CAN A POLYGON MAKE YOU CRY?

The Arts Institute at Bournemouth

www.arts-inst-bournemouth.ac.uk

2008

Child Crying

Introduction

The subject I have chosen to investigate is an extremely broad one, which requires months of extensive research. Therefore I have decided to investigate the following sub topics: The Uncanny Valley, Character Design and Character Animation. What I am investigating is the constant question about the validity of 3d mesh objects replacing real world objects in the entertainment industry. Is it possible for the user or viewer to get emotionally involved with their chosen platform of entertainment if CGI is present? I will be using a method of practical simulation and theory research to investigate the cognitive response to animation. In chapter one, I will be looking into The Uncanny Valley and how this chart has become a bench mark for animators. I will briefly explore the games industry and its use of physics engines to simulate emotional responses and look at how the industry is moving forward and reacting with the introduction of new technical achievements in terms of processer and graphic card abilities. I will also animate a practical experiment demonstrating this. In chapter two, I will look into the building blocks of the character design process and sit down with Tony Chance, storyboard artist and illustrator (10,000BC, 2008, Road to Perdition, 2002, American Beauty, 1999) to discuss the use of the narrative and the characters’ progression throughout the storyboarding process and than reapplying that to the characters and scenes to enhance the viewer’s emotional response. I also got to read an interview from Science Fiction Weekly with the late Stan Winston who is known for films such as The Terminator (James Cameron, 1984), and Jurassic Park (Steven Spielberg, 1993). In chapter three, I will look into character animation from the use of biped, quadped and motion capture to create characters that can cause a cognitive reaction or emotional response. I will also look at how character motion systems are applied. I will follow that up in chapter four, with a look at life-like animation and mage Metrics working side by side with animators to increase the emotional response in animation and film. Finally I will write up a conclusion to review my findings and set out some sort of basic formula for creating an emotional response from polygons.


Please use the index to navigate the thesis and please feel free to leave comments.

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