A Trip to the Moon: Personalized Animated Movies for Self-reflection

Self-tracking physiological and psychological data poses the challenge of presentation and interpretation. Insightful narratives for self-tracking data can motivate the user towards constructive self-reflection. One powerful form of narrative that engages audience across various culture and age groups is animated movies. We collected a week of self-reported mood and behavior data from each user and created in Unity a personalized animation based on their data. We evaluated the impact of their video in a randomized control trial with a non-personalized animated video as control. We found that personalized videos tend to be more emotionally engaging, encouraging greater and lengthier writing that indicated self-reflection about moods and behaviors, compared to non-personalized control videos

An Investigation of How Lighting and Rendering Technology Affects Filmmaking Relative to Arnold’s Transition to a GPU-Based Path-Tracer

Computer Graphic (CGI) technology enables artists to explore a broad spectrum of approaches and styles, from photorealistic to abstract, expanding the boundaries of traditional aesthetic choices. Recent years have witnessed of 3D-CGI production shift towards greater physical fidelity driven by technological developments as well as consumer demand for realistic visuals; this trend can be found across various creative fields like film, video games, and virtual reality experiences with high-quality textures, lighting, rendering, and physics simulations providing enhanced levels of immersion for users. Arnold is one of the famous rendering engines assisting artists to be more creative while producing photorealistic images. Moreover, Arnold renders the engine as one of the main path-tracing renderers and contributes significantly to more fantastic photorealistic productions. Also, Arnold renders not only Support CPU render but also support GPU rendering to take full advantage of faster computation times and real-time interactivity, among many other advantages. Because of that, this study investigates how new technology like developed GPUs helps artists and filmmakers better comprehend 3D rendering solutions that impact their workflows. On the other hand, philosophically exploring the relationship between making a creative decision and technology within 3D photorealistic rendering reveals an intricate yet dynamic relationship that informs the creative processes of both independent artists and small studios alike. This interaction serves as a reminder that Art is driven forward by its creator\u27s creative energy rather than simply technological capabilities; artists and studios can continue pushing limits by embracing this complex dialogue between creativity and tech, opening new paths within digital Art\u27s fast-evolving realm

A Study Of The Effects Of Computer Animated Character Body Style On Perception Of Facial Expression

This study examined if there is a difference in viewer perception of computer animated character facial expressions based on character body style, specifically, realistic and stylized character body styles. Participants viewed twenty clips of computer animated characters expressing one of five emotions: sadness, happiness, anger, surprise and fear. They then named the emotion and rated the sincerity, intensity, and typicality of each clip. The results indicated that for recognition, participants were more slightly more likely to recognize a stylized character although it was not a significant difference. Stylized characters were on average rated higher for sincerity and intensity and realistic characters were on average rated higher for typicality. A significant difference in ratings was shown with fear (within sincerity and typicality) having realistic characters rated higher, happiness (within sincerity and intensity) having stylized characters rated higher and stylized being rated higher once for anger (stylized) and realistic (typicality) being rated once for anger. Other differences were also noted within the dependent variables. Based on the data collected in this study, overall there was not a significant difference in participant ratings between the two character styles

The Unwantables: An Exploration of Visual Narrative

The Unwantables is a creative project that has evolved from my lifelong interest in and relationship with visual stories. To me the most compelling aspect of visual storytelling is imagination . The author possesses the ability to create new worlds, interesting characters, and situations that can have the potential to communicate about any topic. My project explores visual narrative as a communication tool to explain the role of imagination in my life

Using Visual Effects as a Means of Establishing or Reinforcing Scale in 3D Visual Works

In 3D animation, visual effects help to establish and reinforce the scale of different characters and objects that are otherwise unclear. In the Fall of 2022, I taught a class about visual effects to several students. At the time, I had difficulty explaining the importance of properly scaling your 3D effects in order to add realism. With physically based effects, we must respect the laws of physics to create a visually realistic and understandable visual effect. Going through several of my previous projects, I found that I had made mistakes with scaling several of my effects. With this paper, I set out to revise and improve several of my effects projects from the past by correcting scale and adding supplementary effects to help convey scale. I then used these projects to render animations that I use to teach the importance of scale in effects by using some of my mistakes in the past

Towards Infinity And Beyond Branding, Reputation, and the Critical Reception of Pixar Animation Studios

American author and journalist Jonah Lehrer declared in 2012 that Pixar Animation Studios was ‘the one exception’ to the oft-cited maxim that, in Hollywood, ‘nobody knows anything.’ Patrick Goldstein of the Los Angeles Times spoke in similar terms in 2008, writing that, ‘critics and audiences are in agreement on one key thing: Nobody makes better movies than Pixar.’ Thirteen consecutive global box office successes and scores of industry awards would seem to suggest that Lehrer and Goldstein are correct. Yet it is important to recognise that such statements invariably refer to something intangible, something beyond a particular Pixar film or selection of films. There exists, in other words, a widely held set of meanings and associations about what the studio represents, and to whom. This thesis argues that this set of meanings and associations – Pixar’s brand identity – is far from the fixed and unambiguous entity it is often seen to be. If the studio has come to be seen as guarantee of quality family entertainment, when did this notion become widespread? Have the parameters for ‘quality’ and ‘success’ remained constant throughout its history? I demonstrate for instance that Pixar benefited considerably from Disney’s wavering reputation from the late-1990s onwards. I approach branding as a discursive process, and one that brand producers sometimes have little control over, contrary to the implicit claims of most marketing literature. Broadly chronological in structure, the thesis traces the development of the studio’s reputation by drawing on Barbara Klinger’s approach to historical reception studies. Individual chapters focus on how Pixar was discussed by critics and journalists at specific moments or in specific contexts, as it evolved from a computer graphics company to become the most celebrated film studio of all time. Ultimately, this is a case study of the cultural work involved in the making of a brand or an auteur, and how these meanings can shift over time

Animation or Cartoons: An American Dilemma

This project attempts to elucidate the connection between animation and preconceptions about appropriate age demographics in the United States. It endeavors to demonstrate that animation has primarily remained a children’s medium because of contingent contextual factors, rather than elements inherent to the medium, and that its evolution over time is proof of its merits as a medium. Through an exploration of the Golden Age of animation between the late 1930s and the late 1950s, as well as an exploration of animation between 1988 and the present, it uses various examples within film, television, and theatrical shorts to show limitations placed on the medium. These limitations caused the medium to be marketed towards children and to be perceived as being only for children, creating a paradigm in which more mature explorations were infrequent. Both the preconceptions and the consequences of the contextual factors that caused this remain to this day, but American animation’s history has provided evidence that these strictures are not inescapable

Animating Unpredictable Effects

Uncanny computer-generated animations of splashing waves, billowing smoke clouds, and characters’ flowing hair have become a ubiquitous presence on screens of all types since the 1980s. This Open Access book charts the history of these digital moving images and the software tools that make them. Unpredictable Visual Effects uncovers an institutional and industrial history that saw media industries conducting more private R&D as Cold War federal funding began to wane in the late 1980s. In this context studios and media software companies took concepts used for studying and managing unpredictable systems like markets, weather, and fluids and turned them into tools for animation. Unpredictable Visual Effects theorizes how these animations are part of a paradigm of control evident across society, while at the same time exploring what they can teach us about the relationship between making and knowing

Virtual Production: Real-Time Rendering Pipelines for Indie Studios and the Potential in Different Scenarios

[EN] This work aims to identify and propose a functional pipeline for indie live-action films using Virtual Production with photorealistic real-time rendering game engines. The new production landscape is radically changing how movies and shows are made. Those were made in a linear pipeline, and now filmmakers can execute multiple tasks in a parallel mode using real-time renderers with high potential for different types of productions. Four interviews of professionals in the Spanish film and television market were conducted to obtain the whole perspective of the new paradigm. Following those examples, a virtual production set was implemented with an Antilatency tracking system, Unreal Engine (version 5.3), and Aximmetry (version 2023.3.2) as the leading software applications. Results are commented on, presenting how all the work is currently closely connected between pre-production, shooting, and post-production and analyzing its potential in different fields.Spanish Government (Grant PID2020-117421RB-C21 funded by MCIN/AEI/10.13039/501100011033) and Generalitat Valenciana (Grant INVEST/2022/324).Silva Jasaui, D.; Martí Testón, A.; Muñoz García, A.; Moriniello, F.; Solanes, JE.; Gracia Calandin, LI. (2024). Virtual Production: Real-Time Rendering Pipelines for Indie Studios and the Potential in Different Scenarios. Applied Sciences. 14(6). https://doi.org/10.3390/app1406253014