4 resultados para Cinema Sonoplastia
em CiencIPCA - Instituto Politécnico do Cávado e do Ave, Portugal
Resumo:
A par de uma curta-metragem de animao intitulada Tele-sofia, o prosente trabalho enfatizar a importncia do desenho como base das artes plsticas. Partindo deste pressuposto, a identificao, compreenso e incluso das componentes estruturais do desenho podero ser fortes adjuvantes na reconverso de prticas tendencialmente mais tecnologizadas em poticas dos materiais e do atelier, distintivas das artes plsticas. Assim, na direta medida em que a rotoscopia se fundamente no desenho responsivo - como uma extenso das possibilidades do desenho de modelo - ir-se- integrando no campo artstico, tornando a obra resultante numa animao de experincias plsticas. Afinal, o desenho no se confina perfeio reproduo mecnica da realidade - a mimesis - ele requer interpretaes idiossincrticas e uma profunda empatia com o referente, dados apenas registados por um instrumento sensvel: o artista.
Resumo:
Desde a sua origem que a Animao utilizada como um meio de espelhar a sociedade atravs de tcnicas e expresses que o cinema tradicional no permite. Ao incorporar a stira na sua representao social e poltica est a expor uma crtica a caractersticas negativas com o intuito de alterar percepes e esteretipos, motivando a sua vulgarizao ou correo. O projeto #LINGO consiste na realizao de uma curta-metragem de animao com recurso stira, pretendendo incidir sobre um dos problemas em expanso no sculo XXI, a dependncia nos dispositivos digitais e redes sociais.
Resumo:
This paper investigates realism in character computer animation, which triggered the development of new techniques and aesthetic in spectacular cinema and contemporary culture. With the advent of motion or performing capture, animation has made possible that virtual characters or digital creatures reach higher levels in emotional acting, taking place in virtual cinematic worlds or even special effects movies. This technology, when placed at the service of imagination and fantasy can provide new dimensions in character motion and communication. In this context, projects like Peter Jacksons (2001) The Lord of the Rings, James Camerons Avatar (2009) and more recently Steven Spielbergs Tintin (2011) demonstrate that motion technology is constantly evolving, and it represents a credible option to explore new techniques and aesthetic in contemporary animation.
Resumo:
The evolution of computer animation represents one of the most relevant andrevolutionary aspects in the rise of contemporary digital visual culture (Darlew,2000), in particular, phenomena such as cinema spectacular (Ibidem) and videogames. This article analyzes the characteristics of this culture of simulation (Turkle, 1995:20) relating the multidisciplinary and spectrum of technical and stylistic choices to the dimension of virtual characters acting. The result of these hybrid mixtures and computerized human motion capture techniques - called virtual cinema, universal capture, motion capture, etc. - cosists mainly on the sophistication of rotoscoping, as a new interpretation and appropriation of the captured image. This human motion capture technology, used largely by cinema and digital games, is one of the reasons why the authenticity of the animation is sometimes questioned. It is in the fi eld of 3D computer animation visual that this change is more signifi cant, appearing regularly innovative techniques of image manipulation and hyper-cinema (Lamarre, 2006: 31) characters control with deeper sense of emotions. This shift in the culture that Manovich (2006: 27) calls photo-GRAPHICS - and Mulvey (2007) argue that creates a new form of possessive relationship with the viewer, in that it can analyze in detail the image, it can acquire it and modify it - is one of the most important aspects in the rise of Cubbits (2007) cinema of attraction. This article delves intrinsically into the analyze of virtual character animation particularly in the fi eld of 3D computer animation and human digital acting.
