Le corps et l'inconscient comme éléments de création dans le cinéma d'animation de Michèle Cournoyer

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal

Le cinéma d'animation : avènement d'une institution et naissance d'une industrie

Les premiers comptes rendus de l’histoire du cinéma ont souvent considéré les premiers dessins animés, ou vues de dessins animés, comme des productions différentes des films en prise de vue réelle. Les dessins animés tirent en effet leurs sources d’inspiration d’une gamme relativement différente d’influences, dont les plus importantes sont la lanterne magique, les jouets optiques, la féérie, les récits en images et les comics. Le dessin animé n’en demeure pas moins fondamentalement cinématographique. Les vues de dessins animés de la décennie 1900 ne se distinguent ainsi guère des scènes à trucs sur le plan de la technique et du style. D’abord le fait de pionniers issus de l’illustration comique et du croquis vivant comme Émile Cohl, James Stuart Blackton et Winsor McCay, le dessin animé s’industrialise au cours de la décennie 1910 sous l’impulsion de créateurs venant du monde des comics, dont John Randolph Bray, Earl Hurd, Paul Terry et Max Fleisher. Le processus d’institutionnalisation par lequel le dessin animé en viendra à être considéré comme une catégorie de film à part entière dépend en grande partie de cette industrialisation. Les studios de dessins animés développent des techniques et pratiques managériales spécifiquement dédiées à la production à grande échelle de films d’animation. Le dessin animé se crée ainsi sa propre niche au sein d’une industrie cinématographique dont il dépend toutefois toujours entièrement. Ce phénomène d’individuation repose sur des formules narratives et des personnages récurrents conçus à partir de modèles issus des comics des années 1910.

Privacy animation - INFO2009 Coursework 2 2010, Group 20

Repository contains an animation related to privacy along with the poster for the resource in both jpeg and pdf format.

INFO2009 2012-13 Resource Group 18 Animation Cyber Security

Resource and flyer produced for INFO2009 12/13. An animation on public-key encryption related to cybercrime and cybersecurity. Target audience is undergraduates, but the resource does not assume prior knowledge of the topics, or any in-depth knowledge of IT.

INFO2009 2012-13 Resource Group 28 Animation on Green IT

Animation on Green IT Container EdShare to be used to assemble resources developed by team for coursework 2. The metadata will be updated by the group, and description modified when the resource set has been completed. The resource has been set up with an instructional readme file. This will be replaced by each group with a new readme file. Each group needs to update this description. Further instructions in readme.txt

pie animation

pie animation

pie animation

pie animation

balance animation

balance animation

Reuse of paths in light source animation

In this paper we extend the reuse of paths to the shot from a moving light source. In the classical algorithm new paths have to be cast from each new position of a light source. We show that we can reuse all paths for all positions, obtaining in this way a theoretical maximum speed-up equal to the average length of the shooting path

FACSGen 2.0 animation software: generating three-dimensional FACS-valid facial expressions for emotion research

In this article, we present FACSGen 2.0, new animation software for creating static and dynamic threedimensional facial expressions on the basis of the Facial Action Coding System (FACS). FACSGen permits total control over the action units (AUs), which can be animated at all levels of intensity and applied alone or in combination to an infinite number of faces. In two studies, we tested the validity of the software for the AU appearance defined in the FACS manual and the conveyed emotionality of FACSGen expressions. In Experiment 1, four FACS-certified coders evaluated the complete set of 35 single AUs and 54 AU combinations for AU presence or absence, appearance quality, intensity, and asymmetry. In Experiment 2, lay participants performed a recognition task on emotional expressions created with FACSGen software and rated the similarity of expressions displayed by human and FACSGen faces. Results showed good to excellent classification levels for all AUs by the four FACS coders, suggesting that the AUs are valid exemplars of FACS specifications. Lay participants’ recognition rates for nine emotions were high, and comparisons of human and FACSGen expressions were very similar. The findings demonstrate the effectiveness of the software in producing reliable and emotionally valid expressions, and suggest its application in numerous scientific areas, including perception, emotion, and clinical and euroscience research.

TR-2015001: A Survey and Critique of Facial Expression Synthesis in Sign Language Animation

Sign language animations can lead to better accessibility of information and services for people who are deaf and have low literacy skills in spoken/written languages. Due to the distinct word-order, syntax, and lexicon of the sign language from the spoken/written language, many deaf people find it difficult to comprehend the text on a computer screen or captions on a television. Animated characters performing sign language in a comprehensible way could make this information accessible. Facial expressions and other non-manual components play an important role in the naturalness and understandability of these animations. Their coordination to the manual signs is crucial for the interpretation of the signed message. Software to advance the support of facial expressions in generation of sign language animation could make this technology more acceptable for deaf people. In this survey, we discuss the challenges in facial expression synthesis and we compare and critique the state of the art projects on generating facial expressions in sign language animations. Beginning with an overview of facial expressions linguistics, sign language animation technologies, and some background on animating facial expressions, a discussion of the search strategy and criteria used to select the five projects that are the primary focus of this survey follows. This survey continues on to introduce the work from the five projects under consideration. Their contributions are compared in terms of support for specific sign language, categories of facial expressions investigated, focus range in the animation generation, use of annotated corpora, input data or hypothesis for their approach, and other factors. Strengths and drawbacks of individual projects are identified in the perspectives above. This survey concludes with our current research focus in this area and future prospects.