| Abstract | U ovoj tehnološkoj današnjici, teško je uopće zamisliti film bez specijalnih efekata, ili
reklamu bez animiranih likova i predmeta koji lebde uokolo, a o animiranim filmovima da i ne
govorimo. 3D grafika nas je potpuno okružila, toliko da je nemoguće konzumirati i jedan
vizualni sadržaj, a da smo u potpunosti sigurni da je to što vidimo lišeno ikakvih računalnih
implantanata.
Danas se svaka produkcija nadopunjuje računalno generiranim elementima, što zbog
nemogućnosti ili opasnosti snimanja određenih kadrova na setu, što zbog veće kontrole nad
tijekom odvijanja radnje, a što zbog korigiranja grešaka sa seta koje su tek naknadno uočene.
Želja za probijanjem granica i prikazivanjem nadrealnih stvari (dinosauri, zmajevi, životinje koje
govore, rušenja povijesnih građevina ali i onih novijih, eksplozije, prirodne katastrofe, posljedice
nuklearnog oružja, mitska bića i drugi svjetovi samo su neke od tema koje nas impresioniraju na
filmskim platnima posljednjih godina) dovela nas je do pomisli da je i nemoguće moguće, barem
na malom ekranu, stoga je ova industrija u posljednjih nekoliko godina doživjela nagli procvat i
razvoj kako bi u stopu pratila potrebe na tržištu. Takvi rezultati bili bi nemogući bez suvremene
računalne snage, ali i bez vrsnih umjetnika koji jednom 3D modelu, načinjenom od običnih
poligona, utaknu život uvjerljivim teksturama, realističnim osvjetljenjem, te lakoćom i
fluidnošću pokreta, zbog kojih nerijetko ne možemo definirati da li viđena scena CGI ili
stvarnost. Razvojem tehnologija i računalne snage, mnoge tehnike koje su tijekom godina razvili
najveći svjetski CGI studiji kako bi rekreirali što vjerniju stvarnost, postale su pristupačnije široj
javnosti, te time svijet vrhunske 3D kreacije otvaraju i manje iskusnim kreatorima, do mjere da
bilo tko sa samo osnovnim znanjem može proizvesti grafiku koja će oduzimati dah svojim
realizmom.
Ovaj rad bavi se istraživanjem svih tih novih tehnika, objašnjavajući kako su one nastale, ali i
zašto i kada se koriste. Kroz praktične primjere usporedit će se rezultati dobiveni tim tehnikama
s rezultatima koji bi se dobili primjenom klasičnih tehnika, a potom i usporediti kompleksnost
izrade pojedinom tehnikom i definirati u kojim situacijama te nove tehnike uistinu prednjače nad
klasičnim tehnikama modeliranja i animacije, no gdje su još uvijek klasične tehnike
nezamjenjive. |
| Abstract (english) | With today's technology, it is hard to imagine a movie without any special effects nor a
commercial with no animated characters and floating objects, and especially animated film
without 3D. 3D graphics have surrounded us so much that it is impossible to consume any visual
content and be absolutely sure that what we see is deprived of any CG implants.
Every production nowadays is complemented with computer-generated imagery (CGI), either
because of impossibility or danger of capturing certain shots, either to have a greater control over
the effect and sometimes even to correct production mistakes. The desire to break the boundaries
and display the surreal stuff (dinosaurs, dragons, animals that speak, destruction of historic
buildings, but also the recent ones, explosions, natural disasters, consequences of nuclear
weapons, mythical creatures and other worlds are just some of the themes that impress us on
movies in recent years) has led us to think that even impossible is possible, at least in movie
theatre, so this industry has experienced sudden growth and development in recent years to keep
pace with market needs. Such results would be impossible without modern computing power, as
well as without the excellent artists who create a 3D model, made of ordinary polygons, bring in
life with realistic textures, realistic lighting, and the ease and fluidity of the movement, which
result with such realism that we can't define whether the scene is CGI or reality. As technology
developed, as well as computer power, many techniques created by greatest worlds animation
studios to recreate perfect reality are becoming available to every one of us, opening the world of
top quality 3D production to less experienced creators, which enables everybody even with base
knowledge today to create breathtaking CGI content.
This paper is analyzing those new techniques and comparing them with classic modeling and
animation techniques to answer the question if those techniques can compete with classic ones,
and where is that boundary where classic techniques are irreplaceable. Through the practical
examples, the results obtained by these techniques will be compared with the results obtained by
applying classical techniques and then by comparing the complexity of a particular technique
and by defining in which situations these new techniques are truly superior to classical modeling
and animation techniques, but where they are still classical techniques are irreplaceable. |
