Lighting is an important element in 3DCG, with the power to affect the overall impression and directly impact the visual quality of the production. Thus, it is paramount that lights are placed deliberately in such a way that the scene correctly conveys the director’s intentions. However, lighting design is often neglected during pre-production. Lighting is done solely based on the director or set designer’ experience and entirely subjective. The aim of our study is to make lighting simulation simpler and more efficient by developing a “lighting scrapbook”, where lighting schemes from scenes of existing works are stored in a keyword-searchable database for easy reference.This allows both lighting scheme design and simulation to be done quickly.

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In the past, animation production work was labor-intensive. The main goal of this research is to increase the efficiency of computer-aided animation work, resulting in improved picture quality. Up to this point, we have researched the various basic elements of Japanese-style animation. Japanese-style animation was made possible by 3DCG and motion capture systems. This research shows the main problems we have worked on so far and the differences of how audiences respond to physical motion capture data and two-dimensional cel animation (the real and reality problem). One problem is the technique, or adaptation quantity, of exaggeration in animation to improve the reality of the image. The techniques are included in the application range of exaggeration in the animation (motion filter technology). Another problem is the improvement of the quality and flexibility of current toon-shading. The purpose of this paper is to select and classify the groups and movement obtained by motion capture (we decide the extent and method of exaggeration in the motion of each group), and to determine the method to be applied to Japanese-style two-dimensional cel animation.

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This study shall reveal how works in art are structured, by dealing with artistic works as a phenomenon including the human consciousness. This analysis is different from art criticism which has been popular in the interpretation of art. To translate a three-dimensional space (object) onto a two-dimensional plane is typical function of projection, and this determines the structure of painting. Thinking along these lines, I shall discuss the structure of cubism, which is originated under the influence of Cézanne’s theory of painting, can be equal to “space” or cubic, far beyond the limitations of painting. I shall also discuss how artists integrate a dimension of time, which recognizes “space” into their works, thus suggesting a new way of interpreting ideas in modern art.

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[in Japanese]

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[in Japanese]

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[in Japanese]

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