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1 2013 M

2 2013 : M DCG 3DCG 3DCG 2D 3DCG 2D 1 1 3DCG 3D

3 I

4 1.1 ( c storia Co., Ltd.) ( c ) ( c NHKJapan Broadcasting Corporation) c NHK Japan Broadcasting Corporation ( c NHK Japan Broadcasting Corporation ) ( c NHK Japan Broadcasting Corporation ) ( c ABC ) ( c ABC ) ( c ABC ) ( c NBGI/PROJECT im@s) ( c 2012 NEXON Korea Corporation. G THING SOFT.) II

5 III

6 (3DCG) (NPR) NPR 3DCG 3DCG Lake [1] 3D [2] Barla [3] 3D Barla 3DCG Kondo [4] 1

7 1 1 [5][6][7] [8] [17][10] : ( c storia Co., Ltd.) 1.2: ( c ) 1.3 2

8 1.3: ( c NHKJapan Broadcasting Corporation) 3DCG

9 図 1.4: 切り込み型のハイライト上向 図 1.5: 切り込み型のハイライト下向 c Japan Broadcasting c きの例 NHK Japan Broadcasting きの例 ( NHK Corporation ) Corporation c 図 1.6: 横顔のハイライトが短く変化する例 ( NHK Japan Broadcasting Corporation ) アニメ作品で髪の表現は 現実と違い 1 本 1 本の髪の毛ではなく房として表現さ れているため 特徴的な髪の動きに合わせて ハイライトの表現も髪の 1 本では なく房や前髪など大きなまとまりに反射しているように描かれる キャラクター の行動などの動きの他に このような髪の動きやまとまりを表現する手法がある 杉崎ら [11][12] は房としてまとまったセルアニメ調の髪の動きをシミュレーション 4

10 Noble [13] 3DCG 2D [14][15][16] [17] [18] 3D : ( c ABC ) 5

11 D 2D 3D 2D : ( c ABC ) 6

12 1.9: ( c ABC ) 1 2D D

13 1.11: 1.10: ( c 2012 NEXON Korea Corporation. ( c NBGI/PROJECT im@s) G THING SOFT.) [19] 2D Shin [20] 8

14 2D 1.3 3DCG 2D 1 9

15 2D 3DCG 2D D 3DCG

16 CPU

17 2 3 UV d = A N A N e g A f (2.1) eg 2 + f < A N < eg 2 + f (2.1) A f 12

18 h k i j f (2.2) f = max(min(h + k, i), j) (2.2) k B C B C D D (2.3) D = B C C 2 C (2.3) Y = (0, 1, 0) (2.4) D k (2.4) k = D Y (2.4) g 13

19 l m n g (2.5) g = min(l m n, 1) (2.5) l O P E = P O P O E A F (2.6) F = E A (2.6) (2.6) F N l (2.7) l = F N (2.7) m A B G = A B H H B I H G J I J K K (2.8) K = H B B 2 B + H G G 2 G (2.8) r B (2.8) K m (2.9) 14

20 m = min( K B + 1, 1 r) (2.9) K 15

21 : OS Windows7 CPU AMD Phenom (tm) II X6 1090T 3.20 GHz GPU GeForce GTX 470 2D 16

22 : 17

23 3.2: 3.3: 3.4: 18

24 3.5: 19

25 DCG 2D 2D 2D 3 2D 3DCG 20

26 1 2D 21

27 22

28 [1] Lake A, Marshall C, Harris M, Blackstein, Stylized rendering techniques for scalable real-time 3D animation. Proceedings of Non-Photorealistic Animation and Rendering2000, [2] Hideki Todo, Ken-ichi Anjyo, William Baxter, Takeo Igarashi,Locally Controllable Stylized Shading, ACM Transactions on Graphics Volume 26, Issue 3, Article No.17 (SIGGRAPH2007), [3] An extended toon shader, Pascal Barla; Joelle Thollot; Lee Markosian, X-Toon, International Symposium on Non-Photorealistic Animation and Rendering (NPAR), 2006 [4] Ryo Kondo, Takashi Kanai, Kenichi Anjo, DirectableAnimationofElasticObjects, ACM SIGGRAPHSymposium on Computer Animation (2005). [5],,, [6],,, [7],,,

29 [8],, Memories of shonan institute of technology vol 47, No.1,2012. [9], no.08,, [10] 4Gamer.net,, < [11] Eiji Sugisaki and Yizhou Yu, Simulation-based cartoon hair animation, In 13th International Conference in Central Europe on Computer Graphics, Visualization and Computer Vision WSCG 05. [12] Eiji sugisaki, Computer-Assisted Animation Creation Techniques for Hair Animation and Shade, Highlight, and Shadow.Waseda University [13] P Noble, W Tang, Modelling and Animating Cartoon Hair with NURBS Surfaces, Proc. CG International 2004, pp [14] D-Creation,, < [15] Moch Blog,, < [16],, < [17], CGWORLD vol.166,, [18], 2013 CG- WORLD,,

30 [19] Ken-ichi Anjo, William Baxter, Shuhei Wemler, Tweakable Light and Shade for Cartoon Animation, Proceedings of the 4th international symposium on Non-photorealistic animation and rendering, [20] Shin J, Haller M, Mukundan R, A stylized cartoon hair renderer. Hollywood, CA, ACM SIGCHI International Conference on Advances in Computer Entertainment Technology (ACE 06), Jun

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