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U završnom radu opisana je i detaljno objašnjena implementacija animacija u ozbiljnu igru za podizanje svijesti o poremećaju iz spektra autizma. Implementacija animacija grafičkih elemenata provedena je kako bi se povećala atraktivnost i uključenost korisnika ove ozbiljne igre te na taj način edukaciju korisnika o poremećaju iz spektra autizma učinila još zanimljivijom. U radu je opisano testiranje postojeće ozbiljne igre te oblikovanje animacija svakog scenarija. Ozbiljna igra razvijena je u razvojnom okruženju Unity, pa su u njemu implementirane i animacije. Detaljno je objašnjena implementacija animacija i opisani su koraci izrade pojedine animacije. Osim toga, opisano je postavljanje animacija u scenu i njihovo pokretanje u Unityju. This thesis describes and explains in detail the implementation of animations in a serious game to raise awareness of autism spectrum disorders. The implementation of animations of graphic elements was carried out to increase the attractiveness and involvement of users of this serious game and thus make the education of users about autism spectrum disorder even more interesting. The thesis describes testing the existing serious game and shaping animations of each scenario. The serious game was developed in the Unity development environment, so animations were also implemented in it. The implementation of animations is explained in detail and the steps of creating a particular animation are described. In addition, the placement of animations in the scene and their launch in Unity is described.

Diplomska naloga predstavlja ustvarjanje animiranega filma tako v teoriji kot v praksi. V teoretičnem delu diplomske naloge s pomočjo literature raziskujem nastanek animiranega filma skozi zgodovino v svetu in pri nas ter preučujem tehnike ustvarjanja animiranih filmov. V drugem, praktičnem delu diplomske naloge predstavljam ustvarjanje stop motion animiranega filma in končni izdelek. Idejo za ustvarjanje animiranega filma sem dobila v času študija pri predmetu Lutkarstvo. Prek diplomske naloge sem želela raziskati svet animiranih filmov in lutko prenesti iz gledališča v animirani film. Animirani film zahteva posebno tehniko ustvarjanja. Gre za ustvarjanje večjega števila risanih sličic ali fotografij, ki jih naše oko ob predvajanju v določenem časovnem premiku zazna kot gibajočo sliko. Poznamo tri vrste animacijskih tehnik, in sicer stop motion, risano animacijo in računalniško animacijo. V diplomskem delu s pomočjo različnih avtorjev predstavim igrače in pripomočke, ki so se s stoletji razvijali in omogočali razvoj animacije in pozneje filma. Prav vsi smo se v preteklosti srečali z igračami, ki so bile predhodnice animiranih filmov. Animirani film ni zgolj risanka, je mnogo več. In animirani film je eden prvih medijev, ki otroke popelje v svet umetnosti, v svet različnih kultur in ljudi. Film kot skupek različnih umetnosti in filmska vzgoja omogočata aktivno učenje na vseh področjih kurikuluma, zato sta v vzgojno-izobraževalnih procesih zelo zaželena. Številni pedagogi in drugi avtorji se strinjajo, da ima film lahko dober vpliv na otroke in mladino. Njihove teorije povzamem v predzadnjem delu diplomske naloge. Ustvarjanje animiranega filma mi je predstavljalo izziv. Zanimalo me je, kako igro z lutkami prenesti v stop motion animirani film. V praktičnem delu diplomske naloge tako podrobno predstavim ustvarjanje animiranega filma z naslovom Zaljubljeni Lojz – od prvotne ideje do razvoja zgodbe, priprave scenarija in likov in nato od samega snemanja in urejanja videa do končnega izdelka. V animiranem filmu kot like uporabim lobanje iz umetne mase, zato rešujem dilemo, komu je animirani film namenjen. Beležim odzive občinstva na njegovo likovno podobo in vsebino. V zaključku so zbrani odgovori naključnih odraslih in otrok, ki so podali mnenje ob ogledu animiranega filma. Kljub uporabi lobanj so bili odzivi občinstva dobri. Pridobljeni odgovori kažejo, da je odraslemu občinstvu pomembnejša vsebina zgodbe oziroma filma kot likovna podoba. Otroci so bili nad animiranim filmom navdušeni in si ga želeli ogledati večkrat. This thesis presents animation filmmaking, both in theory and in practice. In the theoretical part of the thesis, I use the literature to explore the origins of animation throughout history, both in the world and in Slovenia, and to examine the techniques of animation filmmaking. In the second, practical part of the thesis, I present the creation of stop motion animation and the final product. I got the idea to create an animated film during my studies in the Puppetry course. Through my thesis, I wanted to explore the world of animation and bring the puppet from theatre to animation. Animation requires a special technique. It is the creation of a large number of cartoon frames or photographs that, when played back, are perceived by the eye as a moving image over a certain period. There are three types of animation techniques: stop motion, cartoon animation and computer animation. With the help of various authors, I present the toys and gadgets that have evolved over the centuries and allowed the development of animation and later film. We have all encountered toys in the past that were the precursors of animated films. Animation is not just a cartoon, it is much more than that. And animation is one of the first media to introduce children to the world of art, to the world of different cultures and people. Film as a combination of different arts and film education enables active learning in all areas of the curriculum and is therefore highly desirable in educational processes. Many educators and other authors agree that film positively influence children and young people and I summarise their theories in the penultimate part of my thesis. Creating animated films has been a challenge for me. I was interested in how to translate puppet play into stop-motion animation. In the practical part of the thesis, I present in detail the creation of an animated film called Lojz in Love. From the initial idea to the development of the story, the script and the characters, and then the actual filming and editing of the video to the final product. I use plastic skulls as characters in the animation, so I'm solving the dilemma of who the animation is for. I record the audience's reactions to its visuals and content. In the end, I collect the answers from random adults and children who gave their opinions when they watched the animation. Despite the use of skulls, the audience's reactions were good. The answers obtained show that the adult audience cares more about the content of the story or the film than the visuals. Children were impressed by the animated film and wanted to watch it again.

Namen diplomske naloge je izdelati 3D interaktivno animacijo, ki kupcu pri nakupovanju in izbiri deske, znamke JH Boards, predstavi njen izgled in sestavo. 3D vizualizacija je pomembna komponenta pri nakupovanju preko spleta, saj lahko kupec z njo interaktivno sodeluje in pridobi boljšo predstavo o izdelku. V teoretičnem delu smo raziskali program Blender. Opredelili smo pojma interaktivnost in 3D vizualizacija produkta. Predstavili smo, kako pripomoreta k pridobivanju in ohranjanju kupcev ter zagotovita, da si izdelke lahko podrobneje ogledajo. V eksperimentalnem delu smo na podlagi pogovora z glavnim zastopnikom znamke JH Boards in informacij na spletu preučili rolkarske deske JH Boards in s programom Blender ustvarili 3D modele rolkarske deske, koles, podvozja, vijakov in ležajev ter jim dodelili teksturo in materiale. Izdelali smo 47 animacij v skupnem trajanju 157 sekund, ki prikazujejo različne dele deske, njene komponente (koleščke, podvozje, vijake, ležaje) in materiale. Animacije smo uredili oziroma priredili s programom DaVinci Resolve. Nato smo animacije po metodi razvejanega posnetka po drevesni shemi smiselno razvrstili v štiri segmente. S spletno platformo Stornaway.io smo ustvarili interaktivne točke, s katerimi lahko uporabnik animacijo navigira po svoji lastni potrebi. Z interaktivno 3D vizualizacijo smo kupca želeli pritegniti k sodelovanju, mu omogočiti lažji in zanimivejši ogled produkta in ga tako spodbuditi k nakupu. The purpose of this thesis is to create a 3D interactive animation that will help JH Boards customers, to better visualise the appearance and individual components of their skateboard. The fact is that 3D visualisation works as an important component for the online shopping customers, as they better imagine how the products appear. The big upside is also the fact that they can interact with visualsation of the product. In the theoretical part, we described the Blender program and defined the concepts of interactivity and 3D visualisation of the product and presented how they can help brands to gain and retain their customers, while ensuring that they can view products in more detail. In the experimental part, based on a conversation with the main representative of the JH Boards brand and information on the Internet, we studied the JH Boards skateboards. Then we created a 3D model of the JH Boards skateboard, its wheels, trucks, screws and bearings in Blender program. After that we assigned them texture and materials. We made 47 animations with a total duration of 157 seconds, showing different parts of the board, its components (wheels, tucks, screws, bearings) and materials. We edited the animations in the DaVinci Resolve program. We then arranged the animations by order into four segments, using the interactive branching video method. With online platform Stornaway.io, we created interactive points or hot spots that make it possible for user to navigate the animation according to their own needs. With 3D interactive visualisation, we wanted to attract the customer to participate, and at the same time we enabled him to visualise the product easier and made it more interesting.

Magistrsko delo vsebuje več raziskovalnih področij, in sicer uporabniško izkušnjo, animacijo in 3D računalniško grafiko. Namen naloge je bil oblikovati izgled spletnega mesta za marketinško agencijo z vključitvijo 3D vizualizacij, ter raziskati kako te vplivajo na celotno uporabniško izkušnjo. V teoretičnem delu smo se s pomočjo različne literature najprej osredotočili na pomembnost spletnih mest v današnjem času in oblikovanje uporabniških vmesnikov ter uporabniške izkušnje. Raziskali smo osnove animacij in 3D računalniške grafike, za konec pa pregledali še nekaj primerov spletnih mest, ki vključujejo 3D vizualizacije, ter dobili boljši vpogled v prednosti takšnega dizajna. Na začetku eksperimentalnega dela smo natančno raziskali identiteto podjetja in zastavili cilje, ki so nas vodili skozi ustvarjalni proces. Določili smo ciljne skupine in iz njih oblikovali persone. Specificirali smo funkcionalnosti in vsebino našega spletnega mesta, ter z žičnimi modeli prikazali enostavno postavitev elementov. Vzporedno smo se ukvarjali z izdelavo 3D modelov in 3D animacije, ki smo jih združili z uporabniškim vmesnikom ter ustvarili delujoč prototip. Testiranje smo izvedli z anketo, ki je bila razdeljena v dva sklopa. Prvi je vseboval splošna vprašanja o uporabi 3D vizualizacij na spletu, drugi pa pregled prototipa in vprašalnik o uporabniški izkušnji. Analiza odgovorov je pokazala, da se večina anketirancev na 3D grafike odziva pozitivno. Spletno mesto je doseglo dobre ocene v vseh šestih kategorijah uporabniške izkušnje, izmed teh pa sta bili najboljši kategoriji atraktivnost in originalnost. 3D vizualizacije so poleg dekorativnega predznaka pripomogle tudi k večji funkcionalnosti izdelka, kot je npr. pomoč pri prepoznavnosti vsebine. Rezultat magistrskega dela je spletno mesto, ki vsebuje 3D vizualizacije, ter s tem poskrbi za bolj zadovoljivo uporabniško izkušnjo. The master's thesis covers several research areas, namely user experience, animation, and 3D computer graphics. The purpose of the assignment was to create a visual design for the marketing agency website with the inclusion of 3D visualizations, and to examine how these affect the overall user experience. In the theoretical part, we first focused on the importance of today’s websites, and the design of user interfaces and user experience, with the help of various literature. We researched the basics of animation and 3D computer graphics, and reviewed some examples of websites that use 3D visualizations, to gain a better insight into the advantages of such design. At the start of the experimental part, we researched the company identity and set goals that guided us throughout the creative process. We defined target audiences and created personas. We specified the functionality and content of our website, and used wireframes to display simple layouts of elements. Alongside, we worked on 3D models and 3D animation, combined them with the user interface and created a working prototype. The testing was carried out with a survey divided into two parts. The first contained general questions about the use of 3D visualizations on the web, and the second contained a prototype review and user experience questionnaire. The analysis of the answers showed that most respondents have a positive reaction to 3D graphics. The site scored well in all six user experience categories, with attractiveness and novelty being the best. In addition to the decorative effect, 3D visualizations contributed to greater functionality of the product, such as help with content recognition. The result of the master’s thesis is a website that contains 3D visualizations and provides a more satisfactory user experience.

Diplomsko delo nam v prvem delu predstavi različna področja, zgodovino in razvoj animacije. Seznanimo se z osnovnimi pojmi in podrobneje spoznamo kolaž animacijo ali izrezanko, ki je ena izmed tehnik stop animacije. V drugem delu sledi predstavitev profesionalnega programa Adobe After Effects, ki ga uporabljamo za vizualne učinke in ustvarjanje gibljivih slik v stopnji postprodukcije. Spoznamo delovni prostor in delovanje programa. Uporaba programa je predstavljena skozi postopek izdelave končnega izdelka, tj. kolaž animacije. In the first part, the thesis presents history and development of animation techniques, with emphasis on collage animation or cut out animation, which is one of the techniques of stop animation. In the second part, we present the process of creating a collage animation in detail. We describe the usage and tools of the Adobe After Effects software, which is a professional tool for creation of visual effects and moving images in the post-production stage.

Čeprav se ne zavedamo, so duševne motnje zelo pogosto prisotne v človekovem življenju z njimi se morda soočamo sami ali naši bližnji, prav tako pa so velikokrat upodobljene tudi skozi like, ki jih srečujemo v umetnosti, filmih in celo animiranih filmih, ki so ustvarjeni za mlajše občinstvo. Diplomsko delo raziskuje pojav duševnih motenj, prisotnih v Disneyjevih in Pixarjevih animiranih filmih. Bolj natančno preiskuje animirane like in kako njihovo vedenje, govor ter telesna govorica prikazujejo različne znake in simptome duševnih motenj. Prvi del diplomskega dela se posveča klasifikaciji in razlagi posameznih duševnih motenj. Namen je bralcu predstaviti in obrazložiti pojme, simptome in bolezni, da mu bo lažje razumljiv drugi del diplomskega dela ter da razume obseg duševnih motenj. Temu sledi analiza likov iz animiranih filmov Vrvež v moji glavi (Inside out, 2015), Iskanje malega Nema (Finding Nemo, 2003), Alica v čudežni deželi (Alice in Wonderland, 1951), Mnoge dogodivščine medvedka Puja (The Many Adventures of Winnie the Pooh, 1977), Ledeno kraljestvo (Frozen, 2013), Mala morska deklica (The Little Mermaid, 1989), Sneguljčica in sedem palčkov (Snow White and the Seven dwarfs, 1937) in Zlatolaska (Tangled, 2010). Praktični del diplomskega dela Pustite mi dihati je 2D-računalniška animacija, ki se posveča občutkom in počutju osebe z duševnimi motnjami. Skozi abstraktno animacijo si lahko gledalec sam razlaga pomen ter občutke depresije in tesnobe.

Uspeh mednarodne filmske industrije je v veliki meri zasluga programskega jezika Python. Danes praktično ni filma brez vizualnih učinkov in pri tem igra Python pomembno vlogo. V diplomskem delu bomo izvedeli zakaj je pro- gramski jezik Python postal sestavni del procesa ustvarjanja filmov. Spoznali bomo kdaj in zakaj so ga začeli uporabljati, kje vse je postal nepogrešljiv in kdo vse ga uporablja. Dotaknili se bomo zapletenosti filmskega cevovoda in s pomočjo programa Blender in v njem izdelanih skript, ustvarili svoj lastni kratki animirani film. The success of the international film industry is largely due to the Python programming language. Today, there is practically no film without visual effects, and Python plays an important role in this. In the thesis, we will find out why programming language Python has become an integral part of the film making process. We will find out when and why they started using it, where it all became indispensable and who all uses it. We will touch on the intricacies of the film pipeline and create our own short animated film using Blender, Python and the scripts created in it.

V diplomskem delu raziskujem izdelavo animiranega filma in upodobitev zgodbe brez dialoga. Bistvo dela je prikaz zgodbe in idej v njej s karakterjem, ki ima omejeno gibanje telesa in nima obrazne mimike. Na začetku predstavim medij animacije, kjer se osredotočim na 3D-računalniško animacijo, njeno zgodovino in uporabo v današnjem svetu. Zatem predstavim celoten proces izdelave animiranega filma. Začnem z zgodbo, v kateri opišem njen nastanek ter predstavim ideje in teme, ki so prisotne v tem kratkem filmu. Predstavim tudi glavnega karakterja in njegovo vlogo v filmu. Nadaljujem z opisom izdelave zgodborisa, modelov in okolja, predstavim postopek animiranja, kadriranja in osvetljevanja, končam pa z montažo in uporabo zvoka v filmu. In my Bachelor's thesis I am researching how to create an animated movie and depict a story without any dialogue. The point of this thesis is presenting a story and its ideas with a character who has limited body movement and lacks facial expressions. At the beginning I present the medium of animation, focusing on 3D computer animation. its history and its uses today. After that I present the entire process of my animated movie's creation. I begin with the story, where I describe its formation and present the themes and ideas present in the short movie. I also present the main character and its role in the movie. I continue by describing the creation of storyboard, models and environment, I present the process of animation, framing and lighting. I end with the montage and use of sound in the movie.

Multimediju komunikācija Informācijas un komunikācijas zinātnes Multimedia Communication Information and Communication Sciences Bakalaura darba tēma ir “Sociālkritiskas animācijas īsfilmas izstrāde par piesārņojuma problemātiku”, kuras galvenais piesārņojuma fokuss ir atkritumi. Darba mērķis ir balstoties teorētiskās atziņās par sociālkritisku pieeju mākslā, komunikācijā un raksturīgākajās atkritumu pārstrādes problēmās, izstrādāt animācijas īsfilmu par atkritumu problemātiku. Teorētiskās bāzes izstrāde sastāv no trīs nodaļām. Darba pirmā nodaļa apskata kritisko teoriju un izmanto tās pieeju, lai analizētu atkritumu piesārņojuma problēmu cēloņus kapitālistiskās sistēmas kontekstā. Tāpat tiek apskatīta kritikas saistība ar mākslu un analizēti labie piemēri. Šī nodaļa ļauj padziļināti apskatīt un izprast atkritumu vairošanās problēmas un noteikt atbildīgās puses, kas to pieļauj, veicina vai ignorē. Otrajā nodaļā šī darba autors apskata animāciju kā risinājumu vēstījuma veidošanai, kā arī tās izstrādes īpatnības, priekšrocības un izaicinājumus. Tiek apskatīti dažādi veiksmīgi sociālkritiskas animācijas piemēri. Trešajā nodaļā tiek apskatīta esošā komunikācija par piesārņojumu Latvijā, kas ļauj definēt galvenos problēmjautājumus sabiedrībā, kas ir šķirošana, atteikšanās no produktiem nepārstrādājamos iepakojumos utt.. Šajā nodaļā pārsvarā tiek apskatīti animācijas piemēri par atkritumu piesārņojuma problēmām Latvijā, kā arī saistīto iestāžu komunikācijas materiāli, kas izvietoti šo organizāciju tīmekļa vietnēs. Apskats ļauj definēt tādas esošās komunikācijas nepilnības, kā izklaidējošās daļas trūkums un mērķauditorijas neatbilstība. Apskatā iegūtās atziņas tiek integrētas nepareizās rīcības piemērā, kas tiek atspoguļots animācijā. Darba rezultātā tika radīta kvalitatīva animācijas īsfilma, kas kritizējot atkritumu vairošanās cēloņus, pievērš uzmanību pastāvošajai problēmai un atbildīgajām pusēm. The topic of the bachelor's thesis is "Socio-critical animated short film on problem of pollution", the main focus of which is waste. The aim of the work is to develop an animated short film about the problem of waste, based on theoretical findings about a socio-critical approach in art, communication and the most typical problems of waste processing. The development of the theoretical base consists of three chapters. The first chapter examines critical theory and uses its approach to analyze the causes of waste pollution problems in the context of the capitalist system. The relationship between criticism and art is also examined and good examples are analyzed. This chapter provides an in-depth look at and understanding of the problem of waste generation and identifying the responsible parties who allow, encourage or ignore it. In the second chapter, the author of this work examines animation as a solution for creating a message, as well as the peculiarities, advantages and challenges of its development. Various successful examples of socio-critical animations are examined. The third chapter examines the existing communication about pollution in Latvia, which allows defining the main problems in society, which are sorting, refusal of products in non-recyclable packaging, etc.. This chapter mainly examines animation examples about waste pollution problems in Latvia, as well as communication materials of related institutions, which are found on the websites of these organizations. This review allows defining existing communication gaps, such as the lack of the entertaining part and the mismatch of the target audience. The insights gained from the review are integrated into examples of bad for recycling behavior, which is reflected in the animation. As a result, a high-quality animated short film was created, which, criticizing the causes of the increase in waste, draws attention to the existing problem and responsible parties.

Multimediju komunikācija Informācijas un komunikācijas zinātnes Multimedia Communication Information and Communication Sciences Radošais bakalaura darbs “Dzīve pēc dzīves” dokumentālā animācijas filma par cilvēku priekšstatu par nāvi” ir darbs, kurā apkopoti 8 Latvijas iedzīvotāju viedokļi par to, kas viņuprāt notiek pēc nāves, un, balstoties uz cilvēku sniegtajām atbildēm, tika izveidota dokumentālā animācijas filma, kurā attēlots nezināmais. Bakalaura darbs sastāv no teorijas daļas un radošā koncepcijas daļas. Teorijas daļā tiek apskatīts citu reliģiju skatījums uz pēcnāves dzīvi, lai padziļinātāk izprastu kādi ir viedokļi par tēmu, kuru rada vairākus jautājumus, taču atbilde paliek nezināma. Pirms animācija filmas izstrādes tiek apskatīta animācijas vēsture, tās tehnikas un žanri, fokusējoties uz dokumentālās animācijas žanru, pieminot arī tā attīstību Latvijā. Darba radošās koncepcijas daļā tiek aprakstīts realizācijas process, pieminot gan to, kā tika veikta datu ieguve, gan animācijas materiālu vākšanas un montāžas process. Bakalaura darbs sastāv no teorijas daļas un radošā koncepcijas daļas. Teorijas daļā tiek apskatīts citu reliģiju skatījums uz pēcnāves dzīvi, lai padziļinātāk izprastu kādi ir viedokļi par tēmu, kuru rada vairākus jautājumus, taču atbilde paliek nezināma. Pirms animācija filmas izstrādes tiek apskatīta animācijas vēsture, tās tehnikas un žanri, fokusējoties uz dokumentālās animācijas žanru, pieminot arī tā attīstību Latvijā. Darba radošās koncepcijas daļā tiek aprakstīts realizācijas process, pieminot gan to, kā tika veikta datu ieguve, gan animācijas materiālu vākšanas un montāžas process. Thesis "Life after life" an animated documentary film about people's perception of death" is a work that summarizes the opinions of 8 Latvian residents about what they think happens after death, and based on the answers given by 8 people of different ages, a animated documentary film was created, in which the unknown is represented. Radošais bakalaura darbs “Dzīve pēc dzīves” dokumentālā animācijas filma par cilvēku priekšstatu par nāvi” ir darbs, kurā apkopoti 8 Latvijas iedzīvotāju viedokļi par to, kas viņuprāt notiek pēc nāves, un, balstoties uz cilvēku sniegtajām atbildēm, tika izveidota dokumentālā animācijas filma, kurā attēlots nezināmais. Bakalaura darbs sastāv no teorijas daļas un radošā koncepcijas daļas. Teorijas daļā tiek apskatīts citu reliģiju skatījums uz pēcnāves dzīvi, lai padziļinātāk izprastu kādi ir viedokļi par tēmu, kuru rada vairākus jautājumus, taču atbilde paliek nezināma. Pirms animācija filmas izstrādes tiek apskatīta animācijas vēsture, tās tehnikas un žanri, fokusējoties uz dokumentālās animācijas žanru, pieminot arī tā attīstību Latvijā. Darba radošās koncepcijas daļā tiek aprakstīts realizācijas process, pieminot gan to, kā tika veikta datu ieguve, gan animācijas materiālu vākšanas un montāžas process. Thesis "Life after life" an animated documentary film about people's perception of death" is a work that summarizes the opinions of 8 Latvian residents about what they think happens after death, and based on the answers given by 8 people of different ages, a animated documentary film was created, in which the unknown is represented. The bachelor thesis consists of a theory part and a creative concept part. The theory part examines the view of other religions on the afterlife in order to gain a deeper understanding of the opinions on the topic of death, which raises several questions, but the answer remains unknown. Before the development of animated films, the history of animation, its technique and genres are examined, focusing on the genre of documentary animation, also mentioning its development in Latvia. The creative concept part of the work describes the realization process, mentioning both how the data was collected and the process of collecting and assembling the animation materials.

Multimediju komunikācija Informācijas un komunikācijas zinātnes Multimedia Communication Information and Communication Sciences Audiovizuālais saturs dominē mūsdienu medijus un tiešā veidā ietekmē mūsu viedokļus, zināšanas un vispārējo pasaules uztveri. Taču kāds ir šis audiovizuālais saturs? Animācija, kas tikai aug popularitātē, kā norāda “The Numbers” publicētie dati, tāpat bieži tiek nepatiesi uzskatīta par žanru bērniem, kas attiecīgi limitē animatoru spēju sasniegt savu mērķauditoriju. Taču tā kā animācija aug popularitātē, arī pieaugušo auditorija vairāk un vairāk pievēršas šim filmu un seriālu veidam, respektīvi, tā tiek uztverta nopietnāk un turpina iezīmēt sevi kā svarīgu daļu no kino industrijas arī ārpus bērnu auditorijas. Diemžēl, pat ņemot vērā augstāk minēto informāciju un pamanāmās tendences augošajam pieprasījumam pēc gan japāņu, gan amerikāņu animācijas, Eiropas animācija, īpaši mērķēta uz pieaugušo auditoriju, netiek pētīta. Respektīvi šis pētījums “Eiropā veidoto pieaugušajiem paredzēto pilnmetrāžas animācijas filmu naratīva un stila analīze” ir koncentrēts uz Eiropas pieaugušo animācijas pilnmetrāžas filmu izzināšanu gan to naratīva dizainā, gan to vizuālajā izskatā, jo, kā rakstījis Maršals Maklūens – “medijs ir vēstījums” un satura analīze notiek tikai pēc formas apzināšanas. Lai apzinātu tendences Eiropas pieaugušo animācijā, tika izvēlētas sešas animācijas filmas, kas atbilda izlases kritērijiem: “Mana dzīve kā Cukīnī” (“My Life as a Courgette” (2016)); “Maizes pelnītāja” (“The Breadwinner” (2017)); “Es pazaudēju savu ķermeni” (“I Lost My Body” (2018)); “Džosefs” (“Josep” (2020)); “Bēgt” (“Flee” (2021)) un “Mans laulību projekts” (“My Love Affair with Marriage” (2022)). Audiovisual content dominates modern media and directly influences our opinions, knowledge, and overall perception of the world. But what is this audiovisual content? Animation, which is growing in popularity, as indicated by data published by "The Numbers," is often falsely considered a genre for children, thereby limiting animators' ability to reach their target audience. However, as animation gains popularity, the adult audience is increasingly turning to this form of films and series, perceiving it more seriously and recognizing it as an important part of the film industry beyond just children's audiences. Unfortunately, even considering the aforementioned information and the noticeable trend of increasing demand for both Japanese and American animation, European animation, especially targeting adult audiences, is not being researched. Consequently, this study, “Narrative and style analysis of animated feature films produced in Europe for adult audience (2016-2022)” focuses on exploring European full-length adult animation films, both in terms of their narrative design and visual appearance because, as Marshall McLuhan wrote, "the medium is the message," and content analysis can only take place after recognizing the form. To identify trends in European adult animation, six animated films that met the selection criteria were chosen: "My Life as a Courgette" (2016), "The Breadwinner" (2017), "I Lost My Body" (2018), "Josep" (2020), "Flee" (2021), and "My Love Affair with Marriage" (2022).

Kaj je resnično in kaj ne, kaj nam je lepo in kaj grdo, kaj je preveč in kaj premalo? Vse to so vprašanja, ki si jih zastavlja človek že od samega začetka. Naj bo to v načinu življenja, vizualni podobi, elektronskih virih in nenazadnje tudi v industriji zabave – filmu ter animaciji. Diplomsko delo se posveča pojavom srhljive doline (ang. Uncanny Valley) predvsem v animaciji. Anima pomeni v latinščini »duša«, animare pa »vdihniti dušo«. Preverili bomo, kaj definira fenomen srhljive doline, zakaj do njega sploh pride ter kako se mu izogniti, če je to sploh mogoče. Glede na prej zastavljena vprašanja bomo v pregled vzeli svetovno znane animacijske studie (Pixar, DreamWorks, Illumination, Disney) ter raziskali, kako se s tem fenomenom spopadajo oziroma kako ga zaobidejo in se mu izognejo. S pomočjo analiz starejših in novejših filmov igrano-animirane zvrsti bomo na koncu diplomskega dela lažje sledili razvojni poti zajčice Juno, ene izmed likov v kratkem diplomskem igranem filmu s stop animacijo z naslovom Ti. What is real and what is not what is beautiful and what is ugly what is too much and what is too little? These are all questions that man has been asking himself from the beginning, be it through our lifestyles, visual imagery, electronic resources and, last but not least, in the entertainment industry – namely, through film and animation. This thesis will discuss the phenomenon of the “Uncanny Valley,” mainly in animation. Anima means soul animare means to breathe in the soul. We will look at what defines the phenomenon of the uncanny valley, why it happens in the first place and how to avoid it if at all possible. In the light of the questions posed earlier, we will take a look at the world-famous animation studios (Pixar, DreamWorks, Illumination, Disney) and explore how they deal with this phenomenon or how they avoid and circumvent it. By analysing older and more recent films in the live-action animated genre, we will be able to trace the development path of Juno the bunny, one of the characters in You, a short featured live action film with stop motion animation.

U ovom radu predstavljena je tehnika stop-animacije (eng. stop motion) i način na koji se može uključiti u projektnu nastavu. Animacija po svojoj prirodi i kao medij izražavanja zahtjeva projektno razmišljanje što je čini idealnim sredstvom za kompleksnije oblike nastave u ovom slučaju projektnom nastavom. U tradicionalnoj nastavi odnos učenika i učitelja jest da učenik vidi učitelja kao voditelja i organizatora, a učenik sebe kao pasivnog konzumenta i promatrača. Namjera ovog diplomskog istraživanja jest istražiti mogućnost promjene ovakvog odnosa u korist aktivnije uloge učenika u usvajanju novih vještina i učenju. Idealna metoda za to pronalazi se u projektnoj nastavi koja može učeniku dati veću kontrolu nad učenjem što donosi i veću odgovornost, ali i veću mogućnost individualnog rada. Projektna nastava neće učitelja postaviti u pasivni položaj. „Poznavajući sposobnosti učenika, sadržaje koji su usvojeni i temu koja je izabrana za projekt, nastavnik može odrediti gdje i kada je potrebna njegova direktna pomoć, a koje zadatke učenik doista može sam odraditi.“ (Cindrić, 2006, str. 38). Ono što uvelike pomaže uvođenju stop-animacije, ali i drugih oblika animacije u nastavu je činjenica da su djeca upoznata s medijem animacije i animiranim filmom u njihovoj svakodnevici kroz suvremene medije. Prema istraživanju Habib i Soliman (2015) većina djece dobi od 2 do 5 godina provede 3 ili više sati dnevno gledajući animirane filmove. U školi se pak susreću s pojmovima medijske kulture kao što su film, animirani film i kadar te razvijaju kreativnost i izradu objekata na nastavi likovne kulture (Nastavni plan i program, 2006). Također, ako uzmemo u obzir sve to uz činjenicu da u današnje vrijeme djeca puno ranije počinju koristiti tehnologiju, posebice mobilne uređaje i računala, dobivamo savršenu podlogu za upoznavanje sa stop-animacijom i izradom vlastitih animiranih filmova. This paper presents an animation technique called stop motion animation and the way it could be included in project-based learning. Animation, by its very nature as a medium, requires project-based thinking, which makes it an ideal tool for introducing more complex teaching methods, in this case project-based learning. Traditionally teachers are seen as leaders and organizers in the learning process, whilst students are passive consumers or observers of information. The goal of this thesis is to find ways of changing this type of teacher-student dynamic such that students assume a more active role in acquiring skills and learning. An ideal method of achieving that can be found in project-based learning, a type of learning that can offer students more control over their learning, as well as more responsibilities, and opportunities for individual work. In spite of that, project-based learning will not put teachers in a passive role, but rather give them a position of a moderator and a mentor. In understanding students' abilities, knowledge they have acquired and project topic, teachers can deteremine when and where they need to intervene, as well as which tasks can students complete on their own (Cindrić, 2006, str. 38). The main thing that aids the inclusion of stop-motion, as well as other various animation techniques, into the learning process is the fact that children are, from the earliest age, introduced to the medium of animation and animated film on a daily basis through current media. According to the research conducteb by Habib and Soliman (2015) most children 2 to 5 years of age spend 3 or more hours a day watching animated shows and films. Later in school they are introduced to the field of media culture and terms such as film, animated film and movie frame; they also have a chance to develop their creative thinking skills as well as their workmanship when it comes to making shapes, characters, etc. (Nastavni plan i program, 2006). If we take all that into consideration with the fact that nowadays children are introduced to and are able to use various technological devices, mainly mobile phones and computers, we can notice an incredible foundation for creating stop motion films.

Magistrsko delo obravnava problematiko onesnaženja narave ter vlogo človeka v tem degradiranem okolju. V teoretičnem delu sem vzpostavila povezavo med trenutnim družbenogospodarskim sistemom in posledičnim spreminjanjem naravnega okolja. V stoletju tehnološkega napredka, je človek postal orodje gospodarskega sistema, ki zasleduje kolesje nenehne rasti. Včasih povsem razumljiva lokalna odvisnost od naravnih virov je prešla v globalno odvisnost. S tem se je potrošnikom zabrisala povezava med izdelki in ekološkimi posledicami neetične pridelave. Napredek je pravzaprav povzročil degradacijo naravnega okolja. Zdaj, dobro stoletje kasneje, so posledice izrabljanja več kot očitne. Drastične spremembe podnebja in onesnaženost z odpadki, so pričele odvzemati floro in favno, naš prvotni naravni življenjski prostor. Smo v obdobju reševanja okoljskega vprašanja, vendar se naša življenja niso zares nič spremenila. Obsesivno se posvečamo prekomernosti odpadkov, torej simptomom hiperprodukcije, medtem ko se z vzrokom za nastanek situacije pravzaprav ne ukvarjamo. V praktičnem delu naloge sem tako preko digitalne animacije predstavila povezanost med malim človekom in veliko naravo. Razkol v njunem odnosu pa poglabljajo privzgojene potrošniške navade. Koncept postavitve elementov sicer povzdiguje vsemogočno naravo, a obenem nakazuje na nesmiselnost hiperprodukcije plastičnih izdelkov, ki okoli nas vzpostavlja konflikt med vrednostjo življenja in vrednostjo materialnega. The master's thesis deals with the issue of nature pollution and the role of humans in this degraded environment. In the theoretical part, I established a connection between the current economic and social system and the consequences on the natural environment. In a century of technological progress, humans have become a tool of an economic system that pursues the wheels of constant growth. The once perfectly understandable local dependence on natural resources has turned into a global dependence. This has blurred the link between products and the ecological consequences of unethical production. Progress has actually led to the degradation of the natural environment. Now, a good century later, the consequences of exploitation are more than obvious. Drastic climate change and waste pollution has begun to take away flora and fauna, our original natural habitat. We are in a period of resolving environmental issue, but our lives haven't really changed. We are obsessively focused on the excess of waste, i.e. to the symptoms of hyperproduction, while we are not dealing with the cause of the situation. In the practical part of the thesis, I presented the connection between a small person and a large nature through digital animation. The rift in their relationship, however, is deepened by cultivated consumer habits. The concept of the placement of elements elevates the almighty nature, but at the same time points to the futility of hyperproduction of plastic products, which creates a conflict between the value of life and the value of the material.

Ovim završnim radom ću objasniti proces izrade 3D animacije u filmskoj industriji te više različitih procesa koji sudjeluju u izradi 3D animacije kao što je izrada scenarija, izrada 3D prostora, rekvizita, lika, tekstura i animacije te sam proces renderiranja (rendering) i uređivanja animacije. Osvrnut ću se na programsku podršku tj. programe korištene za izradu 3D animacije: Autodesk Maya, Autodeks Mudbox, ZBrush, Adobe Substance Painter i Adobe After Effects. Prikazat ću cijeli proces izrade animacije: scenarij, modeliranje, UV mapiranje, dodavanje teksture i rasvjete, montiranje lika tj. postavljanje kostiju, postavljanje kontrola za animaciju, proces animacije, renderiranje te kompozicija, VFX i zvukovi.

Završni rad je originalno autorsko djelo. Sama priča govori o tome kako Jack dobije moći od boga Persubusa na način da se slučajno kao dječak popikne i padne, nabadajući se na jednu od Persubusovih kosti, nakon čega odraste u laboratoriju gdje mu pomažu doktori da otkrije sam samoga sebe te kako kontrolirati svoju novu moć. Nakon par godina upoznaje se s Alice, koja mu je bila i ostala čuvarica. Na ovom dijelu priče postavljena je navedena uvodna špica. Kroz kreativni proces napravljeni su storyboardovi, animatici, dizajn likova, odabir pjesme, nakon čega je napravljena sama animacija. Kroz animaciju korištene su boje kao oblik medija, alat da prikaže kakvo je ponašanje nekog lika, koju on ulogu igra u priči itd. Ritam i kamera prikazuju kako se priča događa u samom serijalu. Postoje dijelovi koji su ozbiljniji i više fokusirani na jednog lika, a pojavljuje se također i odnos njih dvoje, njihov karakter, ili sami odnos između jednog i drugog. Cijela animacija osvještava da je u pitanju priča s akcijom, komedijom i dramom.

Predstava Močvarovci diplomski je rad koji je nastao u suradnji Kulturnog centra u Osijeku i studentice diplomskog studija lutkarske režije Ane Šantar s Akademije za umjetnost i kulturu u Osijeku, pod mentorstvom doc. art. Tamare Kučinović. U ovom pisanom radu objašnjava svoj dugi put od ideje lutkarske predstave za djecu do njene realizacije. Obrazlaže kako i što ju je privuklo ideji rada na dječjoj lutkarskoj predstavi. Opisuje proces rada na tekstu u suradnji sa spisateljicom Ivanom Klaić te rad u izradi scenografije i lutaka sa scenografkinjom i lutkarskom tehnologinjom Sarom Baričević. Put do ostvarenja suradnje s kulturnom ustanovom, nastanak glazbe s glazbenikom Ervinom Lustigom i proces rada s glumcima i lutkarima Reom Kamenski-Bačun, Anom Cmrečnjak, Tonijem Leakovićem i Nikolom Radošem. Problemi s kojima se susrela na putu često su povezani latinskom izrekom: Trnovit je put do zvijezda, nazivajući probleme trnjem, a zvijezde gotovi produkt predstave. Zaključuje rad pozitivnim stavom, ustrajna u poboljšanju sebe kao osobe, svojih sposobnosti i nadom na bolju budućnost rada u kazalištima, rada sa suradnicima i svijeta oko nje. Theater play Močvarovci is a master thesis work made in collaboration with Kulturni centar Osijek and student of puppet directing course Ana Šantar from Academy of arts and culture in Osijek, under mentorship of Assistant Professor Art. Tamara Kučinović. In this written work the student explains her long road begining with the idea of the puppet play for children all the way to its showing. It explains how and what drew her to the idea of working on a children's puppet play, and how the text was made in collaboration with author Ivana Klaić and making of scenography and puppets with scenographer i puppet technician Sara Baričević. It details the collaboration with the Cultural institution, making of the soundtrack with musician Ervin Lustig and the process of working with actors and puppeteers Rea Kamenski-Bačun, Ana Cmrečnjak, Toni Leaković and Nikola Radoš. The troubles she faced in the process of making the play can be tied to the latin phrase Per aspera ad astra (Through hardships to the stars), the troubles are considered as hardships and the stars would be the final product (play). The work concludes with positive attitude, endurance to make herself a better person, further develop her abilities and with a look and hope for better future in working in the theater, with other coworkers and the world around her.

Predstava „Olovni vojnik“ JU Pozorišta mladih Sarajevo u Sarajevu diplomska je predstava studenta Marija Drmaća na Diplomskom studiju lutkarske režije pod mentorstvom doc. art. Tamare Kučinović. U predstavi igraju Mirza Dervišić, Ajla Cabrera, Elma Ahmetović, Belma Lizde-Kurt, Sanin Milavić, Alma Merunka, Anita Kajasa-Memović te Dino Sarija. U ovom pismenom radu student opisuje proces rada na predstavi, fokusirajući se na posao redatelja, koji je ujedno i autor adaptacije zajedno s dramaturginjom Džejnom Hodžić, nastale prema motivima bajke „Hrabri olovni vojnik“ H. C. Andersena. Opisuje način odabira suradnika i rad sa svakim od njih (dramaturgom, kreatorom lutaka i tehnologom, scenografom, glazbenikom i glumcima). Vraća nas u svoje najranije djetinjstvo i upoznaje sa svojim prvim kazališnim iskustvima, s odlaskom iz rodnog grada Mostara na studij glume pri Akademiji scenskih umjetnosti u Sarajevu, sa svojom stalnom borbom za održivost lutkarske scene koja se sustavno zapušta, kao i s odlukom da upiše studij Lutkarske režije u Osijeku. Zaključuje kako je za redateljski posao, kao i za svaki drugi posao umjetnika, potrebna vjera i borba s vječitim promjenama u zemlji. Jedino ustrajnom borbom, voljom, strpljenjem i učenjem dolazimo do svojega cilja. The theater play “Tin Soldier” of the Youth Theater of Sarajevo in Sarajevo is the graduation performance of student Mario Drmać at the graduate study of Puppetry directing under the mentorship of Assistant Professor Art. Tamara Kučinović. Actors in the play are Mirza Dervišić, Ajla Cabrera, Elma Ahmetović, Belma Lizde-Kurt, Sanin Milavić, Alma Merunka, Anita Kajasa- Memović and Dino Sarija. In this written work, the student describes the process of working on the play based on the work of the director who is also the author of the adaptation, together with playwright Džejna Hodžić, based on the fairy tale “The Brave Tin Soldier” by H. C. Andersen. He describes the method of selecting collaborators and working with each of them (playwright, puppet maker and technologist, scenographer, musician and actors). He takes us back to his earliest childhood and introduces us to his first encounters with the theater, his departure from his hometown of Mostar to the study of acting at the Academy of Performing Arts in Sarajevo, and his constant struggle for the sustainability of the neglected puppetry scene, as well as his decision to enrol in Puppetry directing studies in Osijek. He concludes that the director's job, as for all other artists' work, requires faith and struggle with eternal changes in the country. Only through persistent struggle, will, patience and learning can we reach our goal.

Cilj ovog završnog rada je biopolitička analiza i interpretacija crtanog filma „Linija“ (La Linea). Predstavljen je život i djelo njegovog autora Osvalda Cavandolija te animacija kroz Cavandolijevu stvaralačku poetiku. Zatim slijedi analiza 25 odabranih epizoda crtanog filma La Linea koje su tumačene iz perspektive današnjeg čovjeka i svakodnevnog života u društvu, a istovremeno kroz poveznicu sa značajnim događajima dvadesetog stoljeća, The aim of this final thesis is the biopolitical analysis and interpretation of the cartoon “The Line“ (La Linea). Here is presented the life and work of its author Osvaldo Cavandoli and animation through Cavandoli's creative poetics. Then follows the analysis of 25 selected episodes of the cartoon La Linea, which are interpreted from the perspective of person of today and everyday social life, and at the same time through a connection with significant events of the twentieth century.

Pojava animiranog filma u svijetu imala je značajan utjecaj na kulturu ljudi i njihov stil života. Jedno od istaknutih imena u svijetu animacije zasigurno je Walt Disney koji je imao snažan utjecaj na radove ostalih autora i izvan granica Sjedinjenih Američkih Država. Njegovo plodonosno stvaralaštvo obogatilo je animirani film zauvijek, a njegovi filmovi gledaju se i danas. Mnogi animatori počeli su slijediti njegov primjer, ali s godinama većina teži svojoj autentičnosti i istaknutom stilu. Hrvatska nije zaostajala za ostalim zemljama jer već u dvadesetim godinama prošlog stoljeća nastaju prva dva animirana filma u hrvatskoj produkciji. U pedesetim godinama 20. stoljeća dolazi do procvata animacije u Hrvatskoj. Pojavljuje se izraz Zagrebačka škola crtanog filma. Pedesete i šezdesete godine smatraju se najplodnijim razdobljem za animaciju jer u tom razdoblju Hrvatska postaje bogatija za mnoštvo animiranih filmova i izvanrednih autora, od crtača i scenografa do redatelja. Dušan Vukotić, Vatroslav Mimica, Nikola Kostelac, Boris Kolar, Vladimir Kristl, Zlatko Bourek, Zlatko Grgić, Nedjeljko Dragić te Pavao Štalter, samo su neki od nevjerojatnih animatora koji su ostavili neizbrisiv trag u hrvatskoj kinematografiji i čija se djela i danas spominju. Djelovanje Zagrebačke škole crtanog filma i radove spomenutih autora prepoznaje struka u Hrvatskoj, ali i u svijetu. Animirani film tako se, osim brojnim nagradama i priznanjima, kao na primjer nagradom „Oscar“ te nagradama na brojnim festivalima, može pohvaliti i ogromnim publicitetom. Međutim, u sedamdesetim godinama dolazi do stagnacije u kreativnosti autora. Animirani film u Hrvatskoj suočava se i s odlaskom autora u inozemstvo, dok se nekolicina odlučuje okušati u svijetu igranog filma. Dodatan udarac animaciji zadala je i financijska kriza u osamdesetim i devedesetim godinama, a u vrijeme ratnih zbivanja proizvodnja animiranih filmova se zaustavlja. Završetkom rata nastavlja se izrada animiranih filmova te se pojavljuju nove generacije autora. Cilj rada jest prikazati razvoj animiranog filma u Hrvatskoj, najznačajnije autore i njihove animirane filmove. The appearance of animated films in the world had a significant impact on people's culture and lifestyle. One of the prominent names in the world of animation is certainly Walt Disney, who had a strong influence on the works of other authors even outside the borders of the United States of America. His fruitful work has enriched the animated film forever, and his films are still watched today. Many animators began to follow his example, but over the years, most strive for their authenticity and distinctive style. Croatia did not lag behind the other countries because, already in the twenties of the last century, the first two animated films produced in Croatia were made. In the fifties of the 20th century, animation flourished in Croatia. The term "Zagreb Cartoon School" appears. The 1950s and 1960s are considered the most fruitful period for animation, because in that period Croatia became richer for many animated films and outstanding authors, from cartoonists, scenographers to directors. Dušan Vukotić, Vatroslav Mimica, Nikola Kostelac, Boris Kolar, Vladimir Kristl, Zlatko Bourek, Zlatko Grgić, Nedjeljko Dragić, Pavao Štalter are just some of the amazing animators who left an indelible mark on Croatian cinematography and whose works are still mentioned today. The work of the "Zagreb Cartoon School" and the works of the aforementioned authors are recognized by the profession in Croatia as well as in the world. In addition to numerous awards and recognitions, such as the "Oscar" award, awards at numerous festivals, the animated film can also boast of enormous publicity. However, in the seventies there was a stagnation in the author's creativity. Animated films in Croatia are also faced with the departure of authors abroad, while a few decide to try their hand at the world of feature films. The financial crisis in the 1980s and 1990s dealt an additional blow to animation, and during the war, the production of animated films stopped. With the end of the war, the production of animated films continues and new generations of authors appear. The aim of the paper is to show the development of animated film in Croatia, the most important authors and their animated films.

U radu će biti obrađena tema pokretne grafike te će biti opisano i istraženo trenutno stanje pokretne grafike na televiziji u svijetu i u Hrvatskoj. Na kraju će biti napravljena pokretna grafika za otvaranje nove studentske televizije Sveučilišta Sjever. Vizualni identitet je skup svih simbola, tipografije, znakova i boja neke tvrtke, primjerice televizije, a označava ono prema čemu se ta tvrtka prepoznaje te kako se prikazuje na tržištu. U to je uključena i animacija grafike, pošto je gotovo svaki logotip koji je napravljen i animiran, pogotovo kod televizije gdje animacije logotipa najbolje dolaze do izražaja, jer se te animacije koriste i kao break bumperi. Prilikom izrade animacija, animator će se služiti vizualnim identitetom Studentske televizije Sveučilišta Sjever te će one biti korištene na novootvorenoj studentskoj televiziji Sjever. Glavni cilj završnog rada je predstaviti pokretnu grafiku budućim studentima te svima koji su zainteresirani za pokretnu grafiku i animacije. The paper will deal with the topic of motion graphics and will describe and investigate the current state of motion graphics on television in the world and in Croatia. At the end, motion graphics will be made for the opening of the new student television of the University North. Visual identity is a set of all symbols, typography, signs and colors of a company, i.e. television, and it signifies what the company is recognized by and how it is presented on the market. Graphics animation is also included in this, since almost every logo produced is also animated, especially in television where logo animations are represented at their best because they are also used as break bumpers. When creating animations, the animator will use the visual identity of the Student Television of the University North, and the animations will be used on the newly-opened Student Television North. The main goal of the final thesis is to present motion graphics to future students and everyone who is interested in motion graphics and animations.

V praktičnem delu magistrske naloge se ukvarjam z izdelovanjem animiranega dokumentarnega filma o invazivnih rastlinskih vrstah v Sloveniji. Znotraj dokumentarnega filma se pojavijo elementi znanstvene ilustracije za razlago, kako in kje se ustalijo tujerodne invazivne vrste in kakšne so posledice za okolje in človeka. Predstavljen je tudi vidik strokovnjaka glede prihodnosti odnosa med človekom in naravo ter podobnimi temami. Hipoteza naše magistrske naloge trdi, da animacija lahko privabi večje število mlajših generacij kot katera druga oblika sporočanja in s tem pripomore k večji ozaveščenosti o problematiki tujerodnih invazivnih rastlin. V teoretičnem delu je raziskovan dokumentarni film, žanre dokumentarnega filma, kratki zgodovinski pregled animacije in animiranega dokumentarnega filma ter področje filma v primerjavi z dokumentarnim filmom. Raziskovano je stičišče med znanstveno ilustracijo in dokumentarno animacijo. Analizirani so različni animirani dokumentarni filmi ter izpostavljene skupne značilnosti. Prav tako je raziskovana problematika tujerodnih invazivnih rastlin in izvedeni so bili tudi intervjuji s tremi strokovnjaki na področju naravovarstva. In the master's degree project, an animated documentary about invasive plant species in Slovenia was developed. Elements from scientific illustration have been used to explain where and how invasive plant species settle, how they affect the environment and humans, and which plants actually are foreign species. Aspects of an expert, regarding the future of the relationship between man and nature and other topics delving with this theme are presented. Hypothesis of the master's degree project states that animation can bring attention to the issue of invasive foreign plants to younger generations, more likely than other forms of media in Slovenia, as it raises more awareness. In the theoretical part, research was done on a documentary film, its genre, a brief historical overview of animation and animated documentary film, the field of film compared to documentary film. Next, the juncture between scientific illustration and animated documentary was explored. In this regard, various animated documentaries and most prominent common features were analysed. We also researched the issue of invasive plants and conducted interviews with three experts working in the field of nature conservancy.

U radu je na temelju dostupne literature predstavljen povijesni razvoj animacije u SAD-u i Sovjetskom Savezu, te razlike između dvije velike industrije animacije koje su u ovim državama nastale i to što ih je uvjetovalo. Rad prati evoluciju animacije od njenih najranijih dana, prije nego li je film kao medij uopće postojao pa sve do pojave prvih velikih imena u animaciji koji su svojim inovativnim pristupom i kreativnom uporabom animacijskih tehnika popularizirali ovaj mediji i probili led za cijelu umjetničku formu. Poseban fokus pridan je Walt Disneyu, čovjeku koji je svojom radnom filozofijom i umjetničkom vizijom oblikovao svijet moderne američke animacije, ali i standard za ono što se od animacije očekuje na svjetskoj razini, te je stvorio likove koji su toliko prepoznatljivi da svaka živuća generacija može reći da je uz njih odrasla. Što objektivnije sam se pokušala kritički osvrnuti na različite konvencije i socio-političke prilike SAD-a i Sovjetskog Saveza te ono što je sovjetsku animaciju činilo svojevrsnom antitezom američkoj, obje toliko različite po političkoj svrsi i estetskom senzibilitetu, no također se spominju i njihove ponekad iznenađujuće dodirne točke. Obrađene su teme razvoja televizije i naglih društvenih promjena u 20. stoljeću, te kako je to oblikovalo stilove brojnih animatora i tematike kojima su se u svojim animiranim filmovima bavili. Naravno, ovako bogatu povijest nije moguće odviše detaljno obraditi u formatu završnog rada, pa sam fokus zadržala na najbitnijim ličnostima svijeta animacije i njihovim stilskim doprinosima jednoj ovako opsežnoj i kompleksnoj grani umjetnosti. In this thesis, with the help of available literature, the historical development of animation in the US and the SSSR is presented, along with the differences between animation industries that came to be in these two countries and everything that laid ground for them. The work traces the evolution of animation from its earliest days, before film as a medium even existed until the appearance of the first big names in animation who, with their innovative approach and creative use of animation techniques, popularized this medium and broke the ice for the entire art form. A special focus is given to Walt Disney, the man who, with his work philosophy and artistic vision, shaped the world of modern American animation, as well as the standard for what is expected of animation at the level of the whole globe, and created characters that are so recognizable that every living generation can say that they grew up with them. As objectively as possible, I tried to look critically at the various conventions and socio-political circumstances of the USA and the Soviet Union, and what made Soviet animation a kind of antithesis to American animation, both so different in terms of political purpose and aesthetic sensibility, but also mention their sometimes surprising common points. The topics of the development of television and sudden social changes in the 20th century were covered, and how this shaped the styles of numerous animators and the topics they dealt with in their animated films. Of course, it is not possible to cover such a rich history in too much detail in the format of the final paper, so I kept the focus on the most important creators in the world of animation and their stylistic contributions to such an extensive and complex branch of art.

Raziskava govori o piksel art animaciji, ki je bila uporabljena za videospot pesmi 2210 skupine Dravle Records. Namen raziskave je bilo preučiti splošno področje animacij, področje piksel art animacij in njihovega izvora, predstaviti našo animacijo, ter podrobno analizirati postopek njene izdelave in ugotoviti morebitne izboljšave. Animacija je bila narejena v dveh programih. Program Adobe Photoshop smo uporabljali za pripravo grafičnih elementov, medtem ko je bil za animiranje uporabljen program Adobe After Effects. Za pripravo grafičnih elementov smo si pomagali z grafično tablico, celotna animacija pa je bila animirana na prenosniku Dell. Izdelava je trajala približno pol leta, v tem času pa smo ročno narisali vse like, ozadja in dodatne grafike, ter jih animirali z uporabo številnih osnovnih in naprednejših tehnik animiranja. Cilji raziskave so bili predvsem bolje spoznati področje animacije, podrobno preučiti našo animacijo, in odkriti morebitne napake pri procesu, ter predlagati izboljšave. Hkrati je bil eden izmed večjih ciljev izboljšati osebno znanje animiranja4 in se bolje pripraviti na prihodnje projekte. Cilji so bili v veliki meri doseženi. Kot posledica natančno preučenega področja animacij in postopka njihovih izdelav, smo med ponovnim preučevanjem naše animacije opazili veliko nepravilnosti v njeni izdelavi ter izpuščenih postopkov. V raziskavi so omenjene predlagane izboljšave in metode, s katerimi bi do teh izboljšav prišli. The research is about a pixel art animation, that was used for a music video of a song called 2210 from the group Dravle Records. The purpose of the research was to examine the general field of animations, pixel art animations and their origin, present our animation, and thoroughly analyse the animation's making and its potential improvements. The animation was made in two programs. Adobe Photoshop was used to prepare the graphic elements, while Adobe After Effects was used for the animation part. We used a graphic tablet to prepare the graphic elements. The whole animation was made on a Dell laptop. The production took about half a year, during which time we manually drew all the characters, backgrounds and additional graphics. We animated them with the use of many basic and advanced techniques. The main objectives of the research were to get to know the field of animation better, study our animation in detail, discover possible mistakes in the process, and suggest improvements. At the same time, one of the primary goals was to improve personal animation skills and better prepare for future projects. The goals were largely achieved. As a result of a carefully studied field of animations and the production process, during the re-examination of our animation we noticed many irregularities in its production and omitted procedures. The research mentions proposed improvements and methods to achieve these improvements.

Rad na ulozi Petra u predstavi Neobičan prijatelj naslov je diplomskog rada Tonija Leakovića pod mentorstvom izv.prof.artD. Maje Lučić i sumentorstvomumj. sur. Petra Eldana na Akademiji za umjetnost i kulturu, na odsjeku za kazališnu umjetnost, smjer gluma i lutkarstvo. Predstava je nastala u produkciji Hrvatskog kazališta Pečuh, režiji Maje Lučić i premijerno je izvedena 7. travnja 2022. godine. U ovom pismenom radu student opisuje proces rada na predstavi, s naglaskom na stavak Rad na ulozi Petra u kojemu analizira svoj rad na ulozi i objašnjava svoje procese i razmišljanja. U ostalim stavcima obuhvaćeni su podatci o autoru i tekstu, te o vanjskim elementima predstave; scenografiji te stolnim lutkama. Na kraju rada nalazi se životopis studenta. “Work on the role of Petar in the play Neobičan prijatelj“ is the tittle of the graduation thesis of Toni Leaković under the mentorship of Associate Professor of Arts, Dr. Maja Lučić and the co-mentorship of artistic collaborator Petar Eldan at the Academy of arts and culture in the acting and puppetry section of the department of theatre arts. The play was produced by the Croatian theatre in Pecs, directed by Maja Lučić and premiered on the 7th of April 2022. In this written thesis the student describes the process of working on the play with an emphasis on the paragraph „Rad na ulozi Petra“ in which he analyses and explains his work on the role and the process of it's creation. In the remaining paragraphs he goes over information on the author and the text and on the external elements of the play; the stage props and table puppets. At the end of the thesis is the biography of the student.

Animacija je koristno orodje za izobraževanje, ki se lahko uporablja za izpolnjevanje afektivne ali kognitivne funkcije. Tema diplomskega dela je osredotočena predvsem na kognitivno funkcijo, saj je bil cilj testirati vpliv animacije na pomnjenje in razumevanje. Delo je razdeljeno na dva dela. Pri teoretičnem delu so preučeni osnovni pojmi animacije, pomnjenja in razumevanja ter raziskana uporaba animacije v izobraževanju in dejavniki, ki vplivajo na učno uspešnost. Narejen je tudi pregled že obstoječih raziskav na tem področju, kar je oblikovalo temelje za nadaljevanje v eksperimentalnem delu. V eksperimentalnem delu je bilo na podlagi strokovne literature o tematiki ozona sestavljeno besedilo, izrisan zgodboris, oblikovana in animirana grafika ter dodana naracija in ostali zvočni elementi. Po končani izdelavi animacije je bila narejena anketa, ki je testirala pomnjenje in razumevanje skupine, ki ji je bila tematika ozona predstavljena z animacijo in skupine, ki si je o problematiki prebrala besedilo. Rezultati testiranja so analizirani in predstavljeni z grafi. V razpravi je potrjena hipoteza, ki je trdila, da uporaba animacije izboljša pomnjenje in razumevanje. Podana je interpretacija rezultatov testiranja ter komentarji, kaj bi lahko spremenili pri poteku raziskave in kako bi raziskavo v prihodnosti lahko nadaljevali. Animation is a useful educational tool that can be used to fulfill an affective or cognitive function. The topic of the thesis focuses mainly on cognitive function, as the aim was to test the impact of animation on retention and understanding. The work is divided into two parts. In the theoretical part, the basic concepts of animation, retention and understanding are studied, as well as the use of animation in education and the factors that affect learning performance. A review of existing research in this field has also been made, which has laid the foundation for continuing in the experimental part. In the experimental part, on the basis of professional literature on the topic of ozone, a text was compiled, a storyboard was drawn, graphics were designed and animated and narration and other sound elements were added. After the animation was completed, a survey was conducted to test the retention and understanding of the group, which was introduced to the topic of ozone with animation, and the group, which read the text on the issue. Results are analyzed and presented in graphs. The discussion confirmed the hypothesis that the use of animation improves retention and understanding. At the end is interpretation of the results and comments on what it could be changed in the course of the research and how the research could be continued in the future.

Namen diplomskega dela je bil ugotoviti, ali uporaba animacije v kombinaciji z grafičnim oblikovanjem poveča sporočilnost in učinkovitost komunikacije vsebine. Tema diplomskega dela zajema področja animacije, grafičnega oblikovanja in grafike v gibanju. Obenem raziskuje vlogo sporočanja v javnem prostoru in vplivu, ki ga nosi plakat v urbanih središčih. Naloga je razdeljena na teoretični del, ki opisuje tri glavna področja naloge in eksperimentalni del, kjer predstavimo proces izdelave animiranih plakatov ter analizo njihove učinkovitosti v primerjavi s statičnimi. V teoretičnem delu smo predstavili področje oglaševanja s poudarkom na zunanjem oglaševanju. Nato smo opisali animacijo, njeno delitev in kakšen pomen nosi animacija v oglaševanju. V zadnjem poglavju teoretičnega dela smo predstavili še plakat, njegove značilnosti, definicijo in lastnosti animiranega plakata, vpliv plakata na družbo ter vpliv mestnega plakata na javno življenje v urbanih središčih. Eksperimentalni del najprej obsega predstavitev Cankarjevega doma, s katerim smo sodelovali tekom pisanja diplomskega dela. Nato smo opisali uporabljeno opremo in metode dela, vse od oblikovanja končnih animiranih izdelkov, do raziskave učinkovitosti animiranih plakatov s pomočjo toplotnih zemljevidov, ki smo jih izdelali z uporabo spletne programske opreme Expoze.io ter spletne ankete. Sledi analiza dobrih praks iz področja animiranih plakatov. V nadaljevanju opišemo izbrane statične plakate in postopek njihove predelave v animirane. Rezultat eksperimentalnega dela diplomskega dela je analiza učinkovitosti animiranih plakatov pri komuniciranju vsebine plakata. V poglavju o rezultatih, razpravi in zaključku je prikazana analiza toplotnih slik statičnih in animiranih plakatov. Sledi še predstavitev rezultatov ankete, s katero smo preverjali zapomnljivost informacij na statičnem in animiranem plakatu. The purpose of this diploma thesis was to explore, whether the usage of motion with graphic design contributes towards better effectiveness and communicativeness of the medium in question. Thesis covers the fields of animation, graphic design and graphics in motion. It also examines the role of communication in urban places and the impact of poster upon public city life. In the theoretical part we presented advertising, with special focus on outdoor advertising. Next, we explained the term of animation, described its division and the importance of animation in advertising. We concluded the theoretical part with a description of posters, features, the definition and characteristics of an animated poster, the role of poster in society and the impact of posters in public spaces in urban areas. The experimental part firstly covers the presentation of the Cankarjev dom, with whom we collaborated for the purpose of this thesis. Next we presented materials that we used throughout the designing process and the complete workflow starting with designing an animated graphic poster and then to the analysing of the final product using the Expoze online software tool as well as an online survey. We also analysed good examples of effective animated poster campaigns and concluded the experimental part with presentation of the static posters chosen for transformation into motion posters. The result of the experimental work in the diploma thesis is the analysis of effectiveness of animated posters in conveying a message. At the end of the thesis we presented heatmaps separatelly for static and animated posters and analyse of the survey's results, to demonstrate the difference in participant's recollection of static and animated poster.

Diplomsko delo z naslovom Posebni in vizualni učinki v avdio-video produkciji prikazuje potek izdelovanja videa, ki je kombinacija avtorskih posnetkov in računalniško generiranih elementov. Za končen enoten izdelek je bilo potrebno temeljito poznavanje teorije nastanka in izdelovanja videoposnetkov ter natančno praktično načrtovanje, izdelovanje in kombiniranje posameznih delov. Za dosego želene končne kreacije je ključna pravilna izbira računalniških programov. Diplomsko nalogo sestavljata dva dela. Teoretični del vsebuje zgodovino in razvoj filma ter začetke in napredek posebnih in vizualnih učinkov. Opisanih je nekaj primerov posebnih in vizualnih učinkov, uporabljenih v različnih scenah znanih slavnih filmov. Eksperimentalni del prikaže namene in cilje diplomske naloge ter poudari proces izdelovanja videa z vključevanjem posebnih in vizualnih učinkov. Eksperimentalni del sestavljajo predprodukcija, produkcija in postprodukcija. Predprodukcija vsebuje idejo, izdelavo zgodbe in zgodborisa ter vse ostale priprave na snemanje. V tem delu je je bilo potrebno izbrati tudi prostor za snemanje, glavni lik in kaj bosta 3D modela predstavljala. Produkcijo gradijo snemanje avtorskih posnetkov, izdelava 3D modelov in animiranje le-teh. Za ta proces sta bila v uporabi kamera in mikrofon telefona iPhone 11 ter računalniški program Blender za izdelavo 3D modelov. Postprodukcija vključuje potek izvedbe uresničitve zastavljene ideje z uporabo posebnih in vizualnih učinkov. Za ta del procesa so bili uporabljeni računalniški programi DaVinci Resolve za barvno korekcijo, After Effects za montažo in Audacity za obdelavo zvoka. Diplomska naloga se zaključi z analizo videa, ki vsebuje študijo filmske forme, zgodbe, osvetljave, zvoka ter uporabljenih posebnih in vizualnih učinkov. Podana je kritična ocena videa in uporabljenih pripomočkov za njegovo izdelavo. Uporabljeni pripomočki in računalniški programi zadovoljivo omogočajo izdelavo amaterskega videa. Izdelek je v celoti realiziran. Za konec je navedenih nekaj možnih izboljšav za delo v prihodnje. This diploma thesis titled Special and visual effects in audio-video production includes the process of making a video, which contains a combination of recorded footage and computer generated elements. It is necessary to have a profound understanding of the theoretical component in creating and recording videos and understanding how to plan, make and combine separate parts into one coherent finished creation. This thesis is made of two parts. First, the theoretical part, that describes the history and early beginnings of film alongside the evolution and growth of special and visual effects. Included are a few examples of special and visual effects, that were used in creating various famous movie scenes. The second, experimental part, demonstrates the purpose and goals of this thesis, with emphasis on the process of creating a video, which includes special and visual effects. It is comprised of preproduction, production and postproduction. Preproduction includes the idea, creation of the story and the storyboard with the addition of all other preparations for the recording process. The place of recording, main character and what the 3D models will represent were also selected at this time. In the production section the recordings, the 3D models and their animations were made. In this part of the process the iPhone 11 camera and microphone were used, alongside the computer program Blender in which the 3D models were created. Post-production includes the process of implementing the set idea using special and visual effects. In this segment the programs used were DaVinci Resolve for colour correction, After Effects for video editing and Audacity for sound editing. The diploma thesis concludes with a video analysis, which includes a discussion of the film form, story, lighting, sound and the used special and video effects. A critical assessment of the video and the used equipment for its creation was given. It was concluded that the used equipment and programs were sufficient for producing an amateur video. The product was fully realized. At the very end some options for better work in the future are suggested.

Cilj izrade ovog rada bio je pretvoriti 2D digitalni rad u 3D digitalnu scenu. Prilikom izrade svaki element iz 2D rada pretvoren je u element u 3D sceni, za što su korišteni različiti programi. Za modeliranje pojedinih elemenata korištena su znanja stečena na fakultetu, zajedno sa primjenom tekstura i materijala. Za izradu modela korišten je Blender, dok je scena napravljena u Unreal Engine 4. Pri izradi scene student proširuje znanja o korištenju potrebnog programa i tako razvija nove sposobnosti tijekom ostvarivanja cilja. Osim navedena dva programa, korišten je i Adobe Photoshop za potrebe izrade tekstura i materijala. Svaki korak izrade scene naveden je u ovome radu kao i rezultati, odnosno kadrovi, svake animacije. Jednom napravljena scena imala je brojne mogućnosti za animiranje pa su tako odabrane četiri animacije koje su, jednom izrađene, spojene u jednu. Uz animaciju izrađeni su također i pojedini kadrovi iz raznih kuteva kako bi se vidio gotovi rezultat scene. The goal of the paper was to turn a 2D digital artwork into a 3D digital scene. During production, every element from the 2D artwork was converted into an element in the 3D scene, for which different programs were used. Knowledge acquired at the university was used to model individual elements, together with the application of textures and materials. Blender was used to create the models, while the scene was created in Unreal Engine 4. When creating the scene, the student expands their knowledge of the use of the necessary program and thus develops new abilities while achieving the goal. Next to the two programs already mentioned, Adobe Photoshop was used for creating textures and materials. Every step of the production of the scene is described in the paper, as are the results or frames of every animation. Once created, the scene had numerous possibilities of animation, therefore four animations were chosen that, once made, combined into one. Alongside the animation, individual frames from various angles were made as well, so that the finished product of the digital scene is visible.

U ovom radu opisana je implementacija sustava za animaciju ljudskih likova po preprekama. Opisuje se izgradnja putanje po kojoj se kreće ljudski lik ovisno o pozicijama prepreka i njeno sastavljanje iz manjih podkrivulja, korištenje inverzne kinematike kako bi se postiglo poziranje udova te ulančavanje osnovnih pokreta ovisno kontekstu kako bi se proizvela sveukupna animacija. Na kraju se rezultati sustava za animaciju uspoređuju s video zapisom gibanja po preprekama te se ustanovljuje da sustav daje uvjerljive rezultate u usporedbi sa stvarnom osobom. This work describes the implementation of a system for animating the motion of humanoid characters over obstacles. It describes the generation of a trajectory along which the humanoid character moves depending on the position of obstacles and its assembly from smaller subcurves, the usage of inverse kinematics to achieve limb posing, and the chaining together of multiple basic movements to form a complete animation. Finally, the results of the animation system are compared to video footage of movement over obstacles and it is concluded that the system produces convincing results compared to real human motion.

Tema ovoga rada je jesu li Oddbodsi primjeren animirani film za djecu. U radu je spomenut film, njegovi rodovi, što je animirani film, njegove vrste te što je animacija. Također je spomenuta i povijest animiranog filma u hrvatskoj te što su zapravo Oddbodsi i što oni poručuju. Danas je film samo jedno od sredstava priopćavanja, a glavno obilježje svakog filma je slika pokreta. Animirani film je film u kojem se pojedinačne slike, crteži ili ilustracije fotografiraju kadar po kadar. Glavni element animiranog filma je animacija. Animacija je slika u pokretu, oživljavanje neživoga. Animaciju susrećemo svuda oko nas. Animirani filmovi su često namijenjeni mlađoj publici, odnosno djeci vrtićke i predškolske dobi. Djeca se, gledajući animirane filmove, susreću sa raznim situacijama kroz koje pojedini likovi prolaze te na koji način ih oni rješavaju. U mnogo situacija likovi koriste opasne predmete kako bi savladali druge likove ili se koriste tučom, šamaranjem i sl. Jedan od animiranih filmova, u kojem se služe raznim prethodno spomenutim predmetima i fizičkim načinima, je animirani film Oddbods. U ovom radu je provedeno istraživanje, u kojem se ispitala primjerenost, odnosno neprimjerenost animiranog filma Oddbodsi na djecu, upućenost roditelja i odgojitelja na opasne scene iz animiranih filmova, te utječu li animirani filmovi na ponašanje djece. Anketiranjem 20 roditelja i 20 odgojitelja vidjelo se kako su upoznati sa animiranim filmom Oddbods, smatraju da nije primjeren za djecu te da ne može biti koristan djeci. Svjesni su nasilnih scena iz animiranih filmova, te djeca u velikom broju oponašaju svoje najdraže likove. Are Oddbods a suitable animated movie for kids is the theme of this final work. Movie, its genres, its types, what is animated movie and what is animation is mentioned in this work. Also the history of animated movie in Croatia, what Oddbods really are and what are they saying is mentioned. Today, movie is one of the means of communication and the main feature of each movie is movement image. Animated movie is a movie in which individual images, drawings or illustrations are made photographing frame by frame. The main element of animated movie is animation. Animation is an motion image or a revival of the inanimate. We find animation all around us. Animated movies are often intended for younger audiences, ie kindergarten children and children of preschool age. Watching animated movies, children meet with various situations through which individual characters go and the way how are they solving them. In many situations characters use dangerous objects to overpower other characters or they fight, slap and etc. One of the animated movies in which are used various previously mentioned objects and physical methods is the animated movie The Oddbods. In this work, research was conducted. Research includes appropriateness or inappropriateness of animated movie Oddbods on children, parental and kindergarten educators awareness of dangerous scenes from animated movies and does animated movies make an affect on children's behavior. Result of surveying 20 parents and 20 kindergarten educators is that they are familiar with animated movie Oddbods and they consider that it is not suitable for children and it can't be useful for them. They are aware of the violent scenes from animated movies and most of the imitate they favorite characters.

U ovom radu opisan je osnovni način simulacije kretanja četveronožnog modela. Predstavljene su životinje koje pripadaju toj skupini i načini gibanja takvih životinja. Animacije su ostvarene u alatu Blender nakon čega su izvezene u alat Unreal Engine unutar kojeg su namješteni prijelazi između animacija i općenito gibanje objekata po sceni. Uzeta su dva primjera četveronožnih životinja: vuk i žirafa, te su nad njihovim modelima testirane animacije. This paper summarizes basic approach to simulation of a four-legged model movement. Animals that belong to that group, as well as their ways of movement, are presented. The animations were made in Blender and imported in Unreal Engine tool, within which the transitions between separate animations and general behavior of models were set. Two examples of four-legged animals were taken: the wolf and the giraffe, and animations were tested over their models.

Predstava Neobičan prijatelj Hrvatskog kazališta u Pečuhu u Mađarskoj diplomska je predstava studentice Maje Lučić na Diplomskom studiju lutkarske režije pod mentorstvom doc. art. Tamare Kučinović. Predstava je ujedno i diplomski ispit studentima Toniju Leakoviću i Andriji Krištofu na Diplomskom studiju lutkarske animacije. U predstavi još sudjeluju Matea Bublić, Selena Andrić i Nikola Radoš. U ovom pismenom radu studentica opisuje proces rada na predstavi bazirajući se na posao redatelja koji je ujedno i autor teksta. Opisuje način odabira suradnika i rad sa svakim od njih (tehnologom, scenografom, glazbenikom, glumcima). Cijeli proces definira kao spoznaju kako je svjesna da ništa ne zna i da je redateljsko zanimanje jedno nesigurno putovanje koje ponekad djeluje kao utapanje, ponekad kao ronjenje, a ponekad kao plivanje. Zaključuje kako je za redateljski posao, kao i za svaki drugi posao umjetnika, potrebna ljubav i ustrajnost, prihvaćanje nesigurnosti i činjenice da učenje nikad ne prestaje i da je potrebno pronaći vlastiti put. The play An Unusual Friend performed by the Croatian Theatre in Pécs, Hungary is a graduation play created by student Maja Lučić for her Graduate University Study of Puppetry Directing under the mentorship of Tamara Kučinović, D.A. The play is at the same time a graduation exam for students Toni Leaković and Andrija Krištof for their Graduate University Study of Puppet Animation. Taking part in the play are also Matea Bublić, Selena Andrić and Nikola Radoš. In this paper, the student depicts the process of working on a play whilst focusing on director’s work who is simultaneously the author of the text. It describes the means of selecting collaborators as well as the working process with each of them (technologist, set designer, musician, actors). The author defines the whole process as a realization of her being aware that she knows nothing and that directing is an unpredictable journey that sometimes may feel like drowning, sometimes like diving, and other times like swimming. She concludes that directing, as any other job an artist may undertake, requires love and perseverance, accepting insecurities and the fact that learning never stops, and that it is essential to find one's own way.

Prikazovanje nasilja v umetnosti ni nov pojav. Že v prazgodovini so naši predhodniki v jamskih slikah prikazovali boje z živalmi. Z razvojem civilizacije pa so se razvijali tudi boji, bitke, vojne ipd. in posledično tudi njihovo prikazovanje. Vzporedno z razvojem človeštva in z razvojem tehnologije nas prikazovanje omenjene tematike spremlja vse do današnjih časov. Zato se tudi vsebina animiranih filmov ni izognila tej tematiki. Pričujoče diplomsko delo predstavlja svet nasilja in spopadov v animaciji. Narejena je primerjava med animacijama vzhodnega in zahodnega sveta ter njunih pristopov do spopadov in uporabe nove tehnologije. Predstavljena je animacija vzhodnega sveta, kjer prevladuje japonska animacija – anime. Na Zahodu pa na trgu prevladuje svetovno znana korporacija Disney in njihovemu načinu podoben stil animacije drugih podjetij. Izpostavljene so razlike med tema dvema stiloma animacije in pa tudi podobnosti. Del naloge se osredotoča na prikazovanje spopadov. Diplomsko delo vsebuje poglobljen vpogled v razvoj in uporabo sodobnih metod, kot sta 3D računalniška animacija ter zajem gibanja (motion tracking), in razloži, kako je njuna prisotnost pomagala pri spreminjanju načinov ustvarjanja spopadov. Zastavljeno je tudi vprašanje, zakaj gledalci uživajo v gledanju takih animacij, kaj je tisto, kar privlači, ter ali so take animacije primerne za otroke. Predstavljene so tudi ugotovitve o pravi »formuli« za spopad, kako pripraviti spopad in kateri so najpomembnejši elementi, ki jih je potrebno upoštevati, da bi spopad pritegnil gledalca. Na koncu je opisana še lastna izkušnja ob izdelovanju praktičnega dela, ki je kratek animiran spopad z naslovom Bitka za gozd. Poglavje nas popelje skozi celoten proces ustvarjanja praktičnega dela: od predprodukcije, v kateri sta bili ustvarjeni zgodba, zgodboris in likovna zasnova, do produkcije, v procesu katere je bila ustvarjena animacija. Celoten postopek se je zaključil s postprodukcijo, v kateri so se dodali efekti in se je animacija sestavila v končno obliko. Showing violence in art is not a new phenomenon. Already in prehistoric times, our predecessors depicted animal fights in cave paintings. With the development of civilization, fights, battles, wars, etc. also developed. Consequently, also their display. In parallel with the development of humanity and the development of technology, this topic is still popular to this day. As a result, the content of the animated cartoons is also familiar with this theme. This thesis presents the world of violence and conflict in cartoon animation. A comparison is made between the animation of the Eastern and Western worlds and their approach to show battles and the use of new technology. The animation of the Eastern world is presented, where Japanese animation predominates - anime. The market of Western part of the world is dominated by the world-famous Disney Corporation and other companies with similar animation style. Therefore, here are highlighted differences between these two styles of animation as well as the similarities. Part of the thesis focuses on depicting these conflicts. An in-depth look at the development and implementation of modern methods such as the 3D digital device and Motion Tracking explains how their presence has helped change the ways in which conflicts are created. The question is also asked why viewers enjoy watching such animations, what attracts them and whether such animations are suitable for children. Findings are also presented on the right »formula« for conflict, how to prepare for creating a battle, and what are the most important elements that need to be kept for making a battle attractive and how to make sure it looks good. At the end the experience of making a practical work WoodFall, which is a short animated battle, is described. The chapter takes you through the whole process of creating practical work. This includes everything from the pre-production in which the story, storyboard and character designs were created, to the production where the actual animation is created. The whole process is completed with a postproduction in which effects are added and the animation is put together to the final form.

U sklopu ovog rada implementiran je sustav za izradu i prilagodbu predložaka kratkih animacija za oglašavanje. Sustav koriste korisnici podijeljeni u 3 uloge. Korisnici s ulogom dizajnera koriste Figmu kako bi dizajnirali video predloške koje izvoze koristeći razvijeni Figma priključak. Korisnici s ulogom oglašivača koriste mobilnu aplikaciju razvijenu koristeći Appleove knjižnice Core Animation i AVFoundation. Mobilna aplikacija služi za odabir i prilagodbu video predložaka. Također, mobilna aplikacija sadrži servis koji na temelju video predloška i odabranih materijala prilagodbe renderira videozapis. Korisnici s ulogom administratora koriste web aplikaciju razvijenu pomoću Nuxt.js-a kako bi upravljali postojećim video predlošcima. As part of this work, a system for creating and adapting short animation templates for advertising has been implemented. The system is used by users divided into 3 roles. Designer users use Figma to design video templates that they export using the developed Figma plugin. Advertiser users use a mobile application developed using Apple's Core Animation and AVFoundation libraries. The mobile application is used to select and customize video templates. Also, the mobile application includes a service that renders the video based on the video template and selected customization materials. Administrators use a web application developed with Nuxt.js to manage existing video templates.

Magistrsko delo z naslovom Izdelava vizualnih učinkov in 3D lika za umestitev v stilsko enotno video vsebino obravnava potek izdelave kratkega filma, ki vsebuje vizualne učinke. Izdelava končnega izdelka je v magistrskem delu predstavljena skozi tri faze: predprodukcijo, produkcijo in postprodukcijo. V predprodukciji je obravnavano določanje elementov, ki jih je moč predstaviti kot vizualne učinke. Predstavljen je razvoj lastne ideje oziroma zgodbe, ki povezuje prej določene elemente v celoto, pojasnjen pa je tudi izbor snemalne ter računalniške opreme za uresničitev lastne ideje. Produkcija in postprodukcija sta fazi, ki obravnavata uresničitev ideje. V njma je predstavljeno, kako je s pomočjo predhodno opravljene analize različnih moţnostih ustvarjanja vizualnih učinkov z izgradnjo, dodelavo in obdelavo načrtovanih elementov ter montaţo nastalega digitalnega materiala moţno doseči stilsko enoten končni izdelek. Magistrska naloga je razdeljena na dva dela. Prvi, teoretični del, predstavi zgodovino razvoja vizualnih učinkov v filmski industriji, pri čemer je vključenih nekaj primerov dobre prakse, opisanih pa je tudi nekaj trendov ustvarjanja na tem področju v zadnjem desetletju. V teoretičnem delu je prav tako opisanih nekaj najpogosteje uporabljenih tehnik, ki so potrebne za izdelavo vizualnih učinkov. Drugi, praktični del, najprej predstavi namen in hipoteze magistrskega dela. Skozi različne stopnje ustvarjanja vizualnih učinkov razkrije, kaj vse je potrebno opraviti za nastanek kratkega filma z vizualnimi učinki. Pri tem obravnava načrtovanje končnega izdelka, izdelavo in dodelavo vsakega izmed računalniško ustvarjenih elementov, ki so vključeni v film, pri čemer opiše tudi vse tehnike, ki so bile uporabljene pri izdelavi. Predstavi tudi potek zaključne dodelave in obdelave digitalnega materiala, kjer se dotakne digitalnega sestavljanja, montaţe prizorov in barvne korekcije. Magistrsko delo se zaključi z analizo tistih delov končnega izdelka, s pomočjo katerih je bil doseţen namen magistrskega dela, ob enem pa potrdi hipoteze, ki so bile postavljene pred začetkom ustvarjanja. This master thesis, titled The Making of Visual Effects and 3D Character for Placement in a Visually Unified Video Content, describes the process of making a short film that contains visual effects. The process of making the final version of a video is described in three stages: pre-production, production and post-production. Pre-production addresses the determination of the elements that can be described as visual effects as well as the development of the story that connects the described elements into a unified content. Pre-production further contains a description of recording and software equipment planned for the realisation of the project. Production and post-production are the stages showing the realisation of the idea. In this part, the creation of a stylistically unified video content is presented, which was achieved through an analysis of the process of creating visual effects. The processing and final editing of digital elements are also described in these stages. The master thesis is divided in two parts. The first, theoretical part, is a presentation of the historical development of visual effects in the film industry, where some examples of good practice are also included. Some trends prevailing in this field over the last decade are described at this point as well. Last but not least, the theoretical part describes some of the most common techniques used when creating visual effects. The second, experimental part, first presents the purpose and hypotheses of the master thesis. Through various stages of creating visual effects, it describes what needs to be accomplished in order to create a short film with visual effects. Next, it includes the process of creating all the computer-generated elements that are included in the final version of the film, and describes all the techniques that were used in their making. The processes of digital compositing, video editing and colour correction are also described at this point. At the end of the master thesis there is an analysis of different parts of the short film proving that the purpose of the master thesis has been achieved. The analysis also confirms the hypotheses of the thesis.

U ovom radu opisana je ideja i implementacija vremenskog dijagrama stanja sabirnica, kao nadogradnja postojećeg simulatora modelacijskog jezika COMDEL2 u sklopu programskog sustava SSPARCSS. Prikaz stanja sabirnica iznimno je bitan za praćenje komunikacije između simuliranih računalnih komponenti, ali i za ispravljanje grešaka u modelu. U radu su redom navedeni i objašnjeni svi programski objekti pomoću kojih je izvedena detekcija i pohranjivanje promjena stanja sabirnica te prikaz tih promjena unutar grafičkog sučelja, u korelaciji s procesom za uzorkovanje. Poseban je naglasak stavljen na sinkronizaciju simulacije i prikaza te na algoritam animacije u vremenskom dijagramu. This paper describes the idea and implementation of the bus time diagram display as part of an upgrade of the existing simulator for COMDEL2 modeling language within SSPARCSS software system. Bus state display is extremely important for monitoring communication between the simulated computer components, but also for model debugging. This paper explains all programming objects necessary for performing detection and memorization of bus state changes, as well as for displaying those changes within the graphical interface, in correlation with the sampling process. Special emphasis is placed on synchronizing the simulation and display processes and on the time diagram animation algorithm.

Color is a powerful tool that helps us set the mood, however, its importance is often left unnoticed while watching any form of media (movies, photography, commercials, books, etc.). Both art theory and human psychology show evidence that color and lighting have a large impact on the perception of the viewer which is why this thesis will focus on exploring what impact color and correct lighting of a scene have on people's minds and how it can be used in animation to convey the correct emotions and enhance the viewer’s experience. Throughout this thesis we will cover topics related to color theory, light and how animation studios work on their films in terms of color and lighting. Each chapter will help understand and learn about different uses of color, such as color psychology and symbolism of colors, color scripts, and lighting, and in the end, a case study to conclude everything mentioned before. To do so, this thesis will take a look at Pixar and Disney and their movies such as Coco (Pixar, 2017), Tangled (Walt Disney, 2010) and Finding Nemo (Pixar, 2003) as well as different color theory studies. We will also use the example of the practical part of the diploma work, animated music video Crystal Clear, to see how the colors were used and what the thought process behind it was. Barva je močno orodje, ki nam pomaga ustvariti razpoloženje, vendar njen pomen pogosto ostane neopažen med gledanjem katere koli oblike medijev (filmi, fotografije, reklame, knjige in tako naprej). Tako teorija umetnosti kot človeška psihologija dokazujeta, da imata barva in svetloba velik vpliv na dojemanje gledalca, zato se bo ta diplomska naloga osredotočila na raziskovanje, kakšen vpliv imata barva in pravilno uporabljena svetloba v prizoru na človeka in kako je to mogoče uporabiti v animaciji za prenos željenih čustev in izboljšanje gledalčeve izkušnje. Skozi to diplomsko delo bomo obravnavali teme, ki so povezane z barvno teorijo in svetlobo ter vprašanjem, kako animacijski studii uporabljajo barvo in svetlobo v svojih filmih. Vsako poglavje bo pomagalo razumeti in spoznati različne uporabe barv, kot so barvna psihologija in simbolika barv, color scripts (barvni scenarij) in osvetlitev, in na koncu študija primera, ki bo zaokrožila vse našteto. V ta namen bodo v tem diplomskem delu obravnavani Pixar in Disney ter njuni filmi kot so Coco (Pixar, 2017), Tangled (Walt Disney, 2010) in Finding Nemo (Pixar, 2003), pa tudi študije različnih teorij barv. Uporabljen bo tudi primer praktičnega dela diplome, animirani glasbeni video Crystal Clear, kjer bo vidno kako so uporabljene barve in kakšen je bil miselni proces za tem.

Darba “Dabisko likumu simulācija un tās ietekme uz emocijām” mērķis ir izpētīt dažādu ģeometrijas un fizikas likumu simulācijas spēlēs un to ietekmi uz cilvēka emocijām. Pētījumā ir iesaistītas netriviālās animācijas, kas izmantotas spēlēs un informatīvajos videoklipos, un pētīt lietotāju emocionālo spektru pēc to noskatīšanas. Eksperimentā pētītās simulācijas tika novērtētas pēc reālistiskuma un tika sniegti vairāki viedokļi par to pozitīviem un negatīviem aspektiem. Pētījuma rezultāti var tikt pielietojami simulāciju modelēšanas uzlabojumos dažādās digitālās vidēs., Paper “Natural laws’ simulation and its impact on emotions” aims to explore the simulations of various laws of geometry and physics in games and their impact on human emotions. The study involves non-trivial animations used in games and informative videos, as well as studying the emotional spectrum of users after watching said animations. The simulations studied were assessed in the experiment on a realism basis and several opinions were provided on their positive and negative aspects. The results of the study can be applied to simulations’ modelling improvements in different digital environments.

Kultūrinių realijų pavadinimai sulaukia nemenko mokslininkų dėmesio, nes laikomi vienu sudėtingiausių vertėjams kylančių iššūkių. Nepaisant to, daugumoje darbų tiriamas kultūrinių realijų pavadinimų perteikimas kitakalbei auditorijai rašytiniuose tekstuose, o negausiuose audiovizualiniam diskursui skirtuose darbuose menkai atsižvelgiama į papildomus polisemiotinio teksto ribojimus. Vienas sudėtingiausių audiovizualinio vertimo būdų – dubliavimas dėl jam taikomos sinchronizacijos. Straipsnyje pateikiamas kultūrinių realijų pavadinimų vertimo modelis, skirtas būtent dubliuotiems kūriniams analizuoti. Taip pat aptariamas kultūrinių realijų koncepto kompleksiškumas, analizuojamos ir sisteminamos skirtingos kultūrinių realijų pavadinimų kategorizacijos, kultūrinių realijų pavadinimų vertimo taksonomijos. Darbe nagrinėjama dubliavimo kaip audiovizualinio vertimo būdo specifika, sinchronijos tipologija ir jų keliami iššūkiai kultūrinių realijų pavadinimų vertimui. Culture-bound references receive considerable attention from translation scholars, as they are regarded as one of the most difficult challenges that translators face. However, most studies examine the transmission of culture-bound references to the target audience in literary texts, while research that would examine the translation of culture-bound references in audiovisual discourse involving additional constraints is somewhat limited. Dubbing is considered to be one of the most challenging modes of audiovisual translation, mainly due to the synchronization applied to it. This paper presents a model for the analysis of the translation of culture-bound references dedicated specifically to dubbing. The authors of the paper discuss the complexity of the concept of culture-bound references, their categorization and the taxonomies of their translation procedures. The article discusses the specifics of dubbing, the typology of synchronies applied in dubbing and restrictions posed by it on the translation of culture-bound references.

In the rapidly changing culture and sudden technological developments of the 21st century, American animated film had to accommodate to its vast worldwide audience. The classic, wholesome, often fairy-tale narrative largely utilized and popularized by Disney had to be changed to fit into the transforming values of the modern society. With American animated film industry of the 20th century being largely dominated by Disney, 21st century saw the emergence of some other major animated film studios. This thesis most notably deals with three studios – Disney, Pixar and DreamWorks, analyzing the distinct style that each studio employed in order to accommodate itself to the demands of the audience of the new millennium. The thesis also examines the impact which these studios left with their output. S obzirom na brzo mijenjajuću kulturu i nagle tehnološke napretke 21. stoljeća, američki animirani film se morao prilagoditi svoj širokoj publici iz cijelog svijeta. Klasičan, ugodan, često bajkovit narativ, kojeg je većinom koristio i popularizirao Disney, morao se promijeniti kako bi se uklopio u transformirajuće vrijednosti modernog društva. Premda je američkom industrijom animiranog filma uglavnom dominirao Disney, u 21. stoljeću su se pojavila novi veliki studiji animiranog filma. Ovaj rad u osnovi govori o tri studija – Disneyu, Pixaru i DreamWorksu, te analizira svojstven stil koji je svaki od ovih studija iskoristio kako bi se prilagodio zahtjevima publike novog tisućljeća. Ovaj rad također sagledava utjecaj koji su ovi studiji ostavili sa svojim radom.

Turizam je u svom razvoju prošao kroz nekoliko transformacija. Danas je jasno kako se više ne razvija na „3S“ ponudi koja se bazira na suncu, moru i pijesku. Turisti su znatno zahtjevniji, traže sadržajniji boravak, čitavo iskustvo i niz faktora koji će njihov boravak u nekom mjestu učinit prilagođenim upravo njima. U ovom procesu, od izuzetne je važnosti turistička animacija kao dodana vrijednost na osnovne parametre turističke ponude. Postoji nekoliko grana turističke animacije, a u ovom radu fokus je na sportskoj animaciji i njezinoj ulozi u razvoju turističke ponude. Animatori su nositelji ovih aktivnosti i u neposrednom su kontaktu sa turistima te je nužno da posjeduju određena znanja, vještine i osobine koje će im omogućiti da na najbolji način obavljaju svoj posao, te će se detaljnije objasniti koje su to osobine i karakteristike. Tourism has undergone several transformations in its development. Today, it is clear that it is no longer developing on the "3S" offer, which is based on the sun, sea and sand. Tourists are much more demanding, looking for a more meaningful stay, the whole experience and a number of factors that will make their stay in a place tailored to them. In this process, tourist animation is extremely important as an added value to the basic parameters of the tourism offer. There are several branches of tourist animation, and in this paper the focus is on sports animation and its role in the development of the tourist offer. Anitators are the bearers of these activities and are in direct contact with tourists and it is necessary that they possess certain knowledge, skills and characteristics that will enable them to do their job in the best way, and will explain in more detail what these characteristics.

Autonomous vehicles will play an important role in the transportation revolution. The transportation revolution will have a huge impact on the overall economy and the whole society. The crucial advantage of using autonomous vehicles is a reduction in the number of traffic accidents due to shorter reaction times in critical situations compared to human drivers. Although a lot of research has been done in the field of autonomous vehicles, people are still not sufficiently familiar with this technology. They are mainly concerned with the consequences of system or equipment failure. The level of vehicle autonomy is directly linked to its technological complexity. Autonomous vehicles simultaneously use various sensors to identify the environment and other vehicles around them. Fear of hacker attacks is also present as well as a concern related to interaction with other vehicles, data privacy, location tracking, and the performance of autonomous vehicles in different weather conditions. As long as autonomous vehicles are still improving, the design and role of the user interface are essential for ensuring that the user understands the information provided by autonomous vehicles during various driving scenarios. Information display is necessary for increasing users’ comfort level because it helps to prepare and to inform the user about what can happen in a certain situation before it occurs. Without a user interface to present information about the current status of the autonomous vehicle and its actions, users will not understand and familiarize themselves with the capabilities of the system. This thesis gives an overview of the technical characteristics of autonomous vehicles, covers a brief history of the autonomous driving field, the advantages and disadvantages of autonomous vehicles. It also highlights the importance of human—machine interaction in such vehicles and particularly the role of user interface (UI) design. The thesis describes the design process of concrete UI concept for an autonomous in-car dashboard. The UI was implemented in the application following previously covered design principles. This application, as the main functionality, emphasizes visualization of critical driving situations and provides information on current and future autonomous vehicle (AV) behaviour. The goal of the designed user interface is to ensure that the user has a certain level of comfort and trust during the drive, to provide alerts and warnings on time but also to keep the user informed about autonomous vehicle’s conditions as well as its surroundings. The first part of user interface (UI) design includes planning each component using a wireframe. The wireframe has a purpose to provide a visual understanding of user interface parts and the flow of the application before further development. The wireframe demonstrates which interface elements will be shown on the dashboard. In our case, the main components are left and right virtual screens. Flutter application is further developed following the wireframe and tested on the web using various web browsers. The left screen has the purpose of visualizing surroundings using various graphic elements and animations during the drive. These include short animations, warnings, indicators, various graphics, text, and animated widgets that the Flutter framework supports. The right virtual screen shows a video recording of the driving, captured in the driving simulator from the driving perspective. Situations that are visualized in this application are acquired from the Nervtech driving simulator video. Nowadays, when a lot of new technologies are available, it is not easy to decide what is the most suitable framework for a particular problem. Choosing the most appropriate framework can significantly speed up the development process. Since animations and graphics are essential parts for visualizing driving situations of selected driving sessions, the main reason to select the Flutter framework for the practical part of the thesis was its capability and efficiency for handling animations and web rendering. Flutter uses customizable widgets for animating objects which makes the development process faster. The most important widgets used for the implementation are also described in the thesis. Secondly, Flutter framework was chosen also due to its ability to implement complex animations with minimum lines of code and its possibility to run the developed application on different devices, both Android and iOS devices with one codebase. The developed user interface has an important goal of increasing users’ understanding of autonomous vehicles’ future actions by providing visual information on future maneuvers such as braking, accelerating, lane changing, overtaking, etc. This results in increased comfort level, reduction of stress and finally also increased trust in the technology. Our future work includes integration of the developed interface with a driving simulator to enable real-time performance of the UI based on a simulated drive. Avtonomna vozila bodo imela pomembno vlogo v prometni revoluciji, ta pa bo imela velik vpliv na splošno gospodarstvo in celotno družbo. Ključna prednost uporabe avtonomnih vozil je zmanjšanje števila prometnih nesreč zaradi krajših reakcijskih časov v kritičnih situacijah v primerjavi s človeškimi vozniki. Čeprav je bilo na področju avtonomnih vozil opravljenih veliko raziskav, ljudje še vedno niso dovolj seznanjeni s to tehnologijo. Zanimajo jih predvsem posledice okvare sistema ali opreme. Stopnja avtonomije vozila je neposredno povezana z njeno tehnološko kompleksnostjo. Avtonomna vozila hkrati uporabljajo različne senzorje za prepoznavanje okolja in drugih vozil okoli njih. Prisoten je tudi strah pred hekerskimi napadi, pa tudi skrb v zvezi z interakcijo z drugimi vozili, zasebnostjo podatkov, sledenjem lokaciji in delovanjem avtonomnih vozil v različnih vremenskih razmerah. Dokler se avtonomna vozila še izboljšujejo, sta zasnova in vloga uporabniškega vmesnika bistvena za zagotovitev, da uporabnik razume informacije, ki jih avtonomna vozila posredujejo med različnimi scenariji vožnje. Prikaz informacij je potreben za povečanje ravni udobja uporabnikov, saj pomaga pri pripravi in obveščanju uporabnika o tem, kaj se lahko zgodi v določeni situaciji, preden se to zgodi. Brez uporabniškega vmesnika za predstavitev informacij o trenutnem stanju avtonomnega vozila in njegovih dejanjih uporabniki ne bodo razumeli in se seznanili z zmogljivostmi sistema. Diplomsko delo ponuja pregled tehničnih značilnosti avtonomnih vozil, zajema kratko zgodovino področja avtonomne vožnje ter opisuje prednosti in slabosti avtonomnih vozil. Poudarja tudi pomen interakcije človek-stroj v takšnih vozilih in zlasti vlogo oblikovanja uporabniškega vmesnika (UI). Diplomsko delo opisuje postopek oblikovanja konkretnega koncepta uporabniškega vmesnika za armaturno ploščo v avtonomnem avtomobilu. Uporabniški vmesnik je bil v aplikacijo implementiran po prej obravnavanih načelih oblikovanja. Ta aplikacija kot glavno funkcionalnost poudarja vizualizacijo kritičnih situacij med vožnjo in ponuja informacije o trenutnem in prihodnjem obnašanju avtonomnih vozil (AV). Cilj oblikovanega uporabniškega vmesnika je zagotoviti, da ima uporabnik med vožnjo določeno raven udobja in zaupanja. Prav tako je pomembno uporabniku pravočasno prikazati različne opombe in opozorila, hkrati pa obveščati uporabnika o stanju avtonomnega vozila in okolici. Prvi del zasnove uporabniškega vmesnika (UI) vključuje načrtovanje vsake komponente z uporabo žičnega okvirja. Žični okvir ima namen vizualno razumeti dele uporabniškega vmesnika in tok aplikacije pred nadaljnjim razvojem. Žični okvir tako prikazuje, kateri elementi vmesnika bodo dejansko prikazani na armaturni plošči. V našem primeru sta glavni komponenti levi in desni virtualna zaslon. Aplikacija Flutter je bila torej razvita na osnovi predlaganih žičnih okvirih in preizkušena na spletu z različnimi spletnimi brskalniki. Levi zaslon ima namen vizualizacije okolice z uporabo različnih grafičnih elementov in animacij med vožnjo. Ti vključujejo kratke animacije, opozorila, indikatorje, različne grafike, besedilo in animirane pripomočke, ki jih podpira okvir Flutter. Desni virtualni zaslon prikazuje video posnetek vožnje, posnet v simulatorju vožnje z voznikove perspektive. Situacije, ki so prikazane v tej aplikaciji, so pridobljene iz videoposnetka simulatorja vožnje Nervtech. Danes, ko je na voljo veliko novih tehnologij, se ni lahko odločiti, katero orodje je za določen problem najprimernejše. Izbira najprimernejšega orodja lahko bistveno pospeši razvojni proces. Ker so animacije in grafike bistveni deli vizualizacije situacij različnih vozniških posnetkov, je bil glavni razlog za izbiro okvira Flutter za praktični del diplomske naloge njegova sposobnost in učinkovitost pri ravnanju z animacijami in spletnim izrisovanjem. Flutter za prikaz animacij uporablja posebne prilagodljive gradnike, kar pospeši razvojni proces. V diplomski nalogi so zato opisani vsi najpomembnejši gradniki, uporabljeni za izvedbo. Drugič, ogrodje Flutter je bilo izbrano tudi zaradi njegove zmožnosti izvajanja kompleksnih animacij z minimalnim številom vrstic kode in možnosti poganjanja razvite aplikacije na različnih napravah, tako napravah Android kot iOS z isto kodno bazo. Razviti uporabniški vmesnik ima pomemben cilj povečati razumevanje uporabnikov o prihodnjih akcijah avtonomnih vozil z zagotavljanjem vizualnih informacij o prihajajočih manevrih, kot so zaviranje, pospeševanje, spreminjanje voznega pasu, prehitevanje itd. To ima za posledico povečano raven udobja, zmanjšanje stresa in končno tudi povečano zaupanje ljudi v to tehnologijo. Naše prihodnje delo vključuje integracijo razvitega vmesnika s simulatorjem vožnje za omogočanje delovanja uporabniškega vmesnika v realnem času na podlagi simulirane vožnje.

Lepotni standardi so v družbi prisotni že od začetka človeštva, konstantno se spreminjajo in razvijajo. Različne kulture po svetu imajo raznovrstne ideale, ki se nam morda zdijo neprivlačni, nanje pa močno vplivajo in se odražajo v njihovi umetnosti. Tudi v naši družbi opazujemo in spremljamo podoben trend. Vpliv idealov na naše mentalno stanje je pri tem zelo pomemben, obenem pa tudi védenje, kako dojemamo ne samo sebe, ampak tudi druge. Pričujoče diplomsko delo se sicer ukvarja z omenjenimi socialnimi težavami, ampak v kontekstu animiranih filmov in risank. Vse bolj je očitno, da smo pod močnim vplivom korporacij, ki s svojimi lovkami pohlepa vse bolj segajo po nas, saj je njihov edini namen, da nas ohranjajo nesrečne, zato da bi kupovali njihove izdelke. Prav to dejstvo je poglaviten razlog za nastanek tega dela. V njem se sprva posvetimo razlagi telesne dismorfije in anoreksije nervoze, nato še moji osebni izkušnji v spopadanju z njima in nazadnje izboljšavi zdravstvenega stanja. V poglavju »Lepotni standardi v animaciji« si na primerih nekaterih animiranih junakov iz zahodne in vzhodne animacije oblikujemo mnenje o tem, ali lepotni standardi resnično vplivajo na to, kaj gledamo. Ob tem predstavimo tudi pomembnost likovne terapije in njeno uporabo pri izboljšavi mentalnega stanja in samopodobe. Del diplomskega dela je kratek animirani film Dismorfija, ki izhaja iz teoretičnega dela diplome. Ugotovili smo, da se lepotnim idealom ne moremo izogniti in se z njimi srečujemo na vsakem koraku. Zato je zgolj naša odgovornost in poslanstvo, da se naučimo imeti radi in ostanemo prizemljeni, z realnimi pričakovanji. Beauty standards have been around since the beginning of mankind and they are constantly changing and evolving. Different cultures around the world have a diverse veriety of ideals, that we might see as unattractive. This of course affects the cultures art. We can also see and observe that in our society. By doing that we can also track the affect it has on our mental health and not only how we see ourselves but also others. The thesis is based on the previously mentioned social problems but in the context of animated films and cartoons. It’s beginning to be more apparent that we’re »under attack« from the corporations, whos tentacles of greed are reaching further and further. Their only goal is to keep us unhappy so we buy their products. That’s why I decided to write about it. The thesis first explains the meaning of body dysmorphia and anorexia nervosa, then it touches on my own struggles with them and how I got better. We need to expose this social problem and seek help. In the next chapter entitled “Beauty Standards in Animation” we look at the West and East animation as we start to form our own opinion if beauty standards do affect what we watch. By that we also present art therapy and how it can help us with our self esteem and mental well being. The thesis also follows the steps of making a short animated film Dysmorphia which is also the basis and motivation for the theoretical thesi. In conclusion we find out that we cannot escape the beauty standards and that we have to learn how to love ourselves and keep our feet firmly planted on the ground.

V magistrskem delu je predstavljen proces izdelave in optimizacije 3D navideznega tolmača slovenskega znakovnega jezika za namen polavtomatiziranega tolmačenja za omejeno besedišče z uporabo aplikacijskih vmesnikov. Okolje Blender omogoča izdelavo naprednih fotorealističnih 3D modelov, okoščevanje in animacijo le-teh, ter upravljanje vnaprej pripravljenih akcij s pomočjo Python aplikacijskega vmesnika. Zaradi želje, da bi se upodabljanje čim bolj približalo realnemu času, je bilo v procesu izdelave izvedenih več optimizacij, tako na poligonski mreži, okostju za učinkovitejše upravljanje modela, prilagoditvi programskega vtičnika, kakor tudi optimizacija nastavitev pogonov za upodabljanje in analiza hitrosti upodabljanja na različni strojni opremi. Za povečanje dostopnosti, še posebej v primerih izrednih razmer, kot je izbruh pandemije COVID-19, je lahko uporaba 3D navideznega tolmača uporabna alternativa. Zaradi relativno visokih zahtev gluhe skupnosti, da morajo navidezni tolmači delovati čim bolj naravno, brez zatikanja, nepotrebnega vračanja v nevtralni položaj, ter uporabljati izrazito obrazno mimiko, izdelava primerne rešitve zahteva poglobljeno analizo vseh ključnih področij magistrske naloge. Končne upodobitve v praktičnem delu so se izkazale za uspešne, saj so vsi uporabniki v preliminarni študiji brez težav razumeli vse odkretane pojme. Končna zasnova bi lahko bila uporabljena na več različnih področjih, v sodelovanju z gluho skupnostjo pa tudi kot polavtomatski prevajalnik slovenskega govornega v znakovni jezik. In the master thesis the process of creation and optimization of a 3D virtual interpreter of Slovenian Sign Language is presented, intended for semi-automated interpretation for a limited vocabulary with usage of Application Programming Interfaces. The Blender environment enables the creation, rigging and animation of advanced photorealistic 3D models, as well as the management of pre-prepared actions using Python API. Due to the goal to bring final renders as close as possible to real time rendering, several optimizations were performed, from optimization of the polygon mesh, the created rig for more efficient movement, created API adjustments, as well as an optimisation of the render engine settings and analysis of render speed on different hardware equipment. The use of a 3D virtual interpreter can be a useful alternative to increase accessibility, especially in emergencies, such as the outbreak of the COVID-19 pandemic. Due to the relatively high demands of the deaf community which requires virtual interpreters to move as naturally as possible, with smooth gestures and without unnecessary returns to a neutral position, and to show eloquent facial expressions, the creation of an appropriate solution requires in-depth analysis of all key areas of the master thesis. The final renders in the practical part proved to be successful, as all users in the preliminary study easily understood all animated signed sentences. The final creation could be used in several different domains, while it could also be utilised, in collaboration with the deaf community, as a semi-automatic translator of spoken Slovenian to sign language.

Diplomsko delo opisuje potek 3D modeliranja ter uporabo pridobljenih informacij in znanj na poljubnem modelu, ki ga bo mogoče animirati. Za uspešno izdelavo je najprej potrebno pridobiti izkušnje na področju modeliranja z opravljanjem preprostejših nalog in postopno nadgradnjo na zahtevnejše naloge in izzive. Problem animiranja našega modela je rešljiv z opremo, ki je prosto dostopna tudi neprofesionalnim uporabnikom. Končni rezultat projekta bo animiran 3D model, ki bo imel primerne teksture in se bo nanj lahko preneslo gibanje, ki ga zajamemo z MoCap tehnologijo. Poskusili se bomo izogniti pogostim težavam, kot je npr. prekrivanje telesa modela in njegovih oblačil (ang. clipping). Opis procesa modeliranja, teksturiranja in animiranja modela lahko služi kot smernica drugim začetnikom na tem področju. This paper describes the process of researching various approaches to 3D modeling and applying the acquired knowledge on a 3D model of choice, which we will be able to animate. To achieve success we will first need to sift through the necessary materials and get the appropriate skills by doing basic, simple tasks and slowly building up from there. The problem of animating this model using motion capture is already much easier due to the fact that we will be using easily accessible applications and/or technology that even non-professional users can work with. The end result of this diploma thesis will be an animatable 3D model complete with appropriate textures, whose animation will be generated by retargetting motion from MoCap data. We will take into account various workarounds to avoid problems such as clipping, accurate behavior/physics of clothes and hair etc. The process of creating, texturing and animating said model from scratch with very limited prior experience should serve as a guideline to other beginner 3D artists that wish to take on similar tasks and challenges.