Cel shading : história e aplicação do efeito 2D em animação digital

A presente dissertação tem como principais objetivos a compreensão e a análise da técnica visual Cel shading, quer na indústria digital de animação, quer na de videojogos. Cel shading é uma técnica visual de animação, que permite emular ilustrações, ou desenhos, em gráficos 3D, que devidamente animados, formam vários constituintes das indústrias de animação e de videojogos. Ao longo desta dissertação é realizada uma contextualização histórica da animação, analisando diversas técnicas e processos que levaram à sua evolução, desde o celuloide até à era digital. Aqui é dando especial ênfase a determinados filmes revolucionários de cada época, fundamentais para a evolução das técnicas de animação utilizadas desde então. Além dos filmes e séries televisivas, é também realizada uma síntese dos videojogos mais relevantes, que usam, ou usaram, esta técnica visual, pois permite emular o estilo visual de banda desenhada. Os exemplos mais marcantes de cada tipo são: (i) em séries televisivas: “The Simpsons” (1989 – presente), “Futurama” (1999 – 2003) e “Family Guy” (1999 – presente); (ii) em filmes de animação: “Animatrix” (2003), “Ghost in the Shell” (1989) e “The Iron Giant” (1999); (iii) e em videojogos: “Jet Set Radio”, “XIII”, “The Legend Of Zelda: Phantom Hourglass”, ”The Legend of Zelda: The Wind Waker”. Simultaneamente ao desenvolvimento da presente dissertação foi produzida uma curta-metragem de animação para a empresa de telecomunicações Optimus. Esta pretende descrever, através de metáforas e estilos visuais apelativos, a viagem de uma mensagem de texto e todos os processos inerentes ao seu envio e receção. Ao se optar por realizar esta curta-metragem, foram analisados vários estilos visuais muito próprios. De todos os estilos analisados, o escolhido para a curta-metragem realizada foi o Cel shading. A interação com um cliente real exige a constante transformação, segundo as suas decisões. Uma das modificações aplicadas a esta dissertação foi o estilo visual escolhido. Invés da técnica visual Cel shading, o estilo visual adotado para a curta-metragem de animação produzido foi um estilo mais realista, baseado em imagens de High-dynamic-range imaging (HDRi).The present dissertation has as main objective the understanding and analysis of the visual technique Cel shading, either on the digital animation industry, or in the video games industry. Cel shading is a visual animation technique that can emulate illustrations, or drawings, in 3D graphics. Those illustrations, when fully animated, can form various elements of the animation industries and video games. Throughout this dissertation is held a historical context of animation, analysing different techniques and processes that led to its evolution, since the celluloid to the digital era, with emphasis on certain revolutionary films of each era, fundamental for the evolution of the techniques used since. Apart from films and television series, is also carried out a synthesis of the most important videogames that use, or have used, this visual technique, because it allows emulating the visual style of comics. The most remarkable examples of each type are: (i) in television series "The Simpsons" (1989 – present), "Futurama" (from 1999 to 2003) and "Family Guy" (1999 – present); (ii) in animation films "Animatrix" (2003), "Ghost in the Shell" (1989) and "The Iron Giant" (1999); (iii) and in videogames, "Jet Set Radio", "XIII", "The Legend Of Zelda: Phantom Hourglass" and "The Legend of Zelda: The Wind Waker". Simultaneously with the development of this dissertation, it was produced a short animated film for the Portuguese telecommunications company Optimus. This animation intended to describe, through metaphors and appealing visual styles, the journey of a short text message (SMS); and all the processes inherent on its sending and receiving. For the production of this short film, the authors analysed several visual styles. Of all the styles analysed, the chosen for the short film was the technique Cel shading. The interaction with a real client requires a constant change, based on its decisions. One of those modifications applied to this thesis was the visual style chosen. Instead of the visual technique Cel shading, the adopted visual style for the short animated film produced was a more realistic, based in images from High-dynamic-range imaging (HDRi)

Animated storytelling in 360 degrees

Mastergradsoppgave i digital kommunikasjon og kultur, Høgskolen i Innlandet, 2019.This Master thesis is examining how film form and film style is utilized to tell stories within VR movies; animated shorts aimed at screening through head mounted displays (HMD). Mainly, these shorts have a linear narrative, but simultaneously leave some decisions to the spectator, e.g. where to turn their head at any moment, consequently leaving the framing of shots to the audience. Since they all have a certain degree of interactivity, these productions have inherited features from both movies and games. Thus, the theoretical basis will include works from both academic fields. The objective is to study what parts of film form and film style are still applicable within a ubiquitous 360-degrees view. I will also study how the potential sense of immersion and spatial presence achieved by the 360-degrees view influences the narration. The thesis is conducted as a qualitative analysis of the following study objects: Fan, M. (Producer) & Darnell, E. (Director). (2016). Invasion! [Animated short for 360 degrees screening]. USA: Baobab Studios. Eisenmann, D. (Producer) & Osborne, P. (Director). (2016). Pearl. [Animated short for 360 degrees screening]. USA: Evil Eye Pictures. Cellucci, C. (Producer), Pinkava, J. (Director) & Oftedal, M. (Director). (2018). Piggy. [Animated short for 360 degrees screening]. USA: Google Spotlight Stories. The first selection, Invasion! (Fan & Darnell, 2016), is one of the earliest attempts of transferring animated movies into HMDs, and in this one the spectator additionally is granted with an avatar. The second selection, Pearl (Eisenmann & Osborne, 2016) is considered a milestone within the medium as the first 360 animated short (and the only one till this date) to receive a nomination for an Academy Award. The final selection, Piggy (Cellucci, Pinkava & Oftedal, 2018) includes narrative elements proceeding in real time, and the pacing and order of events can thus partly be influenced by where the spectator is turning their gaze. Under the headlines Film Form, Film Style and Immersion/Presence, I will examine how a ubiquitous visual display affects the way a narrative pattern (film form) is constructed, and how the technical and aesthetic devices (film style) are utilized to convey this pattern. Finally, I will look at whether these movies are able to give a sense of immersion/presence and how this might influence the narrative

Arquitectura, ciencia-ficción y comic-books : vanguardias, evolución y lenguaje

Esta tesis propone como elemento de investigación al trinomio formado por la Arquitectura, la Ciencia-ficción y los Comic-books. La intención es multidisciplinar; investigando las relaciones existentes y evidenciado las potenciales dentro del conjunto hipotético, como un método de interpretar las actuales fluctuaciones en los márgenes prácticos del proyecto de arquitectura. Al mismo tiempo, se quiso postular conocimientos transversales dirigidos hacia los otros componentes del trinomio, ofreciendo conceptos útiles desde la arquitectura tanto hacia la ciencia-ficción como hacia los comic-books. Las relaciones son dinámicas dentro del trinomio y generalmente se agrupan en dos tipologías, definidas como "plásticas" o "elásticas", en analogía -metafórica en tanto que metodológica- a los dos tipos de colisiones de la física. Las acciones "elásticas" agrupan manifestaciones individuales, desarrolladas internamente desde las disciplinas, sin mayor repercusión en las contrapartes utilizadas como referencia. Estos casos, con una marcada utilidad teórica y pedagógica, fueron frecuentemente encontrados en la investigación, y estudiados como antecedentes de potenciales interdisciplinarios. Las acciones "plásticas" se refieren a las manifestaciones que contienen intenciones de fusión. Son escasas, sobretodo las que provienen desde la arquitectura y que van hacia cualquiera de los otros dos componentes del trinomio. El caso opuesto es más frecuente, pues a lo largo de la historia, tanto directores de películas de ciencia-ficción, como artistas de cómics, han utilizado edificios, espacios arquitectónicos (o una visión fragmentada de sus conceptos) como un elemento protagonista de sus obras. Como metodología de investigación sobre estas relaciones, se desarrollaron nueve casos de estudio, divididos en dos clases: los que desarrollan conocimientos disciplinares específicos (sobre la ciencia-ficción o los comic-books), y casos en los que existe al menos una relación binomial (arquitectura-ciencia-ficción, o arquitectura-comic-books, o comic-books-ciencia-ficción). La primera tipología hace referencia a las investigaciones de los comics o de la ciencia-ficción como disciplinas, estudiando su forma artística, filosofía, estilos, técnicas y herramientas, que han sido fundamentales en el desarrollo de los demás casos, sobretodo para hallar vinculaciones alternativas con el proyecto de arquitectura. La segunda tipología de casos se han investigado para generar un discurso analítico y documental, en base a las manifestaciones híbridas entre el trinomio, pero entendiendo ahora sí, los potenciales de las relaciones -binomiales o trinomiales establecidas, enfocados con perspectivas más amplias (multidisciplinarias) desde la arquitectura. Las conclusiones de este discurso reafirman la hipótesis principal de la investigación; la mayoría de las manifestaciones encontradas desde la arquitectura hacia los comic-books y/o la ciencia-ficción, generalmente proceden de autores, grupos o movimientos que más que intentar desarrollar un elemento construible, utilizan el proyecto como medio, para transmitir teorías, conceptos, críticas o simplemente comunicar “mensajes arquitectónicos", utilizando para ello lenguajes híbridos, derivados de los aspectos multidisciplinarios del trinomio. El potencial principal que arroja esta tesis hace referencia al concepto de innovación y creatividad derivado de cualquier "fusión" entre disciplinas, que objetivado hacia la arquitectura es mesurable y aplicable, tanto a nivel de los procesos que involucran el pensamiento, como al nivel práctico de la ejecución del proyecto. Estas acciones alcanzarían su máxima expresión aplicados en "cajas de herramientas" alternativas para comunicación de nuevos lenguajes arquitectónicos.This thesis proposes as topic of research the hypothetic triad formed by Architecture, Science-fiction and the Comic-books. The intention is multidisciplinary, researching inner relationships and demonstrating the potential within the whole trinomial scenario, as a method of understands the current fluctuations in the architectural practice. At the same time, the study was focused to develop and apply transversal skills directed towards the others components of the triad, providing i.e., useful concepts from architecture to science fiction and/or to comic-books. All the relationships founded are dynamic within the triad, and can be grouped into two types, defined in this thesis as "elastic" or "plastic" ones, in a metaphoric but methodological analogy of the two types of collision in physics. “Elastic” actions grouped individual manifestations, developed as internal problem from each disciplines of the triad, with little -or zero- impact on counterparties used as a reference. These cases, with theoretical and pedagogical utilities, were the most frequently examples found in this research, and presented as potential interdisciplinary backgrounds of experimentation. “Plastic” actions grouped binomial and/or trinomial manifestations that containing fusion intentions. Those examples are few, especially when looking from architecture and then focus to the other(s) component(s) of the triad. The opposite case often happens; i.e., throughout history, directors of science fiction films -and also many comics artist- have used buildings, architectural spaces or a fragmented architectural concepts as an important component of his works. The methodologies was developed along nine study cases, divided into two classes: those that develop specific disciplinary knowledge (about specifically science fiction or comic books, out of architectural traditional background), and those in which at least a binomial relationship between concepts exists (architecture vs. science fiction, or architecture vs. comic books, or even comic books vs. science fiction). The first type of relationships refers researches about comics and science fiction as disciplines, focused on its artistic form, philosophy, styles, techniques and tools. These researches were indispensable for the development of the rest of cases, especially those leads to find new links with the architectural project. The second type of relationships have been investigated to generate a complete discourse, both analytical and documentary, based on hybrid between the components of the triad, but understanding the potential of the relationships -binomial or trinomialestablished, and focused with broader perspectives (multidisciplinary ones) from the architectural field. The conclusions reinforce the principal hypothesis; most of the hybrid manifestations found from architectural discipline and related to comic-books and/or science-fiction, generally come from professionals, sectors, groups or movements that rather than trying to build something “real”, use the projection tools as a means to convey theories and concepts, or simply communicate their own "architectural messages", using hybrid languages that derived from the multidisciplinary characteristics of the trinomial. The huge potential in this thesis refers to the alternative visions about concept of innovation and creativity resulting from any “merging condition” between artistic disciplines, potential which been objectified from architecture is measurable and feasible, with processes that involve thinking and the practical level of future implementation. These actions would achieve its best benefits working as "toolboxes", new alternatives for communicating architectural languagesPostprint (published version

Arquitectura, ciencia-ficción y comic-books : vanguardias, evolución y lenguaje

Esta tesis propone como elemento de investigación al trinomio formado por la Arquitectura, la Ciencia-ficción y los Comic-books. La intención es multidisciplinar; investigando las relaciones existentes y evidenciado las potenciales dentro del conjunto hipotético, como un método de interpretar las actuales fluctuaciones en los márgenes prácticos del proyecto de arquitectura. Al mismo tiempo, se quiso postular conocimientos transversales dirigidos hacia los otros componentes del trinomio, ofreciendo conceptos útiles desde la arquitectura tanto hacia la ciencia-ficción como hacia los comic-books. Las relaciones son dinámicas dentro del trinomio y generalmente se agrupan en dos tipologías, definidas como "plásticas" o "elásticas", en analogía -metafórica en tanto que metodológica- a los dos tipos de colisiones de la física. Las acciones "elásticas" agrupan manifestaciones individuales, desarrolladas internamente desde las disciplinas, sin mayor repercusión en las contrapartes utilizadas como referencia. Estos casos, con una marcada utilidad teórica y pedagógica, fueron frecuentemente encontrados en la investigación, y estudiados como antecedentes de potenciales interdisciplinarios. Las acciones "plásticas" se refieren a las manifestaciones que contienen intenciones de fusión. Son escasas, sobretodo las que provienen desde la arquitectura y que van hacia cualquiera de los otros dos componentes del trinomio. El caso opuesto es más frecuente, pues a lo largo de la historia, tanto directores de películas de ciencia-ficción, como artistas de cómics, han utilizado edificios, espacios arquitectónicos (o una visión fragmentada de sus conceptos) como un elemento protagonista de sus obras. Como metodología de investigación sobre estas relaciones, se desarrollaron nueve casos de estudio, divididos en dos clases: los que desarrollan conocimientos disciplinares específicos (sobre la ciencia-ficción o los comic-books), y casos en los que existe al menos una relación binomial (arquitectura-ciencia-ficción, o arquitectura-comic-books, o comic-books-ciencia-ficción). La primera tipología hace referencia a las investigaciones de los comics o de la ciencia-ficción como disciplinas, estudiando su forma artística, filosofía, estilos, técnicas y herramientas, que han sido fundamentales en el desarrollo de los demás casos, sobretodo para hallar vinculaciones alternativas con el proyecto de arquitectura. La segunda tipología de casos se han investigado para generar un discurso analítico y documental, en base a las manifestaciones híbridas entre el trinomio, pero entendiendo ahora sí, los potenciales de las relaciones -binomiales o trinomiales establecidas, enfocados con perspectivas más amplias (multidisciplinarias) desde la arquitectura. Las conclusiones de este discurso reafirman la hipótesis principal de la investigación; la mayoría de las manifestaciones encontradas desde la arquitectura hacia los comic-books y/o la ciencia-ficción, generalmente proceden de autores, grupos o movimientos que más que intentar desarrollar un elemento construible, utilizan el proyecto como medio, para transmitir teorías, conceptos, críticas o simplemente comunicar “mensajes arquitectónicos", utilizando para ello lenguajes híbridos, derivados de los aspectos multidisciplinarios del trinomio. El potencial principal que arroja esta tesis hace referencia al concepto de innovación y creatividad derivado de cualquier "fusión" entre disciplinas, que objetivado hacia la arquitectura es mesurable y aplicable, tanto a nivel de los procesos que involucran el pensamiento, como al nivel práctico de la ejecución del proyecto. Estas acciones alcanzarían su máxima expresión aplicados en "cajas de herramientas" alternativas para comunicación de nuevos lenguajes arquitectónicos.This thesis proposes as topic of research the hypothetic triad formed by Architecture, Science-fiction and the Comic-books. The intention is multidisciplinary, researching inner relationships and demonstrating the potential within the whole trinomial scenario, as a method of understands the current fluctuations in the architectural practice. At the same time, the study was focused to develop and apply transversal skills directed towards the others components of the triad, providing i.e., useful concepts from architecture to science fiction and/or to comic-books. All the relationships founded are dynamic within the triad, and can be grouped into two types, defined in this thesis as "elastic" or "plastic" ones, in a metaphoric but methodological analogy of the two types of collision in physics. “Elastic” actions grouped individual manifestations, developed as internal problem from each disciplines of the triad, with little -or zero- impact on counterparties used as a reference. These cases, with theoretical and pedagogical utilities, were the most frequently examples found in this research, and presented as potential interdisciplinary backgrounds of experimentation. “Plastic” actions grouped binomial and/or trinomial manifestations that containing fusion intentions. Those examples are few, especially when looking from architecture and then focus to the other(s) component(s) of the triad. The opposite case often happens; i.e., throughout history, directors of science fiction films -and also many comics artist- have used buildings, architectural spaces or a fragmented architectural concepts as an important component of his works. The methodologies was developed along nine study cases, divided into two classes: those that develop specific disciplinary knowledge (about specifically science fiction or comic books, out of architectural traditional background), and those in which at least a binomial relationship between concepts exists (architecture vs. science fiction, or architecture vs. comic books, or even comic books vs. science fiction). The first type of relationships refers researches about comics and science fiction as disciplines, focused on its artistic form, philosophy, styles, techniques and tools. These researches were indispensable for the development of the rest of cases, especially those leads to find new links with the architectural project. The second type of relationships have been investigated to generate a complete discourse, both analytical and documentary, based on hybrid between the components of the triad, but understanding the potential of the relationships -binomial or trinomialestablished, and focused with broader perspectives (multidisciplinary ones) from the architectural field. The conclusions reinforce the principal hypothesis; most of the hybrid manifestations found from architectural discipline and related to comic-books and/or science-fiction, generally come from professionals, sectors, groups or movements that rather than trying to build something “real”, use the projection tools as a means to convey theories and concepts, or simply communicate their own "architectural messages", using hybrid languages that derived from the multidisciplinary characteristics of the trinomial. The huge potential in this thesis refers to the alternative visions about concept of innovation and creativity resulting from any “merging condition” between artistic disciplines, potential which been objectified from architecture is measurable and feasible, with processes that involve thinking and the practical level of future implementation. These actions would achieve its best benefits working as "toolboxes", new alternatives for communicating architectural language