Pálovics Emese Borbála
Animation MA
supervisor
Brovinszki László
masterwork opponent
Világosi Csaba
thesis consultant
Gyenge Zsolt
thesis opponent
Fábics Natália
masterwork
BAD TRIP
BAD TRIP is an immersive, audio-visual dome installation that explores generational gaps, the resulting traumas, and the process of their realisation. Viewers see a series of events that are like a bad trip as they follow the protagonist through the floors of a family home, getting deeper and deeper in the family nest, and, at the same time, in the boy’s mind. The project is also meant to spark a discussion and build a community to facilitate the acceptance of the topic and contribute to self-reflection. The immersive space (the Sound Dome of the Hungarian House of Music) allows participants to experience the events in the space where they are happening, like flies on the wall, which makes the experience even more intense and intimate. In addition to the dome version, a PCVR (PC Virtual Reality, where a VR Headset is used as a screen for the computer game) version has also been developed, where you can see the original screening after an interactive, thought-provoking intro. This, however, is an individual experience, and the focus is not so much on the community or community building but on the individual.
thesis
Integrating realistic animated characters into live-action films and the difficulties of doing so
Classic 3D animation and newer techniques for digitising realistic human characters
In recent decades, dramatic changes in film and animation technology have resulted in a paradigm shift. Now CGI,
computer-generated imagery, dominates the film industry. It has blurred the line between animation and live action films, and it has become and integral part of the latter. The main purpose of CGI is to complement real footage with hidden animation, and now it is used often, routinely and in high quality to digitally create settings, backgrounds and special effects. Nowadays this can be easily done in a hyper-realistic way, but to digitally create moving characters, especially life-like human faces is still a difficult/challenging task with conventional 3D animation technology. In my thesis I describe the history of CGI and provide examples to illustrate the current problems of integrating realistic, human-like but digital characters into live action films, and I explore the causes of these problems. I address potential technical alternatives, including deep learning technologies. I suggest that in the creation of realistic animated characters, artificial intelligence-based solutions lead to better results than
conventional 3D animations by animators with decades of experience and considerable technological equipment and financial resources. I also claim that probably another paradigm shift is coming in CGI and in cinema, and this will be triggered by the possibilities offered by artificial intelligence.
computer-generated imagery, dominates the film industry. It has blurred the line between animation and live action films, and it has become and integral part of the latter. The main purpose of CGI is to complement real footage with hidden animation, and now it is used often, routinely and in high quality to digitally create settings, backgrounds and special effects. Nowadays this can be easily done in a hyper-realistic way, but to digitally create moving characters, especially life-like human faces is still a difficult/challenging task with conventional 3D animation technology. In my thesis I describe the history of CGI and provide examples to illustrate the current problems of integrating realistic, human-like but digital characters into live action films, and I explore the causes of these problems. I address potential technical alternatives, including deep learning technologies. I suggest that in the creation of realistic animated characters, artificial intelligence-based solutions lead to better results than
conventional 3D animations by animators with decades of experience and considerable technological equipment and financial resources. I also claim that probably another paradigm shift is coming in CGI and in cinema, and this will be triggered by the possibilities offered by artificial intelligence.
