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Digital comic
Zajíčková, Žofie ; PIXA, Libor (advisor) ; KLIMT, Aurel (referee)
The aim of this work is to give some insight into the enviroment of digital comic and look at what kind of language is this new medium using, what is it´s specific quality. The work should put some light on what we can imagine when we say „Digital comic“, scatch out some possible issues around comics that had been transferd into digital form after they were released like a classical comicbooks. After that I am trying to analyse few works that had been designed specificly for the digital enviroment. At the end I am comparing these works to the classical comicbooks and trying to find out what makes them specific. I´m also finding an answer to the question what are the basis of these digital comics that didn´t lost characteristics of their original comic medium and at the same time were able to absorbed some new media.
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Stylization of characters in animation
Sekela, Stanislav ; KLOS, Jan (advisor) ; KLIMT, Aurel (referee)
Abstraction (in meaning of simplification) and realism are opposites, which involve
certain specifics in the comprehensibility. Both directions have their options in
terms of dramatic clarity.
In this work I want to research the possibilities of character animation in relation
to the degree of descriptiveness of characters, from simple hyper-realistic.
Furthermore, in the context of the visual forms, what enables different kinds and
where are conversely its pitfalls.
In conclusion, I will specify my own approach to this problem and which direction
I prefer.
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Using real-life performance in animation
Berger, Marek ; PIXA, Libor (advisor) ; KLIMT, Aurel (referee)
In this thesis I analyze and compare the technologies, which are responsible for wiping off the boundaries between animated movies and movies with real-life actors. From the traditional form of rotoscoping to the most recent forms of the performance capture, used mostly for feature trick movies. I do compare these exact, half-automatic methods with some examples of classical animation that also works with pre-acted videoreferences a lot. I give some examples of movies that rely on more or less successful methods and approaches. Instead of technological issues, I focus on the aesthetical approach, such as the animation and the character design in different forms, between the total realism and strong stylization. I point especially on the big problems with transferring the real-life action literally to the animation, and the troubles resulting from this difficult method
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History and development of video games and animation in video games
Dolejší, Ondřej ; PIXA, Libor (advisor) ; KLIMT, Aurel (referee)
This bachelor's thesis deals with a history and developement of video game and video game animation. The work is divided into four chapters. The first chapter is trying to explain term "video game". The second chapter describes the history of this media - from the beginning till now. The third chapter specifies genres in contemporary game production and their way of using animation. At the end the thesis is trying to include video game among the other meda.
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Cut-out and puppet animation
Rosová, Helena ; KLOS, Jan (advisor) ; KLIMT, Aurel (referee)
This thesis deals with the technology behind the cut-out animation and the puppet animation, the relationship between the script and the selected animation technology, typical attributes of puppet animation and cutout animation, their advantages and pitfalls. The main topic of the work is the creation of the animation puppet for both technologies, the options of its structural design, mechanics of joints, properties of employed materials, technological processes used in its creation.
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3D Computer Animation in Live Action Feature Film
Pixa, Libor ; Klimt, Aurel (advisor) ; Vojtěchovský, Miloš (referee)
The subject of this thesis is to provide a compact overview of the 3D computer animation in the live action feature films in a chronological way. The intention is to map its evolution in continuity and allow the reader a whole and transparent summary of such a highly developed area of the cinematography.
The thesis is not focused only at the summary of concrete films and their makers but also covers film and postproduction studios and pioneers who brought the technological inventions into the live and thus moved the 3D film tricks on today?s level.
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Four leaf clover
Mráz, Matěj ; Klimt, Aurel (advisor) ; Miklínová, Galina (referee)
Abstract
I analyse in my bachelor thesis the phases of making the 3D animated feature movie? The Čtyřlístek. The point of this is to show film makers the workflow and to inspire them or to educate them. In my oppinion it is necessary to show other the know how, just because there should be more good quality films coming. Czech studios produced only one 3D movie so far and that is not much to learn from. Our production enviroment is specific and although we could learn from other countries some things are not adaptable. The comic book Čtyřlístek is a phenomenon for many generations and is the main inspiration for the movie. I write about the changes in the film's visual design. I also describe the stuio's equipment which might be good for setting your own studio. There wasn't much to learn about that in other theses. The data organization is other topic which kept us bussy for some time. There occured some problems that slowed down the production. Then I focused on more common themes like script, storyboard, modeling, animation tests and layout. Animation is not included because it would require more detailed elaboration.
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Studio Pixar
Provazníková, Pavla ; Kubíček, Jiří (advisor) ; Klimt, Aurel (referee)
This bachelor work is trying to aim a generall chart of Pixar studio?s production and by insight into a history and evolution of the studio give an elemental factual summary of its filmography. Further i am trying to enlighten on a structure of the studio and its approach to its own organization and directing its own creative potencial. Attempt characterize specificity of Pixar?s work with generall analysis of dramaturgical and formal aspects of the films
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