研究生: |
謝昆原 Hsieh, Kun-Yuan |
---|---|
論文名稱: |
THE GUARDIAN:3D電腦動畫短片之創作研究 THE GUARDIAN : 3D computer animation creation |
指導教授: |
周賢彬
Chou, Shyan-Bin |
學位類別: |
碩士 Master |
系所名稱: |
設計學系 Department of Design |
論文出版年: | 2018 |
畢業學年度: | 106 |
語文別: | 中文 |
論文頁數: | 83 |
中文關鍵詞: | 3D電腦動畫 、空戰 、電影感 |
英文關鍵詞: | 3D computer animation, air combat, cinematic |
DOI URL: | http://doi.org/10.6345/THE.NTNU.DD.035.2018.A10 |
論文種類: | 學術論文 |
相關次數: | 點閱:129 下載:8 |
分享至: |
查詢本校圖書館目錄 查詢臺灣博碩士論文知識加值系統 勘誤回報 |
當今數位科技隨著電腦硬體與軟體持續進步,發展可謂一日千里。由電腦圖學所發展的3D電腦動畫,其普及程度已為影像產業帶來前所未有的革命。當今影像視覺作品如電視、電影、廣告與電玩等,處處皆可見到3D 電腦動畫的身影。3D電腦動畫配合人類的無限創意,可說是實現人們想像力最強大的工具。
驚險刺激的空戰是電影中的常見題材之一,戰機的機動性與速度感透過令人驚嘆的拍攝手法與炫目的視覺特效呈現在大螢幕上,讓觀眾在接受精彩聲光效果的同時,也能了解空戰所代表的意義。本研究嘗試從3D電腦動畫作為藝術的媒材、電影形式與手法、電影感的應用與戰機空戰技法等文獻中探討空戰影片的構成要素,並透過相關影像作品特徵的觀察與分析創作出空戰3D電腦動畫短片-THE GUARDIAN。
With the continuous advancement of hardware and software, digital technologies can be developed in a great way. The popularity of 3D computer animation developed by computer graphics has brought an unprecedented revolution to the industry. Today's visual works such as television, movies, advertising and video games have seen 3D computer animation everywhere. 3D computer animation combined with human creativity is arguably the most powerful tool for people’s imagination.
Air combat is a common theme in the movie. The mobility and speed of the fighter are displayed on the big screen at a glance through stunning photography techniques and dazzling visual effects, enabling the audience to enjoy. Also understand the meaning of air combat. This study attempts to explore the elements of air combat films from 3D computer animation as art media, film forms and techniques, application of film look and air combat techniques, and combines the characteristics of related images and works to create 3D computers animation - THE GUARDIAN.
Aumont, J., Bergala, A., Marie, M., & Vernet, M.(1992). Aesthetics of Film. Austin, TX:University of Texas Press.
Business Dictionary(2008). workflow. Retrieved from http://www.businessdictionary.com/definition/workflow.html
cpc (2013). Cinematic Look, Part 4: Film Grain. Retrieved from http://www.shutterangle.com/2012/cinematic-look-film-grain/
cpc (2013). Creating Depth, Part 1: Introduction, DOF, Deep Staging, Resolution. Retrieved from http://www.shutterangle.com/2012/creating-depth-dof-deep-staging-resolution/
Deren, M.(1960). Cinematography: The Creative Use of Reality. Daedalus. Vol. 89, No. 1, The Visual Arts Today (Winter, 1960). 150-167
Scott, J.(2005). Shock Diamonds and Mach Disk. Retrieved from http://www.aerospaceweb.org/question/propulsion/q0224.shtml
Giannetti, L.(2007). Understanding Movies, NJ:Prentice Hall.
Merriam, S. B.(1988). Case study research in education.Thousand Oaks, CA:Jossey-Bass.
Motiongrapher (2011). Siggraph 2011: Damian Nenow “Paths of Hate”‘ Interview. Retrieved from http://motionographer.com/2011/10/07/damian-nenow-at-siggraphpaths-of-hate/
Moveline(2012). The Science of High Frame Rates, Or: Why 'The Hobbit' Looks Bad At 48 FPS. Retrieved from http://movieline.com/2012/12/14/hobbit-high-frame-rate-science-48-frames-per-second/
Redman, R.(2018). 15 ways to improve your character animation. Retrieved from https://www.creativebloq.com/audiovisual/improve-character-animation-41411447。
Stripek, J. (2012). 45 degree shutter in Saving Private Ryan. Retrieved from https://cinemashock.org/2012/07/30/45-degree-shutter-in-saving-private-ryan/.
theangryvideoguy.(2017). Film FX History – Behind the Special Effects of Top Gun (1986). Retrieved from http://theangryvideoguy.com/index.php/2017/05/16/film-fx-history-behind-the-special-effects-of-top-gun-1986/
William, M. I. (2011). Art and Geometry: A Study in Space Intuitions, NY Dover Publications
wolfcrow (2016, October). What is Shutter Speed, Shutter Angle and How to get the Film Look. Wolfcrow. Retrieved from http://wolfcrow.com/blog/understanding-camera-shutters-and-the-shutter-angle/
Zhao,Y., Han,Y., Fan,Z., Qiu, F., Kuo, Y & Kaufman(2007).Visual Simulation of Heat Shimmering and Mirage,IEEE Transactions on Visualization and Computer Graphics,Volume: 13, Issue: 1, 179 – 189
Youtube Creators Academy(2016). 善用影格速率. Retrieved from https://creatoracademy.youtube.com/page/lesson/frame-rate?hl=zh-TW#strategies-zippy-link-2
Zwerman, S.& Okun, J.(2010). The VES Handbook of Visual Effects: Industry Standard VFX Practices and Procedures. Oxford, United Kingdom:Focal Press
台灣WORD(2013)。第七藝術。取自http://www.twword.com/wiki/第七藝術
吳鼎武.瓦歷斯(1998)。電腦動畫基礎。臺北:松崗
李中華 (2000)。Su-27飛機眼鏡蛇機動及其戰術意義。飛行力學,編輯部郵箱。2000年01期
林佩璇(2000)。個案研究及其在教育研究上的應用。質的教育研究方法。頁239-262
林珮淳、陳啟耀(2003)。3D電腦動畫技術、視覺語言與特質之探討。藝術學報。頁45-55
范永邦(2009)。關於電影學的100個故事。臺北:宇河文化
郝志(2011)。反恐影像︰後“9‧11”時代美國反恐戰爭片解讀。中國江蘇:鳳凰
毒島刀也(2015)。圖解戰鬥機空戰戰術技法。新北:楓書坊文化
香港電影評論學會(2015)。王家衛的映畫世界(2015年版)。香港:三聯
陳正才(2001)。概觀新媒體藝術。工業設計。第29卷第1期。頁43
麥可.弗里曼(2009)。攝影師之眼:數位攝影的思考、設計和構圖。新北:大家
程予誠(2011)。電影敘事影像美學:剪接理論與實證。臺北:五南
黃國彥(2000)。觀察研究法。取自http://terms.naer.edu.tw/detail/1315781/
楊錫彬(2015)。3D電腦動畫理論。臺北:五南
簡政珍(2006)。電影閱讀美學(增訂三版)。臺北:書林