Resumen de O controle estético do animador sobre a forma tridimensional do personagem emmovimento
Virgilio Carlo de Menezes Vasconcelos, Maurício Silva Gino, Giovanna Guimarães
In animation, the Digital 3D technique has historically developed tools and workflows to emulate the physical featuresof material objects in a virtual environment to create believable shapes, colors and movements. Thus, the processof creating animated characters in this technique has similarities to the one in stop-motion, requiring the creationof models and joints prior to creating the movements. Therefore, to create the characters’ movements in the Digital3D technique, the animator interacts with 3D meshes and joints created to meet the requirements of a film’s pre-production phase. This way, the range of movements and deformations in each frame is directly influenced by thefeatures and limitations from the previous stages. In contrast, in the traditional 2D animation technique the animatorhas full control over the shapes shown in the frame: it is possible to exaggerate forms, separate them, omit them,squash and stretch them in the desired intensity, like the use of “smears” - deformations used to indicate speed ofmovement. Our hypothesis is that is possible to grant to the animator a greater level of freedom to create movementswith new techniques applied into the three-dimensional environment. In this study, we investigate new approachesto give the animator more control over the three-dimensional shapes of moving characters, which include the two-dimensional deformation over characters on a 3D environment developed by Bernhard Haux and the use of digitalsculpting tools to fix the characters’ meshes adopted by the animator Daniel Martinez Lara.
