unity including objects, characters, and properties.Support for imported animation clips and animation created within UnityHumanoid animation retargeting - the ability to apply animations from one character model onto another.Simplified workflow for aligning animation clips.Convenient preview of animation clips, transitions and interactions between them. This allows animators to work more independently of programmers, prototype and preview their animations before gameplay code is hooked in.Management of complex interactions between animations with a visual programming tool.Animating different body parts with different logic.Layering and masking featuresAnimation workflowUnity’s animation system is based on the concept of Animation Clips, which contain information about how certain objects should change their position, rotation, or other properties over time. Each clip can be thought of as a single linear recording. Animation clips from external sources are created by artists or animators with 3rd party tools such as Max or Maya, or come from motion capture studios or other sources.Animation Clips are then organised into a structured flowchart-like system called an Animator Controller. The Animator Controller acts as a “State Machine” which keeps track of which clip should currently be playing, and when the animations should change or blend together.A very simple Animator Controller might only contain one or two clips, for example to control a powerup spinning and bouncing, or to animate a door opening and closing at the correct time. A more advanced Animator Controller might contain dozens of humanoid animations for all the main character’s actions, and might blend between multiple clips at the same time to provide a fluid motion as the player moves around the scene.Unity’s Animation system also has numerous special features for handling humanoid characters which give you the abilityto retargethumanoid animation from any source (Eg. motion capture, the asset store, or some other third-party animation library) to your own character model, as well as adjusting muscle definitions. These special features are enabled by Unity’s Avatar system, where humanoid characters are mapped to a common internal format.Each of these pieces - the Animation Clips, the Animator Controller, and the Avatar, are brought together on a GameObject via theAnimator Component. This component has a reference to an Animator Controller, and (if required) the Avatar for this model. TheAnimator Controller, in turn, contains the references tothe Animation Clips it uses.The above diagram shows the following:Animation clips are imported from an external source or created within Unity. In this example, they are imported motion captured humanoid animations.The animation clips are placed and arranged in an Animator Controller. This shows a view of an Animator Controller in the Animator window. The States (which may represent animations or nested sub-state machines) appear as nodes connected by lines. This Animator Controller exists as an asset in the Project window.The rigged character model (in this case, the astronaut “Astrella”) has a specific configuration of bones which are mapped to Unity’s common Avatar format. This mapping is stored as an Avatar asset as part of the imported character model, and also appears in the Project window as shown.When animating the character model, it has an Animator component attached. In the Inspector view shown above, you can see the Animator Component which has both the AnimatorController and the Avatar assigned. The animator uses these together to animate the model. The Avatar reference is only necessary whenanimating a humanoid character. For other types of animation, only an Animator Controller is required.Unity’s animation system (Known as “Mecanim”) comes wit h a lot of concepts and terminology. If at any point, you need to find out what something means, go to our Animation Glossary.Legacy animation systemWhile Mecanim is recommended for use in most situations, Unity has retained its legacy animation system which existed before Unity 4. You may need to use when working with older content created before Unity 4. For information on the Legacy animation system, see this sectionUnity intends to phase out the Legacy animation system over time for all cases by merging the workflows into Mecanim.Animation ClipsAnimation Clips are one of the core elements to Unity’s animation system. Unity supports importing animation from external sources, and offers the ability to create animation clips from scratch within the editor using the Animation window.Animation from External SourcesAnimation clips imported from external sources could include: Humanoid animations captured at a motion capture studioAnimations created from scratch by an artist in an external 3D application (such as 3DS Max or Maya)Animation sets from 3rd-party libraries (eg, from Unity’s asset store)Multiple clips cut and sliced from a single imported timeline. Animation Created and Edited Within UnityUnity’s Animation Window also allows you to create and edit animation clips. These clips can animate:The position, rotation and scale of GameObjectsComponent properties such as material colour, the intensity of a light, the volume of a soundProperties within your own scripts including float, int, Vector and boolean variablesThe timing of calling functions within your own scripts Animation from External SourcesOverview of Imported AnimationAnimation from external sources is imported into Unity in the same way as regular 3D files. These files, whether they’re generic FBX files or native formats from 3D software such as Maya, Cinema 4D, 3D Studio Max, can contain animation data in the form of a linear recording of the movements of objects within the file.In some situations the object to be animated (eg, a character) and the animations to go with it can be present in the same file. In other cases, the animations may exist in a separate file to the model to be animated.It may be that animations are specific to a particular model, and cannot be re-used on other models. For example, a giant octopus end-boss in your game might have a unique arrangement of limbs and bones, and its own set of animations.In other situations, it may be that you have a library of animations which are to be used on various different models in your scene. For example, a number of different humanoid characters might all use the same walk and run animations. In these situations, it’s common to have a simple placeholder model in your animation files for the purposes of previewing them. Alternatively, it ispossible to use animation files even if they have no geometry at all, just the animation data.When importing multiple animations, the animations can each exist as separate files within your project folder, or you can extract multiple animation clips from a single FBX file if exported as takes from Motion builder or with a plugin / script for Maya, Max or other 3D packages. You might want to do this if your file contains multiple separate animations arranged on a single timeline. For example, a long motion captured timeline might contain the animation for a few different jump motions, and you may want to cut out certain sections of this to use as individual clips and discard the rest. Unity provides animation cutting tools to achieve this when you import all animations in one timeline by allowing you to select the frame range for each clip.Importing Animation FilesBefore any animation can be used in Unity, it must first be imported into your project. Unity can import native Maya (.mbor .ma), 3D Studio Max (.max) and Cinema 4D (.c4d) files, and also generic FBX files which can be exported from most animation packages (see this page for further details on exporting). To import an animation, simply drag the file to the Assets folder of your project. When you select the file in the Project View you can edit the Import Settings in the inspector.Working with humanoid animationsThe Mecanim Animation System is particularly well suited for working with animations for humanoid skeletons. Since humanoid skeletons are used extensively in games, Unity provides a specialized workflow, and an extended tool set for humanoid animations.Because of the similarity in bone structure, it is possible to map animations from one humanoid skeleton to another, allowingretargeting and inverse kinematics. With rare exceptions, humanoid models can be expected to have the same basic structure, representing the major articulate parts of the body, head and limbs. The Mecanim system makes good use of this idea to simplify the rigging and control of animations. A fundamental step in creating a animation is to set up a mapping between the simplified humanoid bone structure understood by Mecanim and the actual bones present in the skeleton; in Mecanim terminology, this mapping is calledan Avatar. The pages in this section explain how to create an Avatar for your model.Creating the AvatarAfter a model file (FBX, COLLADA, etc.) is imported, you can specify what kind of rig it is in the Rig tab of the Model Importer options.Humanoid animationsFor a Humanoid rig, select Humanoid and click Apply. Mecanim will attempt to match up your existing bone structure to the Avatar bone structure. In many cases, it can do this automatically by analysing the connections between bones in the rig.If the match has succeeded, you will see a check mark next to the Configure menuAlso, in the case of a successful match, an Avatar sub-asset is added to the model asset, which you will be able to see in the project view hierarchy.Avatar added as a sub-assetSelecting the avatar sub-asset will bring up the inspector. You can then configure the avatar.The inspector for an Avatar assetIf Mecanim was unable to create the Avatar, you will see a cross next to the Configure button, and no Avatar sub-asset will be added. When this happens, you need to configure the avatar manually.Non-humanoid animationsTwo options for non-humanoid animation areprovided: Generic and Legacy. Generic animations are imported using the Mecanim system but don’t take advantage of the extrafeatures available for humanoid animations. Legacy animations use the animation system that was provided by Unity before Mecanim. There are some cases where it is still useful to work with legacy animations (most notably with legacy projects that you don’t want to update fully) but they are seldom needed for new projects. See this section of the manual for further details on legacy animations.Configuring the AvatarSince the Avatar is such an important aspect of the Mecanim system, it is important that it is configured properly for your model. So, whether the automatic Avatar creation fails or succeeds, you need to go into the Configure Avatar mode to ensure your Avatar is valid and properly set up. It is important that your character’s bone structure matches Mecanim’s predefined bone structure and that the model is in T-pose.If the automatic Avatar creation fails, you will see a cross next to the Configure button.If it succeeds, you will see a check/tick mark:Here, success simply means all of the required bones have been matched but for better results, you might want to match the optional bones as well and get the model into a proper T-pose.When you go to the Configure … menu, the editor will ask you to save your scene. The reason for this is that in Configure mode, the Scene View is used to display bone, muscle and animation information for the selected model alone, without displaying the rest of the scene.Once you have saved the scene, you will see a new Avatar Configuration inspector, with a bone mapping.The inspector shows which of the bones are required and which are optional - the optional ones can have their movements interpolated automatically. For Mecanim to produce a valid match, your skeleton needs to have at least the required bones in place. In order to improve your chances for finding a match to the Avatar, name your bones in a way that reflects the body parts they represent (names like “LeftArm”, “RightForearm” are suitable here).If the model does NOT yield a valid match, you can manually follow a similar process to the one used internally by Mecanim:-Sample Bind-pose (try to get the model closer to the pose with which it was modelled, a sensible initial pose)Automap (create a bone-mapping from an initial pose)Enforce T-pose (force the model closer to T-pose, which is the default pose used by Mecanim animations)If the auto-mapping (Mapping->Automap) fails completely or partially, you can assign bones by either draging them fromthe Scene or from the Hierarchy. If Mecanim thinks a bone fits, it will show up as green in the Avatar Inspector, otherwise it shows up in red.Finally, if the bone assignment is correct, but the character is not in the correct pose, you will see the message “Character not in T-Pose”. You can try to fix that with Enforce T-Pose or rotate the remaining bones into T-pose.Avatar Body MasksSometimes it is useful to restrict an animation to specific body parts. For example, an walking animation might involve the character swaying his arms but if he picks up a gun, he should hold it in front of him. You can use an Avatar Body Mask to specify which parts of a character an animation should be restricted to - see this page page for further details.Untiy3D 动画系统统一的动画功能包括Retargetable动画,在运行时动画完全控制重量,从内部事件调用动画播放,复杂的状态机结构和转换,混合形状的面部动画等等。

英文文献原文及译文学生姓名：赵凡学号：1021010639学院：软件学院专业：软件工程指导教师：武敏顾晨昕2014年 6月英文文献原文The use of skinWhat is a skin? In the role of setting, the preparations made for the animation in the final process is skinning. The so-called skinning skinning tool is to use role-model role do with our skeletal system to help set the course together. After this procedure, fine role model can be rendered on real numbers can be made into animation. Bones in skinning process, in which the position is called Bind Pose. After the skin, bone deformation of the skin caused by the Games. However, sometimes inappropriate distortion, which requires bone or skin to make the appropriate changes, then you can make use of relevant command to restore the bone binding position, and then disconnect the association between bone and skin. In Maya, you can always put the bones and skin disconnected or reconnected. There is a direct way to skin the skin (skin flexible rigid skinning) and indirect skin (or wrap the lattice deformation of flexible or rigid skinning skinning joint use).In recent years, more and more 3D animation software, a great competition in the market, software companies are constantly developing and updating the relevant software only more humane, but in three-dimensional animation maya mainstream animation software. Able to create bone, meat, God's role is that each CG digital artists dream. Whether the digital characters charm, the test is the animator of life, understanding of life. Digital character to have bone and meat producers are required for the role of the body and has a full grasp of motor function. In addition, the roles of whether there is realism, the key lies in the design and production of the skin, which is skinning animation software for skilled technical and creative mastery is essential. Skin is ready to work in animation final steps, after this procedure, you can do the movements designed, if the skin did not do the work, after the animation trouble, so the skin is very important.As the three-dimensional animation with accuracy and authenticity, the current three-dimensional animation is rapidly developing country, nowadays the use ofthree-dimensional animation everywhere, the field of architecture, planning areas, landscape areas, product demonstrations, simulated animation, film animation, advertising, animation, character animation, virtual reality and other aspects of three-dimensional animation fully reflects the current importance. If compared to the three-dimensional animation puppet animation in real life, then the doll puppet animation equivalent of Maya modeling, puppet performers equivalent Maya animators and puppet steel joints in the body is the skeletal system. Bones in the animation will not be the final rendering, its role is only equivalent to a bracket that can simulate real bones set of major joints to move, rotate, etc.. When the bones are set, we will be bound to the skeleton model, this step is like a robot mounted to a variety of external parts, like hanging, and then through the various settings, add a keyframe animation on bone, and then drive to be bound by the bones corresponding to the model on the joints. Thus, in the final animation, you can see the stiffness of a stationary model with vitality. The whole process from the rigging point of view, may not compare more tedious keyframe animation, rigging, but it is the core of the whole three-dimensional animation, and soul.Rigging plays a vital role in a three-dimensional animation. Good rigging easy animation production, faster and more convenient allows designers to adjust the action figures. Each step are bound to affect the skeleton final animation, binding is based on the premise of doing animation, animators animate convenient, good binding can make animation more fluid, allowing the characters to life even more performance sex. In addition to rigging as well as expression of the binding character, but also to let people be able to speak or behave different facial expressions. Everything is done in order to bind the animation is set, it is bound to set a good animation is mainly based on the entire set of styles and processes. Rigging is an indispensable part in the three-dimensional animation.Three-dimensional animation production process: model, texture, binding, animation, rendering, special effects, synthesis. Each link is associated. Model and material determines the style of animation, binding, and animation determine fluency animation, rendering, animation effects, and synthetic colors and determine the finalresult.Three-dimensional animation, also known as 3D animation, is an emerging technology. Three-dimensional animation gives a three-dimensional realism, even subtle animal hair, this effect has been widely applied to the production of film and television in many areas, education, and medicine. Movie Crash, deformed or fantasy scenes are all three-dimensional animation in real life. Designers in the first three-dimensional animation software to create a virtual scene, and then create the model according to the proportion, according to the requirements set trajectory models, sports, and other parameters of the virtual camera animation, and finally as a model assigned a specific material, and marked the lights , the final output rendering, generating the final screen. DreamWorks' "Shrek" and Pixar's "Finding Nemo" is so accomplished visual impact than the two-dimensional animation has.Animated film "Finding Nemo" extensive use of maya scene technology. Produced 77,000 jellyfish animation regardless of the technical staff or artist is one of the most formidable challenge. This pink translucent jellyfish is most needed is patience and skill, you can say, jellyfish appeared animated sea creatures taken a big step. His skin technology can be very good. The use of film roles skinning techniques is very good, so that each character is vivid, is not related to expression, or action is so smooth, these underwater underwater world is so beautiful. Maya maya technology for the creation of the first to have a full understanding and knowledge. He first thought of creative freedom virtual capacity, but the use of technology has limitations. When the flexible skinning animation technique many roles in the smooth bound for editing, re-allocation tools needed to adjust the skeletal model for the control of the weight through the right point, every detail clownfish are very realistic soft. In the joint on the affected area should smear, let joints from other effects, this movement was not wearing a tie. Used less rigid, rigid lattice bound objects must be created in a position to help the bones of the joint motion. Animated film "Finding Nemo," the whole movie a lot of facial animation, facial skin but also a good technique to make facial expressions, the facial animation is also animated, and now more and more animated facial animationtechnology increasingly possible, these should be good early skin behind it will not affect the expression, there is therefore the creation of the film how maya digital technology, play his video works styling advantages and industrial processes are needed to explore creative personnel, all and three-dimensional figures on the production of content, from maya part. Two-dimensional hand-painted parts, post-synthesis of several parts, from a technical production, artistic pursuit. Several angles to capture the entire production cycle of creation. Maya techniques used in the animated film "Finding Nemo", the flexible skinning performance of many, clown face on with a lot of smooth binding, so more people-oriented, maya application of technical advantages in certain limited extent. Realistic three-dimensional imaging technology in the animation depth spatial density, the sense of space, mysterious underwater world to play the most. Because lifelike action, it also brings the inevitable footage and outdoor sports realistic density, but also to explore this movie maya main goal of the three-dimensional animation.英文文献译文蒙皮的运用什么是蒙皮？在角色设定中，为动画所作的准备工作里的最后一道工序就是蒙皮。

3d动画制作中英文对照外文翻译文献预览说明:预览图片所展示的格式为文档的源格式展示,下载源文件没有水印,内容可编辑和复制中英文对照外文翻译文献(文档含英文原文和中文翻译)Spin: A 3D Interface for Cooperative WorkAbstract: in this paper, we present a three-dimensional user interface for synchronous co-operative work, Spin, which has been designed for multi-user synchronous real-time applications to be used in, for example, meetings and learning situations. Spin is based on a new metaphor of virtual workspace. We have designed an interface, for an office environment, which recreates the three-dimensional elements needed during a meeting and increases the user's scope of interaction. In order to accomplish these objectives, animation and three-dimensional interaction in real time are used to enhance the feeling of collaboration within the three-dimensional workspace. Spin is designed to maintain a maximum amount of information visible. The workspace is created using artificial geometry - as opposed to true three-dimensional geometry - and spatial distortion, a technique that allows all documents and information to be displayed simultaneously while centering the user's focus of attention. Users interact with each other via their respective clones, which are three-dimensional representations displayed in each user's interface, and are animated with user action on shared documents. An appropriate object manipulation system (direct manipulation, 3D devices and specific interaction metaphors) is used to point out and manipulate 3D documents.Keywords: Synchronous CSCW; CVE; Avatar; Clone; Three-dimensional interface; 3D interactionIntroductionTechnological progress has given us access to fields that previously only existed in our imaginations. Progress made in computers and in communication networks has benefited computer-supported cooperative work (CSCW), an area where many technical and human obstacles need to be overcome before it can be considered as a valid tool. We need to bear in mind the difficulties inherent in cooperative work and in the user's ability to perceive a third dimension.The Shortcomings of Two- Dimensional InterfacesCurrent WIMP (windows icon mouse pointer) office interfaces have considerable ergonomic limitations [1].(a) Two-dimensional space does not display large amounts of data adequately. When it comes to displaying massive amounts of data, 2D displays have shortcomings such as window overlap and the need for iconic representation of information [2]. Moreover, the simultaneous display of too many windows (the key symptom of Windowitis) can be stressful for users [3].(b) WIMP applications are indistinguishable from one another; leading to confusion. Window dis- play systems, be they XII or Windows, do not make the distinction between applications, con- sequently, information is displayed in identical windows regardless of the user's task.(c) 2D applications cannot provide realistic rep- resentation. Until recently, network technology only allowed for asynchronous sessions (electronic mail for example); and because the hardware being used was not powerful enough, interfaces could only use 2D representations of the workspace.Metaphors in this type of environment do not resemble the real space; consequently, it is difficult for the user to move around within a simulated 3D space.(d) 2D applications provide poor graphical user representations. As windows are indistinguish- able and there is no graphical relation between windows, it is difficult to create a visual link between users or between a user and an object when the user's behavior is been displayed [4].(e) 2D applications are not sufficiently immersive, because 2D graphical interaction is not intuitive (proprioception is not exploited) users have difficulties getting and remaining involved in the task at hand.Interfaces: New ScopeSpin is a new interface concept, based on real-time computer animation. Widespread use of 3D graphic cards for personal computers has made real-time animation possible on low-cost computers. The introduction of a new dimension (depth) changes the user's role within the interface, the use of animation is seamless and therefore lightens the user's cognitive load. With appropriate input devices, the user now has new ways of navigating in, interacting with and organizing his workspace. Since 1995, IBM has been working on RealPlaces [5], a 3D interface project. It was developed to study the convergence between business applications and virtual reality. The user environment in RealPlaces is divided into two separate spaces (Fig, 1): ? a 'world view', a 3D model which stores and organizes documents through easy object interaction;a 'work plane', a 2D view of objects with detailed interaction, (what is used in most 2D interfaces).RealPlaces allows for 3D organization of a large number ofobjects. The user can navigatethrough them, and work on a document, which can be viewed and edited in a 2D application that is displayed in the foreground of the 'world'. It solves the problem of 2D documents in a 3D world, although there is still some overlapping of objects. RealPtaces does solve some of the problems common to 2D interfaces but it is not seamless. While it introduces two different dimensions to show documents, the user still has difficulty establishing links between these two dimensions in cases where multi-user activity is being displayed. In our interface, we try to correct the shortcomings of 2D interfaces as IBM did in RealPlaces, and we go a step further, we put forward a solution for problems raised in multi-user cooperation, Spin integrates users into a virtual working place in a manner that imitates reality making cooperation through the use of 3D animation possible. Complex tasks and related data can be represented seamlessly, allowing for a more immersive experience. In this paper we discuss, in the first part, the various concepts inherent in simultaneous distant cooperative work (synchronous CSCW), representation and interaction within a 3D interface. In the second part, we describe our own interface model and how the concepts behind it were developed. We conclude with a description of the various current and impending developments directly related to the prototype and to its assessment.ConceptsWhen designing a 3D interface, several fields need to be taken into consideration. We have already mentioned real-time computer animation and computer-supported cooperative work, which are the backbone of our project. There are also certain fields of the human sciences that have directty contributed to thedevelopment of Spin. Ergon- omics [6], psychology [7] and sociology [8] have broadened our knowIedge of the way in which the user behaves within the interface, both as an individual and as a member of a group.Synchronous Cooperative WorkThe interface must support synchronous cooper- ative work. By this we mean that it must support applications where the users have to communicate in order to make decisions, exchange views or find solutions, as would be the case with tele- conferencing or learning situations. The sense of co-presence is crucial, the user needs to have an immediate feeling that he is with other people; experiments such as Hydra Units [9] and MAJIC [10] have allowed us to isolate some of the aspects that are essential to multimedia interactive meetings.Eye contact." a participant should be able to see that he is being looked at, and should be able to look at someone else. ? Gaze awareness: the user must be able to estab- fish a participant's visual focus of attention. ? Facial expressions: these provide information concerning the participants' reactions, their acquiescence, their annoyance and so on. ? GesCures. ptay an important role in pointing and in 3D interfaces which use a determined set of gestures as commands, and are also used as a means of expressing emotion.Group ActivitySpeech is far from being the sole means of expression during verbal interaction [1 1]. Gestures (voluntary or involuntary) and facial expressions contribute as much information as speech. More- over, collaborative work entails the need to identify other people's points of view as well as their actions [1 2,1 3]. This requires defining the metaphors which witl enable users involvedin collaborative work to understand what other users are doing and to interact withthem. Researchers I1 4] have defined various communication criteria for representing a user in a virtual environment. In DIVE (Distributed Interactive Virtual Environment, see Fig. 2), Benford and Fahl6n lay down rules for each characteristic and apply them to their own system [1 5]. lhey point out the advantages of using a clone (a realistic synthetic 3D representation of a human) to represent the user. With a clone, eye contact (it is possible to guide the eye movements of a clone) as well as gestures and facial expressions can be controlled; this is more difficult to accomplish with video images. tn addition to having a clone, every user must have a telepointer, which is used to designate obiects that can be seen on other users' displays.Task-Oriented InteractionUsers attending a meeting must be abte to work on one or several shared documents, it is therefore preferable to place them in a central position in the user's field of vision, this increases her feeling of participation in a collaborative task. This concept, which consists of positioning the documents so as to focus user attention, was developed in the Xerox Rooms project [1 6]; the underlying principle is to prevent windows from overlapping or becoming too numerous. This is done by classifying them according to specific tasks and placing them in virtual offices so that a singIe window is displayed at any one (given) time. The user needs to have an instance of the interface which is adapted to his role and the way he apprehends things, tn a cooperative work context, the user is physically represented in the interface and has a position relative to the other members of the group.The Conference Table Metaphor NavigationVisually displaying the separation of tasks seems logical - an open and continuous space is not suitable. The concept of 'room', in the visual and in the semantic sense, is frequently encountered in the literature. It is defined as a closed space that has been assigned a single task.A 3D representation of this 'room' is ideal because the user finds himself in a situation that he is familiar with, and the resulting interfaces are friendlier and more intuitive.Perception and Support of Shared AwarenessSome tasks entail focusing attention on a specific issue (when editing a text document) while others call for a more global view of the activity (during a discussion you need an overview of documents and actors). Over a given period, our attention shifts back and forth between these two types of activities [17]. CSCW requires each user to know what is being done, what is being changed, where and by whom. Consequently, the interface has to be able to support shared awareness. Ideally, the user would be able to see everything going on in the room at all times (an everything visible situation). Nonetheless, there are limits to the amount of information that can be simultaneously displayed on a screen. Improvements can be made by drawing on and adopting certain aspects of human perception. Namely, a field of vision with a central zone where images are extremely clear, and a peripheral vision zone, where objects are not well defined, but where movement and other types of change can be perceived.Interactive Computer AnimationInteractive computer animation allows for two things: first, the amount of information displayed can be increased, andsecond, only a small amount of this information can be made legible [18,19]. The remainder of the information continues to be displayed but is less legible (the user only has a rough view of the contents). The use of specific 3D algorithms and interactive animation to display each object enables the user visually to analyse the data quickly and correctly. The interface needs to be seamless. We want to avoid abstract breaks in the continuity of the scene, which would increase the user's cognitive load.We define navigation as changes in the user's point of view. With traditional virtual reality applica- tions, navigation also includes movement in the 3D world. Interaction, on the other hand, refers to how the user acts in the scene: the user manipulates objects without changing his overall point of view of the scene. Navigation and interaction are intrinsically linked; in order to interact with the interface the user has to be able to move within the interface. Unfortunately, the existence of a third dimension creates new problems with positioning and with user orientation; these need to be dealt with in order to avoid disorienting the user [20].Our ModelIn this section, we describe our interface model by expounding the aforementioned concepts, by defining spatial organization, and finally, by explaining how the user works and collaborates with others through the interface.Spatial OrganizationThe WorkspaceWhile certain aspects of our model are related to virtual reality, we have decided that since our model iS aimed at an office environment, the use of cumbersome helmets or gloves is not desirable. Our model's working environment is non-immersive.Frequently, immersive virtual reality environments tack precision and hinder perception: what humans need to perceive to believe in virtual worlds is out of reach of present simulation systems [26]. We try to eliminate many of the gestures linked to natural constraints, (turning pages in a book, for example) and which are not necessary during a meeting. Our workspace has been designed to resolve navigation problems by reducing the number of superfluous gestures which slow down the user. In a maI-life situation, for example, people sitting around a table could not easily read the same document at the same time. To create a simple and convenient workspace, situations are analysed and information which is not indispensable is discarded [27]. We often use interactive computer animation, but we do not abruptly suppress objects and create new icons; consequently, the user no longer has to strive to establish a mental link between two different representations of the same object. Because visual recognition decreases cognitive load, objects are seamlessly animated. We use animation to illustrate all changes in the working environment, i.e. the arrival of a new participant, the telepointer is always animated. There are two basic objects in our workspace: the actors and the artefacts. The actors are representations of the remote users or of artificial assistants. The artefacts are the applications and the interaction tools.The Conference tableThe metaphor used by the interface is the con- ference table. It corresponds to a single activity (our task-oriented interface solves the (b) shortcoming of the 2D interface, see Introduction). This activity is divided spatially and semantically into two parts. The first is asimulated panoramic view on which actors and sharedapplications are displayed. Second, within this view there is a workspace located near the center of the simulated panoramic screen, where the user can easily manipulate a specific document. The actors and the shared applications (2D and 3D) are placed side by side around the table (Fig. 4), and in the interest of comfort, there is one document or actor per 'wail'. As many applications as desired may be placed in a semi-circle so that all of the applications remain visible. The user can adjust the screen so that the focus of her attention is in the center; this type of motion resembles head- turning. The workspace is seamless and intuitive,Fig, 4. Objects placed around our virtual table.And simulates a real meeting where there are several people seated around a table. Participants joining the meeting and additional applications are on an equal footing with those already present. Our metaphor solves the (c) shortcoming of the 2D interface (see Introduction),DistortionIf the number of objects around the table increases, they become too thin to be useful. To resolve this problem we have defined a focus-of-attention zone located in the center of the screen. Documents on either side of this zone are distorted (Fig.5). Distortion is symmetrical in relation to the coordinate frame x=0. Each object is uniformly scaled with the following formula: x'=l-(1-x) '~, O<x<l< bdsfid="116" p=""></x<l<>Where is the deformation factor. When a= 1 the scene is not distorted. When all, points are drawn closer to the edge; this results in centrally positioned objects being stretched out, while those in the periphery are squeezed towards the edge. This distortion is similar to a fish-eye with only one dimension [28].By placing the main document in the centre of the screen and continuing to display all the other documents, our model simulates a human field of vision (with a central zone and a peripheral zone). By reducing the space taken up by less important objects, an 'everything perceivable' situation is obtained and, although objects on the periphery are neither legible nor clear, they are visible and all the information is available on the screen. The number of actors and documents that it is possible to place around the table depends, for the most part, on screen resolution. Our project is designed for small meetings with four people for example (three clones) and a few documents (three for example). Under these conditions, if participants are using 17-inch, 800 pixels screens all six objects are visible, and the system works.Everything VisibleWith this type of distortion, the important applications remain entirely legible, while all others are still part of the environment. When the simulated panoramic screen is reoriented, what disappears on one side immediately reappears on the other. This allows the user to have all applications visible in the interface. In CSCW it is crucial that each and every actor and artefact taking part in a task are displayed on the screen (it solves the (a) shortcoming of 2D interface, see Introduction),A Focus-of-Attention AreaWhen the workspace is distorted in this fashion, the user intuitively places the application on which she is working in the center, in the focus-of- attention area. Clone head movements correspond to changes of the participants' focus of attention area. So, each participant sees theother participants' clones and is able to perceive their headmovements. It gives users the impression of establishing eye contact and reinforces gaze awareness without the use of special devices. When a participant places a private document (one that is only visible on her own interface) in her focus in order to read it or modify it, her clone appears to be looking at the conference table.In front of the simulated panoramic screen is the workspace where the user can place (and enlarge) the applications (2D or 3D) she is working on, she can edit or manipulate them. Navigation is therefore limited to rotating the screen and zooming in on the applications in the focus-of-attention zone.ConclusionIn the future, research needs to be oriented towards clone animation, and the amount of information clones can convey about participant activity. The aim being to increase user collaboration and strengthen the feeling of shared presence. New tools that enable participants to adopt another participant's point of view or to work on another participant's document, need to be introduced. Tools should allow for direct interaction with documents and users. We will continue to develop visual metaphors that will provide more information about shared documents, who is manipulating what, and who has the right to use which documents, etc. In order to make Spin more flexible, it should integrate standards such as VRML 97, MPEG 4, and CORBA. And finally, Spin needs to be extended so that it can be used with bigger groups and more specifically in learning situations.旋转：3D界面的协同工作摘要：本文提出了一种三维用户界面的同步协同工作—旋转，它是为多用户同步实时应用程而设计，可用于例如会议和学习情况。

文献出处：Amidi, Amid. Cartoon modern: style and design in fifties animation. Chronicle Books, (2006):292-296.原文Cartoon Modern: Style and Design in Fifties AnimationAmidi, AmidDuring the 1970s,when I was a graduate student in film studies, UPA had a presence in the academy and among cinephiles that it has since lost. With 16mmdistribution thriving and the films only around twenty years old, one could still see Rooty Toot Toot or The Unicorn in the Garden occasionally. In the decades since, UPA and the modern style it was so central in fostering during the 1950s have receded from sight. Of the studio's own films, only Gerald McBoing Boing and its three sequels have a DVD to themselves, and fans must search out sources for old VHScopies of others. Most modernist-influenced films made by the less prominent studios of the era are completely unavailable.UPA remains, however, part of the standard story of film history. Following two decades of rule by the realist-oriented Walt Disney product, the small studio boldly introduced a more abstract, stylized look borrowed from modernism in the fine arts. Other smaller studios followed its lead. John Hubley, sometimes in partnership with his wife Faith, became a canonical name in animation studies. But the trend largely ended after the 1950s. Now its importance is taken for granted. David Bordwell and I followed the pattern by mentioning UPA briefly in our Film History: An Introduction, where we reproduce a black-and-white frame from the Hubleys' Moonbird, taken from a worn 16 mm print. By now, UPA receives a sort of vague respect, while few actually see anything beyond the three or four most famous titles.All this makes Amid Amidi's Cartoon Modern an important book. Published in an attractive horizontal format well suited to displaying film images, it provides hundreds of color drawings, paintings, cels, storyboards, and other design images from 1950s cartoons that display the influence of modern art. Amidi sticks to the U.S. animation industry and does not cover experimental work or formats other than cel animation. The book brings the innovative style of the 1950s back to our attention and provides a veritable archive of rare, mostly unpublished images for teachers, scholars, and enthusiasts. Seeking these out and making sure that they reproduced well, with a good layout and faithful color, was a major accomplishment, and the result is a great service to the field.The collection of images is so attractive, interesting, and informative, that it deserved an equally useful accompanying text. Unfortunately, both in terms of organization and amount of information provided, the book has major textual problems.Amidi states his purpose in the introduction: "to establish the place of 1950s animation design in the great Modernist tradition of the arts". In fact, he barely discusses modernism across the arts. He is far more concerned with identifying the individual filmmakers, mainly designers, layout artists, and directors, and with describing how the more pioneering ones among them managed to insert modernist style into the products of what he sees as the old-fashioned, conservative animation industry of the late 1940s. When those filmmakers loved jazz or studied at an art school or expressed an admiration for, say, Fernand Léger, Amidimentions it. He may occasionally refer to Abstract Expressionism or Pop Art, but he relies upon the reader to come to the book already knowing the artistic trends of the twentieth century in both America and Europe. At least twice he mentions that Gyorgy Kepes's important1944 book The Language of Vision was a key influence on some of the animators inclined toward modernism, but he never explains what they might have derived from it. There is no attempt to suggest how modernist films (e.g. Ballet mécanique, Das Cabinet des Dr. Caligari) might have influenced those of Hollywood. On the whole, the other arts and modernism are just assumed, without explanation or specification, to be the context for these filmmakers and films.There seem to me three distinct problems with Amidi's approach: his broad, all-encompassing definition of modernism; his disdain for more traditional animation, especially that of Disney; and his layout of the chapters.For Amidi, "modern" seems to mean everything from Abstract Expressionism to stylized greeting cards. He does not distinguish Cubism from Surrealism or explain what strain of modernism he has in mind. He does not explicitly lay out a difference between modernist-influenced animation and animation that is genuinely a part of modern/modernist art. Thus there is no mention of figures like Oskar Fischinger and Mary Ellen Bute, though there seems a possibility that their work influenced the mainstream filmmakers dealt with in the book.This may be because Amidi sees modernism's entry into American animation only secondarily as a matter of direct influences from the other arts. Instead, for him the impulse toward modernism is as a movement away from conventional Hollywood animation. Disney is seen as having during the 1930s and 1940s established realism as the norm, so anything stylized would count as modernism. Amidi ends up talking about a lot of rather cute, appealing films as if they were just as innovative as the work of John Hubley. At one point he devotes ten pages to the output of Playhouse Pictures, a studio that made television ads which Amidi describes as "mainstream modern" because "it was driven by a desire to entertain and less concerned withmaking graphic statements". I suspect Playhouse rates such extensive coverage largely because its founder, Adrian Woolery, had worked as a production manager and cameraman at UPA. At another point Amidi refers to Warner Bros. animation designer Maurice Noble's work as "accessible modernism".This willingness to cast the modernist net very wide also helps explain why so many conventional looking images from ads are included in the book. Amidi seems not to have considered the idea that there could be a normal, everyday stylization that has a broad appeal and might have derived ultimately from some modernist influence that had filtered out, not just into animation, but into the culture more generally.There was such a popularization of modern design in the 1940s and especially the 1950s, and it took place across many areas of American popular culture, including architecture, interior design, and fashion. Thomas Hine has dealt with it in his 1999 book, Populuxe: From Tailfins and TV Dinners to Barbie Dolls and Fallout Shelters. Hines doesn't cover film, but the styles that we can see running through the illustrations in Cartoon Modern have a lot in common with those in Populuxe. Pixar pays homage to them in the design of The Incredibles.Second, Amidi seeks to establish UPA's importance by casting Walt Disney as his villain. Here Disney stands in for the whole pre-1950s Hollywood animation establishment. For the author, anything that isn't modern style is tired and conservative. His chapter on UPA begins with an anecdote designed to drive that point home. It describes the night in 1951 when Gerald McBoing Boing won the Oscar for best animation of 1950, while Disney, not even nominated in the animation category, won for his live-action short, Beaver Valley. UPA president Stephen Bosustow and Disney posed together, with Bosustow described as looking younger and fresher than his older rival. Disney was only ten years older, but to Amidi,Bosustow's "appearance suggests the vitality and freshness of the UPA films when placed against the tired Disney films of the early 1950s".That line perplexed me. True, Disney's astonishing output in the late 1930s and early 1940s could hardly be sustained, either in quantity or quality. But even though Cinderella (a relatively lightweight item) and the shorts become largely routine, few would call Peter Pan, Alice in Wonderland, and Lady and the Tramp tired. Indeed, the two Disney features that Amidi later praises for their modernist style, Sleeping Beauty and One Hundred and One Dalmatians, are often taken to mark the beginning of the end of the studio's golden age.In Amidi's view, other animation studios, including Warner Bros., were similarly resistant to modernism on the whole, though there were occasional chinks in their armor. The author selectively praises a few individual innovators. A very brief entry on MGM mentions Tex Avery, mainly for his 1951 short, Symphony in Slang. Warner Bros.' Maurice Noble earns Amidi's praise; he consistently provided designs for Chuck Jones's cartoons, most famously What's Opera, Doc?The book's third problem arises from the decision to organize it as a series of chapters on individual animation studios arranged alphabetically. There's at least some logic to going in chronological order or thematically, or even by the studios in order of their importance. Alphabetical is arbitrary, rendering the relationship between studios haphazard. An unhappy byproduct of this strategy is that the historically most salient studios come near the end of the alphabet. After chapters on many small, mostly unfamiliar studios, we at last reach the final chapters: Terrytoons, UPA, Walt Disney, Walter Lantz, Warner Bros. Apart from Lantz, these are the main studios relevant to the topic at hand. Amidi prepares the reader with only a brief introduction and no overview, so there is no setup of why UPA is so important or what contextDisney provided for the stylistic innovations that are the book's main subject.译文现代卡通，50年代的动画风格和设计Amidi, Amid在20世纪70年代，当我还是一个电影专业的研究生时，美国联合制片公司UPA就受到了学院和影迷们的关注。

三维动画毕业设计论文摘要：本文从三维动画短片中的视觉效果出发，对动画短片中涉及的三维动画制作，后期特效制作方法进行了详细的阐述，并解析归纳了适用于短片动画的，相关三维动画及其后期处理的制作方法，总结出为达到该动画短片视觉效果可行的制作解决方案。

结合该短片的特点，提出了为达到导演预期效果使用到的处理方法。

关键词：三维动画，后期合成，制作方法3D Animation Short Subject THE NIGHT PARTYABSTRACT：This text is from the 3D animation short subject THE NIGHT PARTY of the visual effect set out, expect the special effect creation's method to carry on to elaborate in detail towards involving in the animation short subject of 3D animation creation, behind, and analyzed to induce to be applicable to a short subject animation of, related and 3D animation and afterward expect the creation method for handle, tally up for attain that visual effect of the animation short subject viable creation bine the characteristics of that short subject, put forward for attain treatment that direct expectation effect's usage.KEY WORDS: 3D animation, expect to synthesize behind, create a method1 《夜店惊魂》的视觉效果目标1.1 影片视觉风格定位这部三维动画短片《夜店惊魂》，作为毕业设计，我们给自己制定了较高的影片质量目标。

毕业设计(论文)文献翻译Constructing Rules and Scheduling Technology for 3DBuilding ModelsZhengwei SUI, Lun WU, Jingnong WENG, Xing LIN, Xiaolu JIAbstract3D models have become important form of geographic data beyond conventional 2D geospatial data. Buildings are important marks for human to identify their environments, because they are close with human life, particularly in the urban areas. Geographic information can be expressed in a more intuitive and effective manner with architectural models being modeled and visualized in a virtual 3D environment. Architectural model data features with huge data volume, high complexity, non-uniform rules and so on. Hence, the cost of constructing large-scale scenes is high. Meanwhile, computers are lack of processing capacity upon a large number ofmodel data. Therefore, resolving the conflicts between limited processing capacity of computer and massive data of model is valuable. By investigating the characteristics of buildings and the regular changes of viewpoint in virtual 3D environment, this article introduces several constructing rules and scheduling techniques for 3D constructing of buildings, aiming at the reduction of data volume and complexity of model and thus improving computers’ efficiency at sc heduling large amount of architectural models. In order to evaluate the efficiency of proposed constructing rules and scheduling technology listed in the above text, the authors carry out a case study by 3D constructing the campus of Peking University using the proposed method and the traditional method. The two results are then examined and compared from aspects of model data volume, model factuality, speed of model loading, average responding time during visualization, compatibility and reusability in 3D geo-visualization platforms: China Star, one China’s own platform for 3D global GIS manufactured by the authors of this paper. The result of comparison reveals that models built by the proposed methods are much better than those built using traditional methods. For the constructing of building objects in large-scale scenes, the proposed methods can not only reduce the complexity and amount of model data remarkably, but can also improving computers’ efficiency.Keywords:Constructing rules, Model scheduling, 3D buildingsI. INTRODUCTIONIn recent years, with the development of 3D GIS (Geographical Information System) software like Google Earth, Skyline, NASA World Wind, large-scale 3D building models with regional characteristics have become important form of geographic data beyond conventional 2D geospatial data, like multi-resolution remote sensing images and vector data [1].Compared to traditional 2D representation, geographic information can be expressed in a more intuitive and effective manner with architectural models being modeled and visualized in a virtual 3D environment. 3D representation and visualization provides better visual effect and vivid urban geographic information, and thus plays an important role in people's perceptions of their environment. Meanwhile, the 3D building data is also of great significance for the construction of digital cities.But how to efficiently visualize thousands of 3D building models in a virtual 3D environment is not a trivial question. The most difficult part of the question is the conflicts between limited processing capacity of computer and massive volume of model data, particularly in the procedure of model rendering. Taking the 3D modeling of a city for the example using traditional 3D modeling method, suppose there are 100 000 buildings to model in the urban area and the average size of model data for eachbuilding is roughly 10 M. So the total data volume of building models in the city could reach a TB level. However, the capacity of ordinary computer memory is only in the GB scale. Based on this concern, the authors proposed the scheduling technology for large-scale 3D buildings models in aspects of model loading and rendering. Due to the lack of building constructing rules and standard, models of buildings vary in aspects of constructing methods, textures collection and model data volume, especially in aspects of model reusability and factuality. Such a large amount of data without uniform constructing rules becomes a huge challenge for data storage, processing and visualization in computers. It also brings the problem of incompatibility among different 3D GIS systems.After years of research in GIS (Geographic Information System), people have accumulated a number of ways to solve the above problems [3]. However in virtual 3D environment, because of the difference in data organization and manners of human computer interaction (HCI), we need to apply a new standardized method of modeling and scheduling for 3D models. At present, there is no such a uniform method as the constructing specification or standard for the modeling of 3D buildings. Existing approaches are insufficient and inefficient in the scheduling of large-scale building models, resulting in poor performance or large memory occupancy. In response to such questions, the authors proposed a new method for the construction of 3D building models. Models built using the proposed methods could be much better than those built using traditional methods. For the 3D modeling of building objects in scenes of large scale, the proposed methods can not only remarkably reduce the complexity and amount of model data, but can also improving the reusability and factuality of models. Concerning the scheduling of large-scale building models, the Model Loading Judgment Algorithm (MLJA) proposed in this paper could solve the optimal judgment problem of model loading in 3D vision cone, particularly in circumstance with uncertain user interactions.This paper first examines and analyzes existing problems in constructing and scheduling steps of 3D building models. Then the authors propose a set of constructing rules for 3D building models together with methods of modeloptimization. Besides, special scheduling technology and optimization method for model rendering is also applied in this paper for large-scale 3D building models. In order to evaluate the efficiency of proposed rules and methods, a case study is undertaken by constructing a 3D model for the main campus of Peking University and Shenzhen using both the proposed method and the traditional method respectively. The two resulting 3D models of Peking University campus and Shenzhen are then examined and compared with one other in aspects of model data volume, model factuality, speed of model loading, average responding time during visualization, compatibility and reusability in various 3D geo-visualization platforms like China Star (one China’s own platform for 3D global GIS manufactured by the authors), Skyline, etc. Result of comparison tells that provided similar factuality of models, using the proposed method of us, the data volume of models was reduced by 86%; the speed of model loading was increased by 70%; the average responding time of model during visualization and interaction speed was reduced by 83%. Meanwhile, the compatibility and reusability of 3D model data are also improved if they are constructed using our approach.II. MODELING RULES OF 3D BUILDINGS 3D scene is the best form of visualization for digital city systems. While constructing 3D models for buildings objects, proper methods and rules should be used, which are made with full concerns of the characteristics of 3D building models [2]. The resulting models should be robust, reusable and suitable enough for transmission over computer network, and should at the same time be automatically adapted to system capability.Generally speaking, methods of constructing 3D building models can be classified into three types: wireframe modeling, surface modeling and solid modeling. In normal circumstances, to model buildings in 3D format, the framework of building should be constructed first according to the contour features, number of floors, floor height, aerial photograph and liveaction photos of buildings. Then, gather the characteristics of scene that the buildings to model are representing. Importantcharacteristics include buildings aerial photograph or liveaction shooting photos. Finally, map the gathered texture to model framework, optimize the model and create database of the 3D building models.Although there have already been many approaches for the construction of 3D building models, a unified modeling method and rules are still needed to improve the efficiency, quality, facilitate checking, reusability and archiving of constructed models. By investigating the characteristics of buildings, we found that buildings have regular geometric solid for modeling, similar texture on the surfaces of different directions, high similarity in small-scale models of buildings, etc. According to these, this article gives a discussion on the modeling rules from three aspects, including constructing rules of the 3D building models, texture mapping rules of 3D building models and optimization method for constructed models based on mentioned constructing rules.A. Constructing rules of the 3D building modelsThe 3D building modeling refers to the procedure of representing true buildings from the real world into computer in the form of 3D objects [4]. Human beings, as the creator and at the same time potential users of models, play a key role in this procedure. People are different from each other in the understanding of the building objects, methods of modeling and the software tools they use for modeling. Such differences among people who carry out modeling work at the same time lead to the 3D models of diverse quality and low efficiency. So the 3D building constructing rules proposed in this article become necessary and helpful to solve the above problems.1) Combine similar floors as a whole and keep the roof independent2) Share similar models and process the details especially3) Constructing in the unit of meters4) Define central point of the model5) Unified model codes6) Reduce number of surfaces in a single model7) Reduce combination of the models8) Rational split of modelsB. Texture mapping rules of 3D buildingsBased on the framework of 3D models, we need to attach these models with proper textures to create a better visualization effect for 3D buildings. The quality of texture mapping has a direct impact on the visual effect of the scene whiling being rendered [5]. Since the graphics card of computer will load all the textures together when rendering a model, texture mapping rules and the quality of the texture mapping can directly influence the efficiency of rendering as well.C. Optimization of models based on constructing rulesBased on constructing rules and the characteristics of 3D building models, the authors develop a software tool to optimize the 3D building models automatically. The optimizations implemented in the software tool contain the deletion of models’ internal textures, merging adjacent vertices/lines/surfaces, removing un-mapped framework and so on. Besides, the software can enhance the shape of the whole model, texture position and model facticity in the procedure of model optimization.III. SCHEDULING TECHNOLOGY OF LARGE-SCALE 3DBUILDING MODELSFor the 3D visualization of large-scale architectural models, a series of measures could be applied to ensure the efficient rendering of models. Important measures includes the scene organization, vision cone cutting, elimination of textures on the backside of models, Shader optimization, LOD Algorithm, math library optimization, memory allocation optimization, etc..How to display thousands of 3D city buildings’ models in a virtual 3D environment is not trivial. The main problem is the scheduling of models [7]. It determines when and which models to be loaded. This problem can be divided into two smaller problems: Find visible spatial region of models in 3D environment, and optimization method of model rendering efficiency.A. Find visible spatial region of models in 3D environmentAccording to operating mechanism of computers during 3D visualization and thecharacteristics of large-scale 3D scene, we need to determine the position of current viewpoint first before loading signal models or urban-unit models. Then in response to the regular changes of viewpoint in virtual 3D environment, the system will preload the 3D model data into memory automatically. In this way, frequent IO operations can be reduced and thus overall efficiency of system gets improved. A new algorithm named MLJA (Model Loading Judgment Algorithm) is proposed in this paper in order to find out visible region of models in the 3D environment. The algorithm integrates the graticules and elevation information to determine the current viewpoint of users in the 3D space. And with the movement of viewpoint, the algorithm schedules the loading of model correspondingly and efficiently.B. Optimization method of model rendering efficiencyThe scheduling method of large-scale 3D building models proposed above is an effective way to solve the problem caused the contradiction between large model data volume and limited capacity of computers. According to the algorithm, we can avoid loading the whole large-scale 3D building models at one time for the sake of limited computer memory, and then improve system efficiency in the procedure of model loading and abandoning. Due to the limited capacity of GPU and local video memory, we need a further research on how to display the loaded model data in more efficient manner. In the remaining part of this paper, the authors will continue to introduce several methods on the optimization of model rendering in the vision cone.1) Elimination of textures on the backside of modelsThe backside of the 3D model is invisible to the users. If we omit the texture mapping for the 3D model on the backside, the processing load of graphic card will be reduced as much as at least 50%. Besides, according to an investigation on procedure of actual model rendering, the authors found that on the backside of the 3D model, the invisible texture is rendered in a counter-clockwise manner against the direction of eyesight, while the visible texture mapping is rendered in clockwise manner. So we can omit the rendering of models which is intended to be rendered in counterclockwise manner. Therefore, the textures won’t exist on the back of 3D models. The graphic card could then work more rapidly and efficiently.2) Eliminate the shielded modelBy calculating the geometric relationship between 3D models in the scene, the shielded models can be omitted while displaying the scene with appropriate shielding patches. Through this way, we can effectively reduce the usage of graphics card memory, and thus achieve higher rendering efficiency and faster 3D virtual system.In the virtual 3D geographic information system, we often observe 3D models from a high altitude. It is especially true for large-scale outdoor 3D models. The usual arrangement of 3D building models are always sparse, however the real block is very small. Therefore, establishing an index for visual control, which is similar to the BSP tree, doesn’t amount to much. Through carefully studying DirectX, we found that we can take advantage of the latest Z-buffering technology of DirectX to implement the shielding control of models.3) Optimization method of the Shader instructionsIn shader 3.0 technology, SM (Shader Model) is a model which can optimize the rendering engine. A 3D scene usually contains several shaders. Among these shaders, some deal with the surfaces and skeletons of buildings, and others deal with the texture of 3D building models.Geometry can be handled quickly by shader batch process. The shader can combine similar culmination in 3D building models, deal with the correlation operation of a single vertex, determine the physical shape of the model, link the point, line, triangle and other polygons for a rapid processing while create new polygons, etc. We can assign the computing task to shader and local video memory directly in a very short time without bothering the CPU. In this case, visual effects of smoke, explosions and other special effects and complex graphics are no longer necessary to be processed by the CPU of computer. Such features of shader can speed up both the CPU and graphic card in processing huge amount of 3D models.4) LOD algorithm of large-scale 3D sceneLOD (Level of Detail) is a common and effective solution to resolve the conflicts between real time visualization and the authenticity of models [8]. By investigating the main features and typical algorithms of LOD technology, the authorsproposed a new structure for dynamic multi-level display. This structure not only can be applied to the mesh simplification of models with many different but fixed topologies, but also can be applied to the mesh simplification of models with variable topology. Therefore, the LOD technology can be applied to any grid model. Based on the above concerns, the authors also design a mesh simplification algorithm for variable topology through vertices merge. Via the dual operations of vertex merging and splitting, we can achieve smooth transition across different LOD levels of models, and automatically change the model topology.These above techniques plays important role in 3D scene. It can not only enable a rapid visualization of large-scale scene, but also can provide a high-resolution display of scene at a local scale with plenty of architectural details.IV. CONCLUDING REMARKSConstructing rules and scheduling technology plays an important role in the application of large-scale 3D buildings. Since people’s demand for 3D expression brings a challenge of high-efficiency and high-quality to virtual 3D environment, the methods proposed in this article give a good try in these aspects. According to the authors’ research and case studies in this paper, integration of constructing rules and scheduling technology is promising in providing powerful tools to solve the conflicts between limited processing capacity of computer and massive data of models. The result of our case study on Peking University indicates that the proposed new method on constructing rules and scheduling technology for large-scale 3D scene is highly feasible and efficient in practice. The proposed methods can not only standardize the procedure of model construction, but also can significantly shorten the time taken in scheduling large-scale 3D buildings. It introduces a new effective way to develop applications for large-scale three-dimensional scene.构建三维建筑模型的规则和调度技术隋正伟，邬伦, 翁敬农，林星,季晓璐摘要三维模型已成为超越了传统的二维地理空间数据的一种重要的地理数据形式。

An Interactive 3D Graphics Modeler Based on Simulated Human Immune SystemHiroaki Nishino1, Takuya Sueyoshi2, Tsuneo Kagawa3, Kouichi Utsumiya4 1, 3, 4Department of Computer Science and Intelligent Systems, Oita University, Oita, 870-1192 JapanEmail: {1hn, 3 t_kagawa, 4utsumiya}@csis.oita-u.ac.jp2Fujitsu Kyushu System Engineering Ltd., Fukuoka, 814-8589 JapanEmail: sueyoshi.takuya@Abstract—We propose an intuitive computer graphicsauthoring method based on interactive evolutionarycomputation (IEC). Our previous systems employed geneticalgorithm (GA) and mainly focused on rapid exploration ofa single optimum 3D graphics model. The proposed methodadopts a different computation strategy called immunealgorithm (IA) to ease the creation of varied 3D models evenif a user doesn’t have any specific idea of final 3D products.Because artistic work like graphics design needs a process todiversify the user’s imagery, a tool that allows the user toselect his/her preferred ones from a broad range of possibledesign solutions is particularly desired. IA enables the userto effectively explore a wealth of solutions in a huge 3Dparametric space by using its essential mechanisms such asantibody formation and self-regulating function. Weconducted an experiment to verify the effectiveness of theproposed method. The results show that the proposedmethod helps the user to easily generating wide variety of3D graphics models.Index Terms—3D computer graphics, human immunesystem, interactive evolutionary computation, geometricmodeling, genetic algorithmI.I NTRODUCTIONRapid advances in 3 dimensional computer graphics (3DCG) technology allow the public to easily create their own graphics contents by using off-the-shelf 3DCG authoring tools. However, there are some hurdles to clear before mastering the 3DCG authoring techniques such as learning 3DCG theories, becoming familiar with a specific authoring software tool, and building an aesthetic sense to create attractive 3D contents.We have been working on the development of some 3DCG authoring techniques allowing a user to intuitively acquire 3D contents production power without paying attention to any details on the theories and authoring skills [1]. We have been applied a technical framework called interactive evolutionary computation (IEC) to achieve the goal [2]. Figure 1shows an IEC-based 3DCG authoring procedure. The user simply looks at multiple graphics images produced and shown by the system, and rates each image based on his/her subjective preference. He/she gives his/her preferred images higher scores and vice versa. Then, the system creates a new set of images by evolving the rated images using a simple genetic algorithm (GA). This human-in-the-loop exploration framework consisting of the user’s rating and system’s evolution is iterated until the user finds a good result.The simple GA effectively explores a huge search space with multiple search points and quickly finds a global optimum solution (a highest peak) in the search space [3]. Such property of the simple GA enables the user to find a unique 3DCG output(a global optimum solution).It sometimes, however, prevents the user from exploring wide varieties of solutions because it always catches similar ones around the global optimum solution. The exploration of diversified solutions is a very important task in the initial design process. Therefore, a mechanism to discover not only the best solution but also other good ones is a crucial function. These quasi-optimum solutions are still good candidates for the final 3D contents to create.In this paper, we propose to apply immune algorithm Figure 1. Intuitive 3DCG authoring based on human-in-the-loop IEC framework.: very good : good : not good like crossover and mutation.(IA) to efficiently acquire diversified 3DCG solutions. There are improved GA-based search methods to find multiple good solutions by maintaining the diverseness in their searching procedures [4]. IA provides, however, a more efficient way to discover variety of solutions with smaller population size than the GA-based methods [5]. The IEC system imposes a burden on the user because it enforces him/her to rate all individuals (candidate graphics images in our system) in every iterations of the “rating and evolution” loop described above. Therefore, the IA’s efficient searching ability with the small number of individuals is an important feature to implement a comfortable operational environment by alleviating human fatigue. Whereas IA has such an advantage, it has a drawback. The original IA has many threshold parameters to control the searching function and these parameters need to be set before execution. However, it is difficult to appropriately preset the overall parameters to get the right solutions. We modified the original algorithm to fit in with the IEC framework and resolved the tuning problem by allowing the user to interactively control the algorithm at runtime. We also conducted an experiment to verify the effectiveness of the proposed IA-based 3D authoring. The results show that the proposed method helps the user to easily generating wide variety of 3D graphics models.II.R ELATED W ORKThere are many precedent trials to apply biologically-inspired methods for creating graphics objects. Dawkins has demonstrated the power of computer-simulated evolution to create the “boimorphs,” the 2D line drawings of complex structures found in the living organism [6][7]. Following his pioneering work, two representative graphics applications were presented by Sims [8][9] and Todd et al. [10].They showed a methodology to breed aesthetic graphics images based on the evolutionary computation techniques. Although their approaches were quite successful to create innovative results, they focused on the production of highly abstract artistic images. Other 3DCG authoring applications include a system for drawing animals and plants [11], a 3D CG lighting design support system [12], a GA-based seamless texture generation system [13], and a 3D graphics modeling system [14]. See the reference [2] for further detail survey. These applications are mainly targeted at finding a single best solution in a very huge search space of 3D graphics objects.They are beneficial especially for novices because these applications don’t assume any technical know-how and aesthetic sense. On the contrary, our focus is on a very early stage in graphics design. The proposed method provides a uniform strategy to widen the user’s conception by presenting diverse solutions to the user. Therefore, our approach aims at providing a way to diversify the user’s idea before shaping a final solution, whereas all of the former systems described above focus on converging the user’s imagery toward the final solution. As a result, most precedent systems applied canonical GA or GP (genetic programming) without any mechanisms to preserve searching diversity.We applied the immune algorithm (IA) as an evolutionary computing engine for generating a broad range of 3D graphics objects. IA can be classified into a type of Artificial Immune Optimization (AIO) method [15] and has been proven to be a useful computational model for multi-objective optimization problems. IA is actually similar to GA because some IA operations can be implemented by GA operators such as crossover and mutation. Mori et al. proposed a GA-aided algorithm and exemplified its effectiveness by applying it to a multimodal function optimization problem [5][16]. Their method preserves to search diversified solutions by incorporating the regulatory and memory mechanisms of human immune system in the search procedure.IA can effectively search quasi-optimum solutions with smaller population size than simple GA. The IEC system requires the user to rate all candidate solutions (individuals) one by one and hence human fatigues caused by excessive operations need to be avoided [17]. Reducing the population size to a maximum extent is a crucial requirement to implement a successful IEC system.There are modified versions of the Mori’s algorithm proposed and applied to various problems such as TSP (traveling salesman problem) [18], multimodal function optimization [19], and quantum computing algorithm [20]. These existing systems require a predefined evaluation function and some threshold parameters to automatically control the IA optimization procedure. Appropriate definition of these function and variables is a crucial task for getting good solutions, but it is also a very tricky part to successfully control the IA optimization. Our proposed system improves the algorithm by adding some options to interactively control the IA operations at runtime.III.H UMAN I MMUNE S YSTEM O VERVIEWFigure 2 illustrates a human immune system overview. Two intrinsic mechanisms such as antibody formation and self-regulating function characterize the human immune system. The antibody formation is to produce and propagate antibodies that can effectively get rid of any unknown antigens. When the antibody-producing cell, a type of B-cell, detects an intruding antigen, it accelerates the antibody production by iterating gene recombination. The helper cell stimulates B-cell production for efficient antibody formation. Once the effective antibodies that can eliminate the detected antigen are produced, the memory cell memorizes a part of the produced antibodies. This memory mechanism, which is referred to as “acquired immunity,” quickly attacks the memorized antigen in the future invasion. This is a very important mechanism to protect human body from catching diseases such as measles and mumps. When the antibody formation excessively produces theantibodies to beat the invading antigens, the self-regulating function is activated to inhibit further increaseof the antibodies. The suppressor cell deteriorates the B-cell production to balance the immune system. This self-regulation mechanism enables the immune system to protect the human body from countless antigens with the finite antibody cells. Simulating this function enables the system to produce diversified solutions by using a finite number of searching entities (individuals).To apply these human immune mechanisms to the IEC-based graphics authoring system, we assume that the antigens correspond to optimum or quasi-optimum solutions (3D graphics objects made by the user) and the antibodies are equal to candidate solutions (candidate 3D graphics models evolved by the system) [21].IV. I NTERACTIVE G RAPHICS A UTHORING S YSTEM We designed and developed an IEC-based 3DCGauthoring system allowing the user to intuitively create 3D graphics objects [22]. Figure 3 illustrates the overall structure and modeling procedure of the system. As shown in the figure, the system consists of two software components, the IEC browser for exploring 3D graphics models and the I(individual)-editor for manually elaborating CG parameters of a specific model. The whole modeling steps numbered as 1 through 5 in figure 3 are described below.(1) Initial 3D model generationThe system firstly needs an initial 3D model to activate the IEC-guided authoring. The user has the following three options to prepare the initial model:- capture a real object’s shape by using a 3D scanner (a vase example in figure 3),- make it by using the freehand sketch modeler [23], or - retrieve and download it on the Internet. (2) Gene codingThe initial model needs to be coded as a gene. Figure 4 shows the structure of a chromosome that represents a 3D model created and evolved in the system. A chromosome holds 132 graphics parameters in total. Each graphics parameter is encoded as an 8 bits long gene (an integer ranging from 0 to 255) according to the following equation:.255minmax min ×−−=G G G G g i i ii i(1≦i ≦132) (1)where G i and g i are the i -th graphics parameter and its corresponding gene, respectively. The G i max and G i min are the maximum and minimum values of the parameter G i . The total length of a chromosome is 132 bytes.Manually elaborate a 3D modelby using I-editorPerform IA-based 3DCG authoring by using IEC browser clickFigure 2. Human immune system overview.Figure 3. Overall structure and modeling procedure of IEC-guided 3DCG authoring system.helper cellsuppressor cell B-cellmemoryantibody-The chromosome mainly divided into two sections, FFD (free form deformation) and RND (rendering) sections as shown in figure 4. The FFD section governs the 3D model’s geometrical shape. FFD is a modeling method originally proposed by Sederberg et al. [24]. FFD provides a common way to deform a 3D polygonal model. As shown in the upper left part in figure 4, it wraps the target 3D model with a simplified control mesh. When the mesh shape is changed by moving its nodes’ positions, the wrapped 3D object is deformed according to the modified mesh shape. The object can be deformed globally (global FFD) or locally (local FFD) as shown in figure 4. The system supports a control mesh consisting of 27 nodes (3x3x3 mesh) to evolve the model shape. All 27 nodes’ positions are encoded as genes (a group of genes labeled as “control mesh” in figure 4) to deform the mesh via the IA operations. The system supports additional deformation functions such as tapering and twisting operations as shown in figure 4 to provide a clay modeling effect [25].The RND section dictates the physical appearance of the 3D model as shown in the upper right part in figure 4. This section encodes information such as light source, object’s surface material, and color. As shown in the figure, the system supports four types of light sources (direction, spot, ambient, and point lights) with a set of parameters to prescribe various rendering effects such as reflection of light, shading, specular and diffusion surfaces, and object’s and background colors. (3) Browser activation and initial model readingThe user invokes the IEC browser and reads the initial model. The user performs the 3D graphics authoring task by using a set of GUI tools supported by the IEC browser as shown in figure 5. There are several GUI buttons arranged at the bottom of the screen to control the authoring task. When the user pushes the “read” button, the browser inquires a file name to read. Next, he/she specifies the file name of the initial model and executes the reading. Then, all sixteen sub-windows in the IEC browser display an identical image of the read initial model. The IEC browser can read and write 3D data files in .obj format, a commonly used 3D file format supported by Java3D library.(4) IA-based 3DCG authoringThis is a main stage for creating various 3D models by using the proposed IA-based 3DCG authoring method. The user can simultaneously browse all candidate model images in a screen and rate each model with his/her subjective preference on a scale of 1 to 5 (the worst to the best scores correspond to 1 to 5). He/she specifies each model’s score as an affinity value (as described in section V) by using the rating button placed at the bottom of each sub-window as shown in figure 5. Then, the scored 3D models are evolved by using the IA algorithm expounded in section V. The system iterates this “rating and evolution” processes until he/she gets the enough variety of 3D models.As the evolution progresses, a part in the chromosome such as the object’s shape or rendering effects might be well converged and they may need to be protected from further modifications. Consequently, the IEC browser supports a function to lock and unlock each gene. It can preserve a well-evolved part of the 3D model by excluding the locked parts in chromosome from the IA operations. The user controls the lock/unlock function by using the GUI menus arranged on the right side of the IEC browser as shown in figure 5. There are two separate menus for locking/unlocking the modeling and rendering parameters, and the setup menu to configure the system parameters such as the crossover and mutation rates anddefault shape global FFDlocal FFD taperingtwisting sourceRendering (RND) operations to representFree Form Deformation (FFD) with clay modeling options to Figure 4. Structure of a chromosome to represent a 3D model evolved in the system .the crossover scheme to utilize as described in section V. The user switches the menus by clicking tags on top of the menus.As shown in figure 3, the IEC browser consists of two software components, the IA engine to perform the IA operations and the graphics engine to manage the graphics rendering and user interactions through the GUI tools. (5) Manual elaboration of a 3D modelThe I-editor, as shown in figure 3, provides a fine-tuning option to manually elaborate the graphics parameters of a candidate 3D model. The user clicks a specific model’s sub-window in the IEC browser to select a model for manual editing. Then, he/she pushes the “edit” button as shown in figure 5 to activate the I-editor. The user can modify any parameters controlling the selected model’s geometrical shape, deformation pattern, surface materials, lighting effects, and colors. The model image in the I-editor is immediately updated when the user modifies any parameter values. Therefore, he/she easily notices the effects of the changes and perceives his/her preferred parameter settings. After the manual edit, the model can be brought back to the IEC browser for further evolutions.Both of the IEC browser and the I-editor are written in Java with Java 3D library. They are downloadable on the Internet and usable under multiple operating systems.V.I NTERACTIVELY C ONTROLLED I MMUNE A LGORITHMFOR 3DCG A UTHORINGAs described in section II, the traditional IA-based optimization systems require a predefined evaluation function to automatically calculate the affinity (fitness) values of antibodies. They also need some preset threshold parameters to timely accelerate or suppress the antibody formation mechanism. Appropriate definition of the function and threshold values is a crucial problem to successfully acquire multiple good solutions. The tuning of these values, however, is a tricky task and makes IA a difficult optimization framework to use. We resolve the problem by changing the original IA to the interactively controllable algorithm. It can accelerate or suppress the antibody formation at runtime. The flowchart in figure 6 elaborates the proposed IA algorithm. The shaded steps such as processes (b), (c), and (h) in the flowchart encourage the user to interactively control the processes. The explanation of each process (a through h) in the flowchart follows:(a) Creation of an initial generationFirstly, IA creates an initial generation of antibodies by randomly calculating all parameter values encoded in the initial model’s chromosome as described in section IV. The user pushes the “initialize” button placed at the bottom of the IEC browser (as shown in figure 5) to initialize the model. The randomization of the initial model generates a set of 3D objects with various shapes and physical appearances. If there are 3D models kept as memory cells in the SMC-DB (suppressor and memory cell database), the system selects some cells to compose the initial generation. Because the SMC-DB keeps optimum solutions (good 3D models) discovered in the past trials in process (g), IA reuses such previously found solutions as good candidates to start a new trial.The modeling starts with an initial generation of 3D models generated by randomization and selected from the SMC-DB.Setup menufor configuringsystem parameterssuch as crossover andmutation ratesModeling menufor controllinglock/unlock overmodeling-relatedparametersRendering menufor controllinglock/unlock overrendering-relatedparametersmenus GUI buttonsrating buttonEvolution button to activateevolutionary processingbutton to activate I-editor for aspecific modelDefault button to recycle browserand return to the initial state:Undo button to undo onegeneration:Clamp button to prevent a specificmodel from being evolvedFigure 5. IEC browser interface with its GUI tools.(b) Judgment on convergenceThe user specifies whether he/she finds an optimum solution, a 3D model (an antibody) that coincides with his/her imagery, in the current generation. He/she picks the found solution when exists and proceed to process (g), otherwise continues to process (c) for executing further simulated evolutions.(c) Rating of antibodiesThe user rates sixteen 3D models (antibodies) in the current generation with his/her subjective preference on a scale of 1 to 5as described in section IV. Each antibody’s rate corresponds to an affinity representing its degree of similarity with the antigen (a target 3D model to create). The highly rated antibodies, therefore, are similar to the antigen and have high expectations to survive in the future generations. The degree of similarity between the antigen and the antibody v is defined as follows: ax v= Affinity v. (1 ≦Affinity v≦5) (2) where Affinity v is an integer value. The affinity is the rate assigned by the user. The value is 5 if the antibody v is the most similar with the antigen in the current generation, or 1 for the least similar one.(d) Execution of crossover and mutationThis process executes crossover and mutation operations used in the normal GA to produce new antibodies. The system selects a pair of antibodies as parents and performs a crossover operation on them to produce a new pair of antibodies (children). Because each antibody’s affinity given by the user in process (c) is used as an expectation for the selection, the highly rated antibodies have higher probability to be chosen as the parents. This process also induces a mutation of gene to preserve a diversity of antibodies.(e) Suppression of antibodiesAfter new antibodies (children) are produced by the crossover and mutation, this process suppresses all child antibodies that are similar to the previously found optimum solutions. The purpose of the suppression is to keep the evolving antibodies away from search fields near the already acquired solutions. This step prevents the system from redundantly producing the 3D models similar to the already found solutions in the previous search. Accordingly, it allows the user to efficiently explore other unknown solutions (3D models) in the search space. The previously found solutions are kept as the suppressor cells in the SMC-DB in process (g). The suppression mechanism calculates the degree of similarity (affinity) between each child antibody produced in process (d) and all the suppressor cells, and then suppresses all children whose affinities are higher than the threshold value. This threshold is the only predefined value in our algorithm. The affinity between the suppressor cell s and the antibody v is defined as follows:Pp=1Pay v,s1=( g v p g s p)2Σ(3)where P is a population size, g v and g s are genes of the antibody and the suppressor cell, respectively. The g v and g s are the same graphics parameters and they are normalized as real numbers ranging between 0 and 1. Accordingly, ay v,s becomes 1, a maximal value, when the chromosome of the antibody is identical to the suppressor cell’s.(f) Creation of a new generationThis process produces additional antibodies by randomly setting the parameters if there are suppressed ones in process (e). The processes from (d) to (f) simulate the antibody formation with guaranteeing the exploration of a new solution (antibody) from undiscovered search fields.(g) Memorization of an optimum solutionThis process memorizes the discovered optimum solution as a memory cell in the SMC-DB. The stored solution is reused as an effective antibody to form the initial generation in process (a). Because the SMC-DB can only store a limited number of memory cells, a replacement algorithm is activated when a cell pool in the SMC-DB fills. It calculates the affinity between the found solution (antibody) and all the memorized cells by using equation 3. Then, it replaces the most similar memory cell by the newly found solution.The discovered solution is also memorized as a suppressor cell in the SMC-DB. It is used to suppress the evolving antibodies that are similar to the found solution in process (e).Figure 6. Flowchart of interactive IA.(h) Judgment on completionThe user indicates to finish the IA-guided exploration if he/she gets enough variety of the 3DCG models.In the original IA, threshold parameters to automatically judge the conditions need to be set for processes (b), (e) and (h). Additionally, an evaluation function to calculate affinity values for all antibodies needs to be defined for process (c). Appropriate setting of these parameters and the evaluation function has heavy influences on the search results and makes the original IA a difficult optimization method to customize. In our proposed algorithm, these judgments and calculations except for process (e) can be treated interactively at runtime. The user can intuitively make decisions in these processes by looking at visualized 3D models in the IEC browser and selecting his/her preferred ones.VI. E VALUATION E XPERIMENT A. Task DescriptionWe conducted an experiment to verify the effectiveness of the proposed IA-based 3DCG authoring method. To examine how it can intuitively support the generation of various 3D models, we assigned a creative design task motif. We prepared a “tokonoma” image, an alcove in a traditional Japanese room where art or flowers are displayed, as shown in figure 7(a). Then, we asked subjects to create various 3D vase models that fit neatly into the image as shown in figure 7(b). We employed twenty six subjects and let them to create as many vase models as possible within fifteen minutes. To evaluate the proposed method from the perspective of its ability for producing diversified solutions, we compare it with the traditional GA-based modeling. The GA modeler simply implements a basic algorithm to find an optimum solution and has no function to preserve the diversity of solutions during the search. We request the subjects to create asmany different models in shapes and colors as they canby using both modelers.Figure 8 is a screen snapshot showing the operational environment of the experiment. The user interface of both modelers (IA and GA modelers) is identical as shown in the figure to provide a consistent 3D modeling environment. In addition to the IEC browser and I-editor to perform the task, the subjects also use a photo viewer to draw the “tokonoma” motif image with a superimposed 3D vase model being evolved as shown in figure 8. The subjects can easily find good models in the current generation to suit with the motif image by using the photo viewer.B. Experimental Procedure and ConditionIn the beginning of the experiment, we briefly explained the subjects about how to use the system andgave them a few minutes to try and become familiar withthe tools. Then, we divide the subjects into two groups,the group A and B, as shown in table I. The subjects inthe group A firstly perform the modeling task by using the IA modeler and then continue the task by using the GA modeler. The subjects in the group B are enforced to perform the modeling tasks in reverse order to minimize the order effect between the IA and GA methods. After the subjects completed both tasks, we asked them to compare and rate both methods in five ranks according to the evaluation criteria as shown in figure 9 from the following two viewpoints:(1) Diversity of the models to indicate which method is better to create a variety set of 3D models, and(2) Satisfaction level to specify which method is better to get a satisfactory result in visual quality. All modeling tasks are performed under the following conditions: - the population size (number of evolved 3D models ineach generation) is 16, - the crossover rate is 90%, (a) (b)Motif images of “Tokonoma,” an alcove in a traditional Japanese room where art or flowers are displayed, used in the experiment. (a) is an original image, and (b) is an image with superimposed 3D vase model created in the experiment.Figure 7. Motif images of experiment.Figure 8. Operational environment for experiment.to superimpose a specific 3D model on themotif imagefor IA-and GA-guided 3D authoring。

动画制作外文翻译文献(文档含中英文对照即英文原文和中文翻译)译文：动作脚本ActionScript是 Macromedia（现已被Adobe收购）为其Flash产品开发的，最初是一种简单的脚本语言，现在最新版本3.0，是一种完全的面向对象的编程语言，功能强大，类库丰富，语法类似JavaScript，多用于Flash互动性、娱乐性、实用性开发，网页制作和RIA应用程序开发。

ActionScript 是一种基于ECMAScript的脚本语言，可用于编写Adobe Flash动画和应用程序。

由于ActionScript和JavaScript都是基于ECMAScript语法的，理论上它们互相可以很流畅地从一种语言翻译到另一种。

不过JavaScript的文档对象模型（DOM）是以浏览器窗口，文档和表单为主的，ActionScript的文档对象模型（DOM）则以SWF格式动画为主，可包括动画，音频，文字和事件处理。

历史在Mac OS X 10.2操作系统上的Macromedia Flash MX专业版里，这些代码可以创建一个与MAC OS X启动过程中看见的类似的动画。

ActionScript第一次以它目前的语法出现是Flash 5版本，这也是第一个完全可对Flash编程的版本。

这个版本被命名为ActionScript1.0。

Flash 6通过增加大量的内置函数和对动画元素更好的编程控制更进一步增强了编程环境的功能。

Flash 7(MX 2004)引进了ActionScript2.0，它增加了强类型（strong typing）和面向对象特征，如显式类声明，继承，接口和严格数据类型。

ActionScript1.0和2.0使用相同的编译形式编译成Flash SWF文件（即Shockwave Flash files，或 'Small Web Format'）.时间表Flash Player 2：第一个支持脚本的版本，包括控制时间轴的gotoAndPlay, gotoAndStop, nextFrame和nextScene等动作。

文献信息：文献标题：Aesthetics and design in three dimensional animation process（三维动画过程中的美学与设计）国外作者：Gokce Kececi Sekeroglu文献出处：《Procedia - Social and Behavioral Sciences》, 2012 , 51 (6):812-817字数统计：英文2872单词，15380字符；中文4908汉字外文文献：Aesthetics and design in three dimensional animation processAbstract Since the end of the 20th century, animation techniques have been widely used in productions, advertisements, movies, commercials, credits, visual effects, and so on, and have become an indispensable part of the cinema and television. The fast growth of technology and its impact on all production industry has enabled computer-generated animation techniques to become varied and widespread. Computer animation techniques not only saves labour and money, but it also gives the producer the option of applying the technique in either two dimensional (2D) or three dimensional (3D), depending on the given time frame, scenario and content. In the 21st century cinema and television industry, computer animations have become more important than ever. Imaginary characters or objects, as well as people, events and places that are either difficult or costly, or even impossible to shoot, can now be produced and animated through computer modelling techniques. Nowadays, several sectors are benefiting from these specialised techniques. Increased demand and application areas have put the questions of aesthetics and design into perspective, hence introducing a new point of view to the application process. Coming out of necessity, 3D computer animations have added a new dimension to the field of art and design, and they have brought in the question of artistic and aesthetic value in such designs.Keywords: three dimension, animation, aesthetics, graphics, design, film1.IntroductionCenturies ago, ancient people not only expressed themselves by painting still images on cave surfaces, but they also attempted to convey motion regarding moments and events by painting images, which later helped establish the natural course of events in history. Such concern contributed greatly to the animation and cinema history.First examples of animation, which dates back approximately four centuries ago, represents milestones in history of cinema. Eadweard J. Muybridge took several photographs with multiple cameras (Figure 1) and assembled the individual images into a motion picture and invented the movie projector called Zoopraxiscope and with the projection he held in 1887 he was also regarded as the inventor of an early movie projector. In that aspect, Frenchmen Louis and Auguste Lumière brothers are often credited as inventing the first motion picture and the creator of cinematography (1895).Figure 1. Eadweard J. Muybridge’s first animated pictureJ. Stuart Blackton clearly recognised that the animated film could be a viable aesthetic and economic vehicle outside the context of orthodox live action cinema. Inparticular, his movie titled The Haunted Hotel (1907) included impressive supernatural sequences, and convinced audiences and financiers alike that the animated film had unlimited potential. (Wells, 1998:14)“Praxinoscope”- invented by Frenchman Charles-Émile Reynaud - is one of the motion picture related tools which was developed and improved in time, and the invention is considered to be the beginning of the history of animated films, in the modern sense of the word. At the beginning of the 20th century, animated films produced through hand-drawn animation technique proved very popular, and the world history was marked by the most recognisable cartoon characters in the world that were produced through these animations, such as Little Nemo (1911), Gertie the Dinosaur (1914), The Sinking of the Lusitania (1918), Little Red Riding Hood (1922), The Four Musicians of Bremen (1922) Mickey Mouse(1928), Snow White and the Seven Dwarfs (1937).Nazi regime in Germany leads to several important animation film productions. When Goebbels could no longer import Disney movies, he commissioned all animation studios to develop theatrical cartoons. Upon this, Hans Fischerkoesen began to produce animation films and by end of the war, he produced over a thousand cartoons (Moritz, 2003:320).In due course, animated films became increasingly popular, resulting in new and sizable sectors, and the advances in technology made expansion possible. From then on, the computer-generated productions, which thrived in the 1980's, snowballed into the indispensable part of the modern day television and cinema.The American animated movie Aladdin grossed over 495 million dollars worldwide, and represented the success of the American animation industry, which then led to an expansion into animated movies which targeted adults (Aydın, 2010:110).Japan is possibly just as assertive in the animation films as America. Following the success of the first Japanese animation (anime) called The White Snake Enchantress 1958 (Figure 2)which resulted in awards in Venice, Mexico and Berlin film festivals, Japanese animes became ever so popular, which led to continuousinternational success. For example, the movie titled Spirited Away won an Oscar for Best Animated Feature Film, and became the winner of the top prize at this year's Berlin film festival. Following their ever-increasing success in anime production, Japan became one of the most sought after hubs of animation industry by European and American companies interested in collaboration.Figure 2. The White Snake Enchantress 19582.Three Dimensional AnimationThe development of animation techniques, a process that can be traced back to the 18th century brought with it a thematic variety in animation genres. Today, animation techniques based on cartoons, puppets, stop-motion, shadow, cut-out and time lapse can be applied both manually and based on digital technology. Furthermore the use of 3D computer graphics in the 1976-dated film "Futureworld" opened the way for this technology to be in high demand in a variety of industries. 3D animations occupy a central role today in cinema, TV, education and video games alike, and their creative processes in both realistic and surreal terms seem to know no limits. This new medium that with its magical powers makes the impossible possible and defies the laws of physic (Gökçearslan, 2008: 1) open a door for designers and artists to anunlimited imagination. "In particular in the movies of the 80s, computer-aided animated effects turned out to be life-savers, and the feature film Terminator 2 (1991) in which 3D animation technology was used for the first time received praise from both audience and film critics" (Kaba, 1992: 19). Toy Story (Walt Disney Pictures, 1995), a film that became very popular among audiences of all ages due to its script, characters, settings and animation technique, was the first fully 3D animated feature film in history, and was followed by two sequels.By help of the support coming from the homeland, and its form oriented realistic format, Disney characters have been amongst the top animated characters. In order to achieve a realistic production, Disney even kept animals such as horses, deer, and rabbits in the studios, while the artists studied their form, movements and behaviour. As for human characters, famous movie stars of the period were hired as a reference point for human form and behaviour. (Gökçearslan, 2009:80).Another American movie "Shrek" (2001) created by William Steig, whose book Shrek (1990) formed basis for the DreamWorks Pictures full length 3D animation film, attracted millions of people. The movie is a great example of a clever and aesthetically pleasing combination of powerful imagination and realistic design. Also, by means of certain dialogues and jokes, the theme of "value judgement" is simplified in a way that it is also understood by children. These are amongst two undeniable factors which are thought to have contributed to the worldwide success of the movie.Most successful 3D animation movies are of American make. The importance of budget, historical and political factors, as well as contextual and stylistic factors which bring in simplicity and clarity to the movies is incontrovertible.“The era of the post-photographic film has arrived, and it is clear that for the animator, the computer is essentially "another pencil". Arguably, this has already reached its zenith in PIXAR's Monsters Inc. Consequently, it remains important to note that while Europe has retained a tradition of auteurist film making, also echoed elsewhere in Russia, China, and Japan, the United States has often immersed its animation within a Special Effects tradition, and as an adjunct to live action cinema.” (Wells, 2002:2).3.Aesthetics and Design in Three Dimensional AnimationsLow-budget and high-budget 3D animation movies go through the same process, regardless. This process is necessary in order to put several elements together properly.The first step is to write up a short text called synopsis, which aims to outline the movie plot, content and theme. Following the approval of the synopsis, the creative team moves on to storyboarding, where illustrations or images are displayed in sequence for the purpose of visualising the movie (Figure 3). Storyboarding process reflects 3D animator's perspective and the elements that are aimed to be conveyed to the audience. The animation artists give life to a scenario, and add a touch of their personality to the characters and environment. “"Gone With The Wind" is the first movie where the storyboarding technique, which was initially used in Walt Disney Studios during the production process of animated movies, was used for a non-animation movie, and since the 1940's, it has been an indispensible part of the film industry.Figure 3: Toy Story, storyboarding, PixarStory board artists are the staple of film industry, and they are the ones who either make or break the design and aesthetics of the movie. While they their mainresponsibility is to enframe the movie scenes with aesthetics and design quality in mind, they are also responsible for incorporating lights, shadows and colours in a way that it enhances the realistic features of the movie.The next step following storyboarding, is "timing" which is particularly important in determining the length of scenes, by taking the script into consideration. In order to achieve a realistic and plausible product, meticulous mathematical calculations are required.The next important step is to create characters and environment in 3D software, and finalise the production in accordance with the story-board. While character and objects are modelled in 3D software, such as 3Ds Max, Cinema 4D , Houdini, Maya, Lightwave, the background design is also created with digital art programs such as Photoshop, Illustrator, Artage, depending on the type or content of the movie (Figure: 4). Three dimensional modelling is the digital version of sculpturing. In time, with ever-changing technology, plastic arts have improved and become varied, leading to a new form of digital art, which also provides aesthetic integrity in terms of technique and content. Same as manually produced art work, 3D creations are also produced by highly skilled artist with extensive knowledge of anatomy, patterns, colours, textures, lights and composition. Such artists and designers are able to make use of their imagination and creativity, and take care of both technical and aesthetic aspects of creating an animated movie.Figure 4: Examples of 3D modelling (left) and background (right).In a movie, the colour, light and shadow elements affect the modelled character, setting and background to a very large extent. Three dimensional computer graphics software provides a realistic virtual studio and endless source of light combinations.Hence, the message and feeling is conveyed through an artistically sensitive and aesthetically pleasing atmosphere, created with a certain combination of light and colours. Spot light, omni, area and direct lights are a few examples to the types of options that can be used on their own or as a combination. For example, in 3D animations the 'direct light' source can be used outdoors as an alternative for the sun, whereas the 'area light' which uses vertical beams can help smooth out the surface by spreading the light around, which makes it ideal for indoors settings. Blue Sky Studio's 3D movie called “Ice Age” (Figure 5) produced in 2001 achieved a kind of unique and impressive technology-driven realistic technique with clever use of lights and colours, becoming one of the first exceedingly successful 3D animations of the period.Figure 5: “Ice Age”, Blue Sky Studios, 2001Following the modelling and finishing touches of other visual elements, each scene is animated one by one. “Actions assigned to each and every visual element within the scene have to have a meaningful connection with the story, in terms of form and content. In fact, the very fundamental principle of computer animations is that each action within the scene serves a certain purpose, and the design within the frame creates visual pleasure” . Underscoring element is also expected to complement the visuals and be in harmony with the scene. It is an accepted fact that a good visual is presented along with suitable music, affects the audience in emotional and logicalsense a lot more than it would have done so otherwise. For that reason, underscores are just as important as other audio elements, such as voiceovers and effects, when it comes to visual complements. Sound is an indispensable part of life and nature, therefore it can be considered as a fundamental means of storytelling. Clever and appropriate use of sound is very effective in maintaining the audience's attention and interest.In order to produce a meaningful final product in the editing phase, a careful process of storyboarding and timing have to be carried out. Skilfully executed editing can add rhythm and aesthetics to scenes. The integrity of time, setting, audio and atmosphere within a movie is also profusely important in terms of conveying the semantic rhythm. Meticulously timed fade-out, fade-in, radiance or smoke effects would allow the audience to follow the story more attentively and comfortably, and it would also establish consistency in terms of aesthetics of the movie itself.4. ConclusionNo matter how different the technological circumstances are today, and used to be back in the ancient times when humans painted images on cave surfaces, human beings have always been fascinated with visual communication. Since then, they have been striving to share their experiences, achievements, wishes and dreams with other people, societies or masses. For the same purpose, people have been painting, acting, writing plays, or producing movies. Incessant desire to convey a message through visual communication brought about the invention of the cinema, and since the 18th century, it has become an essential means of presenting ideas, thoughts or feelings to masses. 3D animations, which were mainly used in advertisements, commercials, education and entertainment related productions in the 2000's, brought about many blockbuster 3D movies.When recorded with a camera, the three dimensional aspect of reality is lost, and turned into two dimensions. In 3D animations, the aim is to emulate the reality and present the audience an experience as close to the real life as possible. “Human eye is much more advanced than a video camera. infinite sense of depth and the ability tofocus on several objects at the same time are only a few of many differences between a camera and the human eye. Computer-produced visuals would give the same results as the camera. Same as painting and photography, it aims to interpret the three dimensional world in a two dimensional form.” As a result, 3D animations have become just as important as real applications, and thanks to their ability to produce scenes that are very difficult, even impossible to emulate, they have actually become a better option. Big companies such as Walt Disney, Pixar, and Tree Star have been making 3D animations which appeal to both children and adults worldwide. Successful productions include the elements of appropriate ideas, decent content, combined with expert artists and designers with technical backgrounds. For that reason, in order to establish good quality visual communication and maintain the audience's attention, art and design must go hand in hand. Sometimes, being true to all the fundamental design principles may not be enough to achieve an aesthetically pleasing scene. In order to achieve an aesthetically pleasing scene, warmth and sincerity, which are typical attributes of human beings, must be incorporated into the movie. The modelling team, which functions as the sculptor and creates authentic materials like a painter, teams up with creative story-board artists, and texture and background artists, to achieve an artistically valuable work. In order to achieve plausibility and an aesthetically valuable creation, it is important that colour, light, shadow and textures used during the process are true to real life. Camera angles, speed and direction of movement, the sequence of the scenes and their harmony with the underscoring are essential in determining the schematic and aesthetic quality of a movie.In conclusion, Art does not teach. Rather, art presents the full and concrete reality of the end target. What art does is presents things "as they should be or could have been", which helps people attain such things in real life. However, this is just a secondary benefit of art. The main benefit of art is that it provides people with a taste of what "things would be like if they were the way they were supposed to be" in real life. Such an experience is essential to human life. Surely, people cannot watch a movie with the schematic or aesthetic quality of it in mind. However, as the movieprogresses, a visual language settles into the spectator's subconsciousness, creating a sense of pleasure. Walter Benjamin claims that a spectator analysing a picture is able to abandon himself to his associations. However, this is not the case for people watching a movie at the cinema. Rather, the cinema audience can only build associations after they have watched the movie, therefore the process of perception is delayed. (Benjamin, 1993:66).中文译文：三维动画过程中的美学与设计摘要自20世纪末以来，动画技术在生产、广告、电影、商业、节目、视觉效果等方面得到了广泛的应用，并已经成为影视业不可或缺的组成部分。

Untiy3D AnimationUnity’s Animation features include Retargetable animations, Full control of animation weights at runtime, Event calling from within the animation playback, Sophisticated State Machine hierarchies and transitions, Blend shapes for facial animations, and more.Read this section to find out how to import and work with imported animation and how to animate objects, colours, and any other parameters within Unity itself.Animation System OverviewUnity has a rich and sophisticated animation syst em (sometimes referred to as ‘Mecanim’). It provides:Easy workflow and setup of animations for all elements of Unity including objects, characters, and properties.Support for imported animation clips and animation created within UnityHumanoid animation retargeting - the ability to apply animations from one character model onto another.Simplified workflow for aligning animation clips.Convenient preview of animation clips, transitions and interactions between them. This allows animators to work more independently of programmers, prototype and preview their animations before gameplay code is hooked in.Management of complex interactions between animations with a visual programming tool.Animating different body parts with different logic.Layering and masking featuresAnimation workflowUnity’s animation system is based on the concept of Animation Clips, which contain information about how certain objects should change their position, rotation, or other properties over time. Each clip can be thought of as a single linear recording. Animation clips from external sources are created by artists or animators with 3rd party tools such as Max or Maya, or come from motion capture studios or other sources.页脚内容1Animation Clips are then organised into a structured flowchart-like system called an Animator Controller. The Animator Controller acts as a “State Machine” which keeps track of which clip should currently be playing, and when the animations should change or blend together.A very simple Animator Controller might only contain one or two clips, for example to control a powerup spinning and bouncing, or to animate a door opening and closing at the correct time. A more advanced Animator Controller might contain dozens of humanoid animation s for all the main character’s actions, and might blend between multiple clips at the same time to provide a fluid motion as the player moves around the scene.Unity’s Animation system also has numerous special features for handling humanoid characters whi ch give you the ability to retargethumanoid animation from any source (Eg. motion capture, the asset store, or some other third-party animation library) to your own character model, as well as adjusting muscle definitions. These special features are enabled by Unity’s Avatar system, where humanoid characters are mapped to a common internal format.Each of these pieces - the Animation Clips, the Animator Controller, and the Avatar, are brought together on a GameObject via theAnimator Component. This component has a reference to an Animator Controller, and (if required) the Avatar for this model. The Animator Controller, in turn, contains the references to the Animation Clips it uses.The above diagram shows the following:Animation clips are imported from an external source or created within Unity. In this example, they are imported motion captured humanoid animations.页脚内容2The animation clips are placed and arranged in an Animator Controller. This shows a view of an Animator Controller in the Animator window. The States (which may represent animations or nested sub-state machines) appear as nodes connected by lines. This Animator Controller exists as an asset in the Project window.The rigged character model (in thi s case, the astronaut “Astrella”) has a specific configuration of bones which are mapped to Unity’s common Avatar format. This mapping is stored as an Avatar asset as part of the imported character model, and also appears in the Project window as shown.When animating the character model, it has an Animator component attached. In the Inspector view shown above, you can see the Animator Component which has both the Animator Controller and the Avatar assigned. The animator uses these together to animate the model. The Avatar reference is only necessary when animating a humanoid character. For other types of animation, only an Animator Controller is required.Unity’s animation system (Known as “Mecanim”) comes with a lot of concepts and te rminology. If at any point, you need to find out what something means, go to our Animation Glossary.Legacy animation systemWhile Mecanim is recommended for use in most situations, Unity has retained its legacy animation system which existed before Unity 4. You may need to use when working with older content created before Unity 4. For information on the Legacy animation system, see this sectionUnity intends to phase out the Legacy animation system over time for all cases by merging the workflows into Mecanim.Animation ClipsAnimation Clips are one of the core elements to Unity’s animation system. Unity supports importing animation from external sources, and offers the ability to create animation clips from scratch within the editor using the Animation window.Animation from External SourcesAnimation clips imported from external sources could include:Humanoid animations captured at a motion capture studio页脚内容3Animations created from scratch by an artist in an external 3D application (such as 3DS Max or Maya)Animation sets from 3rd-party libraries (eg, from Unity’s asset store)Multiple clips cut and sliced from a single imported timeline.Animation Created and Edited Within UnityUnity’s Animation Window also allows you to create and edit animation clips. These clips can animate:The position, rotation and scale of GameObjectsComponent properties such as material colour, the intensity of a light, the volume of a soundProperties within your own scripts including float, int, Vector and boolean variablesThe timing of calling functions within your own scriptsAnimation from External SourcesOverview of Imported AnimationAnimation from external sources is imported into Unity in the same way as regular 3D files. These files, whether they’re generic FBX files or native formats from 3D software such as Maya, Cinema 4D, 3D Studio Max, can contain animation data in the form of a linear recording of the movements of objects within the file.In some situations the object to be animated (eg, a character) and the animations to go with it can be present in the same file. In other cases, the animations may exist in a separate file to the model to be animated.It may be that animations are specific to a particular model, and cannot be re-used on other models. For example, a giant octopus end-boss in your game might have a unique arrangement of limbs and bones, and its own set of animations.In other situations, it may be that you have a library of animations which are to be used on various different models in your scene. For example, a number of different humanoid characters might all use the same walk and run animations. In these situations, i t’s common to have a simple placeholder model in your animation files for the purposes of previewing them. Alternatively, it is possible to use animation files even if they have no geometry at all, just the animation data.页脚内容4When importing multiple animations, the animations can each exist as separate files within your project folder, or you can extract multiple animation clips from a single FBX file if exported as takes from Motion builder or with a plugin / script for Maya, Max or other 3D packages. You might want to do this if your file contains multiple separate animations arranged on a single timeline. For example, a long motion captured timeline might contain the animation for a few different jump motions, and you may want to cut out certain sections of this to use as individual clips and discard the rest. Unity provides animation cutting tools to achieve this when you import all animations in one timeline by allowing you to select the frame range for each clip.Importing Animation FilesBefore any animation can be used in Unity, it must first be imported into your project. Unity can import native Maya (.mb or .ma), 3D Studio Max (.max) and Cinema 4D (.c4d) files, and also generic FBX files which can be exported from most animation packages (see this page for further details on exporting). To import an animation, simply drag the file to the Assets folder of your project. When you select the file in the Project View you can edit the Import Settings in the inspector.Working with humanoid animationsThe Mecanim Animation System is particularly well suited for working with animations for humanoid skeletons. Since humanoid skeletons are used extensively in games, Unity provides a specialized workflow, and an extended tool set for humanoid animations.Because of the similarity in bone structure, it is possible to map animations from one humanoid skeleton to another, allowingretargeting and inverse kinematics. With rare exceptions, humanoid models can be expected to have the same basic structure, representing the major articulate parts of the body, head and limbs. The Mecanim system makes good use of this idea to simplify the rigging and control of animations. A fundamental step in creating a animation is to set up a mapping between the simplified humanoid bone structure understood by Mecanim and the actual bones present in the skeleton; in Mecanim terminology, this mapping is called an Avatar. The pages in this section explain how to create an Avatar for your model.Creating the AvatarAfter a model file (FBX, COLLADA, etc.) is imported, you can specify what kind of rig it is in the Rig tab ofthe Model Importer options.页脚内容5Humanoid animationsFor a Humanoid rig, select Humanoid and click Apply. Mecanim will attempt to match up your existing bone structure to the Avatar bone structure. In many cases, it can do this automatically by analysing the connections between bones in the rig.If the match has succeeded, you will see a check mark next to the Configure menuAlso, in the case of a successful match, an Avatar sub-asset is added to the model asset, which you will be able to see in the project view hierarchy.Avatar added as a sub-assetSelecting the avatar sub-asset will bring up the inspector. You can then configure the avatar.页脚内容6The inspector for an Avatar assetIf Mecanim was unable to create the Avatar, you will see a cross next to the Configure button, and no Avatar sub-asset will be added. When this happens, you need to configure the avatar manually.Non-humanoid animationsTwo options for non-humanoid animation are provided: Generic and Legacy. Generic animations are imported using the Mecanim system but don’t take advantage of the extra features available for humanoid animations. Legacy animations use the animation system that was provided by Unity before Mecanim. There are some cases where it is still useful to work with legacy an imations (most notably with legacy projects that you don’t want to update fully) but they are seldom needed for new projects. See this section of the manual for further details on legacy animations.Configuring the AvatarSince the Avatar is such an important aspect of the Mecanim system, it is important that it is configured properly for your model. So, whether the automatic Avatar creation fails or succeeds, you need to go into the Configure Avatar mode to ensure your Avatar is valid and properly set up. It is important that your character’s bone structure matches Mecanim’s predefined bone structure and that the model is in T-pose.If the automatic Avatar creation fails, you will see a cross next to the Configure button.If it succeeds, you will see a check/tick mark:页脚内容7Here, success simply means all of the required bones have been matched but for better results, you might want to match the optional bones as well and get the model into a proper T-pose.When you go to the Configure … menu, the editor will ask you to save your scene. The reason for this is that in Configure mode, the Scene View is used to display bone, muscle and animation information for the selected model alone, without displaying the rest of the scene.Once you have saved the scene, you will see a new Avatar Configuration inspector, with a bone mapping.页脚内容8The inspector shows which of the bones are required and which are optional - the optional ones can have their movements interpolated automatically. For Mecanim to produce a valid match, your skeleton needs to have at least the required bones in place. In order to improve your chances for finding a match to the Avatar, name your bones in a way that reflects the body parts they represent (names like “LeftArm”, “RightForearm” are suitable here).If the model does NOT yield a valid match, you can manually follow a similar process to the one used internally by Mecanim:-Sample Bind-pose (try to get the model closer to the pose with which it was modelled, a sensible initial pose)Automap (create a bone-mapping from an initial pose)Enforce T-pose (force the model closer to T-pose, which is the default pose used by Mecanim animations)页脚内容9If the auto-mapping (Mapping->Automap) fails completely or partially, you can assign bones by either draging them from the Scene or from the Hierarchy. If Mecanim thinks a bone fits, it will show up as green in the Avatar Inspector, otherwise it shows up in red.Finally, if the bone assignment is correct, but the character is not in the correct pose, you will see the message “Character not in T-Pose”. You can try to fix that with Enforce T-Pose or rotate the remaining bones into T-pose.Avatar Body MasksSometimes it is useful to restrict an animation to specific body parts. For example, an walking animation might involve the character swaying his arms but if he picks up a gun, he should hold it in front of him. You can usean Avatar Body Mask to specify which parts of a character an animation should be restricted to - see this page page for further details.页脚内容10Untiy3D 动画系统统一的动画功能包括Retargetable动画,在运行时动画完全控制重量,从内部事件调用动画播放,复杂的状态机结构和转换,混合形状的面部动画等等。