本文選題：立體影像顯示技術(shù) + 動(dòng)畫電影��； 參考：《陜西科技大學(xué)》2014年碩士論文

【摘要】：動(dòng)畫從誕生之日起，其發(fā)展過(guò)程離不開(kāi)技術(shù)的強(qiáng)大支持。動(dòng)畫的出現(xiàn)早于電影，最初從阿爾塔米拉洞穴中發(fā)現(xiàn)的“野牛奔跑圖”表現(xiàn)出人類對(duì)連續(xù)動(dòng)作產(chǎn)生記錄的興趣到“攝影術(shù)”、“放映術(shù)”的發(fā)明，技術(shù)的革新推動(dòng)了動(dòng)畫藝術(shù)的發(fā)展和創(chuàng)新。技術(shù)革新大致可以分為探索期、完善期、成熟期、深化期四個(gè)階段，技術(shù)手段的多樣性改變了動(dòng)畫的制作方式，在動(dòng)畫制作過(guò)程中，賽璐珞片、彩色動(dòng)畫片、有聲動(dòng)畫片，到后來(lái)電腦動(dòng)畫技術(shù)、立體影像技術(shù)的介入，飛速發(fā)展的技術(shù)讓動(dòng)畫煥發(fā)出新的生機(jī)。 2007年《阿凡達(dá)》的成功上映，電影產(chǎn)業(yè)進(jìn)入了新紀(jì)元。2009年《飛屋環(huán)游記》發(fā)行立體版本，開(kāi)啟了立體動(dòng)畫電影的閘門，立體影像技術(shù)逐漸成為創(chuàng)作動(dòng)畫電影使用的主要手段。立體影像技術(shù)徹底改變了觀眾的觀影習(xí)慣和心理體驗(yàn)，讓觀眾更進(jìn)一步的靠近動(dòng)畫電影營(yíng)造的夢(mèng)幻國(guó)度。各大動(dòng)畫公司也瞅準(zhǔn)立體影像技術(shù)帶來(lái)的實(shí)際利益，紛紛推出立體版的動(dòng)畫電影。2009年，美國(guó)夢(mèng)工廠宣布所有推出的動(dòng)畫電影都會(huì)同時(shí)制作“數(shù)字立體版本”，，美國(guó)迪斯尼和皮克斯決定重新向影院制作發(fā)行之前熱映過(guò)3D動(dòng)畫電影的立體版本。立體影像技術(shù)已然成為動(dòng)畫電影創(chuàng)作的主流運(yùn)用技術(shù)。 本文主要分為兩大部分進(jìn)行分析和論述，第一部分主要介紹了立體影像技術(shù)的相關(guān)概念和科學(xué)原理，對(duì)“Stereoscopic3D”和“3D”兩個(gè)概念進(jìn)行區(qū)分，簡(jiǎn)述了中外立體電影的發(fā)展歷史，對(duì)立體電影發(fā)展的脈絡(luò)有清晰的了解。并對(duì)制作立體電影使用到的紅藍(lán)顯示技術(shù)、偏振立體顯示技術(shù)、時(shí)分法顯示技術(shù)和裸眼3D顯示技術(shù)進(jìn)行介紹。闡釋了制作立體電影前需要掌握的透視、運(yùn)動(dòng)、遮擋、陰影、細(xì)節(jié)五個(gè)關(guān)鍵因素，以及深度關(guān)系、正負(fù)視差、景深區(qū)間和景深范圍這幾種拍攝立體電影所需掌握的原理。通過(guò)列舉案例分析立體影像技術(shù)是如何運(yùn)用到動(dòng)畫電影的創(chuàng)作中。 第二部分主要對(duì)立體影像技術(shù)對(duì)動(dòng)畫電影創(chuàng)作產(chǎn)生的具體影響進(jìn)行分析，著重從視聽(tīng)語(yǔ)言、傳播形式、票房回饋進(jìn)行案例分析和數(shù)據(jù)的統(tǒng)計(jì)，并客觀冷靜的對(duì)運(yùn)用立體影像技術(shù)過(guò)程中出現(xiàn)的敘事結(jié)構(gòu)蒼白、視覺(jué)疲勞、缺失藝術(shù)美感等問(wèn)題進(jìn)行深入思考。最后結(jié)合立體影像技術(shù)的優(yōu)勢(shì)，試圖提出沉著面對(duì)國(guó)外和國(guó)內(nèi)的諸多挑戰(zhàn)，適合中國(guó)立體動(dòng)畫電影發(fā)展的可行性策略。
[Abstract]:Animation from the date of birth, its development process can not be separated from the strong support of technology. Animation predates the film, and the Bison running Map, originally found in Arta Mira Cave, shows human interest in recording continuous movements to the invention of photography and projection. The innovation of technology has promoted the development and innovation of animation art. Technological innovation can be roughly divided into four stages: exploration, perfection, maturity, and deepening. The diversity of technical means has changed the way animation is made. In the process of animation production, celluloid, color cartoons, audio cartoons, To the later computer animation technology, stereo image technology intervention, rapid development of technology animation radiate new vitality. With the successful release of Avatar in 2007, the film industry entered a new era. In 2009, Flying House Tour released a three-dimensional version, which opened the floodgate of stereoscopic animation film. Stereoscopic image technology has gradually become the main means to create animated movies. Stereoscopic image technology has completely changed the viewing habits and psychological experience of the audience, making the audience closer to the dream country created by the animation film. Animation companies are also seeing the practical benefits of stereoscopic video technology, offering stereoscopic animated films. In 2009, DreamWorks announced that all animated films will be produced simultaneously. Disney and Pixar decided to remake the three-dimensional version of a 3 D animated film before it was released. Stereoscopic image technology has become the mainstream application technology of animation film creation. This paper is divided into two parts to analyze and discuss. The first part mainly introduces the related concepts and scientific principles of stereoscopic image technology, distinguishes "Stereoscopic3D" and "3D", and briefly describes the development history of Chinese and foreign stereoscopic films. Have a clear understanding of the development of three-dimensional film. The red and blue display technology, polarization stereoscopic display technology, time division display technology and naked eye 3D display technology are introduced. This paper explains the five key factors of perspective, motion, occlusion, shadow and detail before making stereoscopic films, as well as the principles of depth relationship, positive and negative parallax, depth of field interval and depth of field range. Through enumerating cases to analyze how stereoscopic image technology is applied to the creation of animated films. The second part mainly analyzes the specific impact of stereoscopic image technology on animation film creation, focusing on audio-visual language, dissemination form, box office feedback for case analysis and data statistics. And objectively and calmly on the use of stereoscopic image technology in the process of narrative structure pale, visual fatigue, lack of artistic aesthetic issues such as in-depth thinking. Finally, combining the advantages of stereoscopic image technology, this paper tries to put forward a feasible strategy for the development of stereoscopic animation film in China.
【學(xué)位授予單位】：陜西科技大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：J954

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