CAVAST the Crowd Animation, Visualization, and Simulation Testbed
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Automatic 2.5D Cartoon Modelling
Automatic 2.5D Cartoon Modelling Fengqi An School of Computer Science and Engineering University of New South Wales A dissertation submitted for the degree of Master of Science 2012 PLEASE TYPE THE UNIVERSITY OF NEW SOUTH WALES T hesis!Dissertation Sheet Surname or Family name. AN First namEY. Fengqi Orner namels: Zane Abbreviatlo(1 for degree as given in the University calendar: MSc School: Computer Science & Engineering Faculty: Engineering Title; Automatic 2.50 Cartoon Modelling Abstract 350 words maximum: (PLEASE TYPE) Declarat ion relating to disposition of project thesis/dissertation I hereby grant to the University of New South Wales or its agents the right to archive and to make available my thesis or dissertation in whole orin part in the University libraries in all forms of media, now or here after known, subject to the provisions of the Copyright Act 1968. I retain all property rights, such as patent rights. I also retain the right to use in future works (such as articles or books) all or part of thts thesis or dissertation. I also authorise University Microfilms to use the 350 word abstract of my thesis in Dissertation· Abstracts International (this is applicable to-doctoral theses only) .. ... .............. ~..... ............... 24 I 09 I 2012 Signature · · ·· ·· ·· ···· · ··· ·· ~ ··· · ·· ··· ···· Date The University recognises that there may be exceptional circumstances requiring restrictions on copying or conditions on use. Requests for restriction for a period of up to 2 years must be made in writi'ng. Requests for -
The Uses of Animation 1
The Uses of Animation 1 1 The Uses of Animation ANIMATION Animation is the process of making the illusion of motion and change by means of the rapid display of a sequence of static images that minimally differ from each other. The illusion—as in motion pictures in general—is thought to rely on the phi phenomenon. Animators are artists who specialize in the creation of animation. Animation can be recorded with either analogue media, a flip book, motion picture film, video tape,digital media, including formats with animated GIF, Flash animation and digital video. To display animation, a digital camera, computer, or projector are used along with new technologies that are produced. Animation creation methods include the traditional animation creation method and those involving stop motion animation of two and three-dimensional objects, paper cutouts, puppets and clay figures. Images are displayed in a rapid succession, usually 24, 25, 30, or 60 frames per second. THE MOST COMMON USES OF ANIMATION Cartoons The most common use of animation, and perhaps the origin of it, is cartoons. Cartoons appear all the time on television and the cinema and can be used for entertainment, advertising, 2 Aspects of Animation: Steps to Learn Animated Cartoons presentations and many more applications that are only limited by the imagination of the designer. The most important factor about making cartoons on a computer is reusability and flexibility. The system that will actually do the animation needs to be such that all the actions that are going to be performed can be repeated easily, without much fuss from the side of the animator. -
VFX Prime 2018-19 Course Code: OV-3103 Course Category : Career VFX INDUSTRY
Product Note: VFX Prime 2018-19 Course Code: OV-3103 Course Category : Career VFX INDUSTRY Indian VFX Industry grew from INR 2,320 Crore in 2016 to reach INR 3,130 Crore in 2017.The Industry is expected to grow nearly double to INR 6,350 Crore by 2020. Where reality meets and blends with the imaginary, it is there that VFX begins. The demand for VFX has been rising relentlessly with the production of movies and television shows set in fantasy worlds with imaginary creatures like dragons, magical realms, extra-terrestrial planets and galaxies, and more. VFX can transform the ordinary into something extraordinary. Have you ever been fascinated by films like Transformers, Dead pool, Captain America, Spiderman, etc.? Then you must know that a number of Visual Effects are used in these films. Now the VFX industry is on the verge of changing with the introduction of new tools, new concepts, and ideas. Source:* FICCI-EY Media & Entertainment Report 2018 INDUSTRY TRENDS VFX For Television Episodic Series SONY Television's Show PORUS showcases state-of-the-art Visual Effects to be seen on Television. Based on the tale of King Porus, who fought against Alexander, The Great to stop him from invading India, the show is said to have been made on a budget of Rs500 crore. VFX-based Content for Digital Platforms like Amazon & Netflix Popular web series like House of Cards, Game of Thrones, Suits, etc. on streaming platforms such as Netflix, Amazon Prime, Hot star and many more are unlike any conventional television series. They are edgy and fresh, with high production values, State-of-the-art Visual Effects, which are only matched with films, and are now a rage all over the world. -
Skeletal Animations Part II
3D Video Games 2021-05-11 09: Computer Animations for games 3/3 Skeletal animations Part II Course Plan lec. 1: Introduction lec. 2: Mathematics for 3D Games lec. 3: Scene Graph lec. 4: Game 3D Physics + lec. 5: Game Particle Systems ◗ lec. 6: Game 3D Models lec. 7: Game Textures ◗ lec. 8: Game 3D Animations lec. 9: Game 3D Audio lec. 10: Networking for 3D Games lec. 11: Artificial Intelligence for 3D Games lec. 12: Game 3D Rendering Techniques 120 Mixing keyframes and entire animations (notes) Poses in a skeletal animations can be easily blended (blending local per-bone transforms) This interpolation is very expressive: very different frames can be blended with good results much more than with blend-shapes! Keyframes can be very far apart E.g.: decent walk-cycles with just 4 key-frames! (2 per step) E.g.: decent attack animations with just 2 key-frames! (but better results are always obtained inserting new key-frames) Entire animations can be mixed. Two ways: Transitions between two animations (or more) Compositing (layering) two animations (or more) 121 Marco Tarini Università degli studi di Milano 1 3D Video Games 2021-05-11 09: Computer Animations for games 3/3 Skeletal animations Part II Pose = keyframe Compress animations animation “walk” t = 0 keyframe A stored pose t = 1 0.75 A ---+ 0.25 B t = 2 0.50 A ---+ 0.50 B Inbetween pose, t = 3 0.25 A ---+ 0.75 B computed on the fly t = 4 keyframe B t = 5 0.50 B ---+ 0.50 C t = 6 keyframe C 122 Interpolation of poses (at runtime): transition between animations Eg: -
Principles of Computer Graphics Animation
Principles of computer graphics animation Christian Van Brussel – SPS ICTEAM/ELEN – February 2012 Overview 3D animation and 3D deformation tools Generating animations Combining animations Common animation problems Overview 3D animation and 3D deformation tools Generating animations Combining animations Common animation problems 3D Rendering Render one frame: illumination model Set of frames: motion model The Human Eye VS. the Motion 3D Meshes Defined by: Vertices Triangles Textures and texture coordinates Normals Shaders and other material properties Animating a 3D Mesh Three main categories of animation: Frame by frame Key frames + interpolation Procedural Two main tools for the deformation: Morphing Skeletal animation Morphing Pose of a mesh: 3 P= p0 ,... , pn, pi ∈ℝ Morph targets (a.k.a. blend shapes): MT j=P j−Pneutral Applying the morph targets: m P final=Pneutral∑ w j×MT j j=0 Skeletal Animation Tree of bones: B0 ,... , Bn Transform of a given bone (neutral): T Gi =T 0×...×T i−1 Transform of a given bone (posed): T Gi=T 0×P0×...×T i−1×Pi−1 Representation of the rotations Euler angles + understandable by humans - not composable - Gimbal lock Axis angle + understandable by humans - not composable Matrix + composable - not understandable by humans - quite costly in memory and computation Representation of the rotations Quaternion + composable + numerically stable + low memory + low computation costs - really not understandable by humans Skeletal Animation: Skinning Define bone influences -
Automatic Expressive Deformations for Stylizing Motion
Automatic Expressive Deformations for Stylizing Motion Paul Noble* and Wen Tang† School of Computing, University of Teesside Figure 1: A run cycle. Above: before. Below: after expressive deformations have been applied. Abstract 3D computer animation often struggles to compete with the flexibility and expressiveness commonly found in traditional animation, particularly when rendered non-photorealistically. We present an animation tool that takes skeleton-driven 3D computer animations and generates expressive deformations to the character geometry. The technique is based upon the cartooning and animation concepts of ‘lines of action’ and ‘lines of motion’ and automatically infuses computer animations with some of the expressiveness displayed by traditional animation. Motion and pose-based expressive deformations are generated from the motion data and the character geometry is warped along each limb’s individual line of motion. The effect of this subtle, yet significant, warping is twofold: geometric inter-frame consistency is increased which helps create visually smoother animated sequences, and the warped geometry provides a novel solution to the problem of implied motion in non-photorealistic still images. CR Categories: I.3.7 [Computer Graphics]: Animation; I.3.5 [Computer Graphics]: Curve, surface, solid, and object representations Figure 2: Examples of expressive limb deformations in Keywords: expressive deformations, cartoon animation, non- cartoons. © Hart (top) [Hart 1997]. (Used with permission.) photorealistic rendering, stylizing motion and joints can be broken [Williams 2001] if it makes for a more 1 Introduction appealing image or dynamic motion. As a result, the limbs of hand-crafted animated characters (both pencil and computer- Traditional animators have always had a rather flexible view of generated) are often distorted to accentuate a motion or imply an bone structure. -
Human Skeleton System Animation Stephanie Cheng
UNIVERSITY OF ZAGREB FACULTY OF ELECTRICAL ENGINEERING AND COMPUTING MASTER THESIS no. 1538 Human Skeleton System Animation Stephanie Cheng Zagreb, June 2017 SVEUČILIŠTE U ZAGREBU FAKULTET ELEKTROTEHNIKE I RAČUNARSTVA DIPLOMSKI RAD br. 1538 Animacija skeletnog modela čovjeka Stephanie Cheng Zagreb, lipanj 2017 Table of Contents 1. Introduction .......................................................................................................... 1 2. Skeletal animation theory .................................................................................... 2 3. Used tools ............................................................................................................. 5 3.1. OpenGL ..................................................................................................................... 5 3.1.1 Libraries ................................................................................................................... 8 3.2. Assimp ...................................................................................................................... 8 3.2.1. Assimp Data Structure ..................................................................................... 8 3.3. Blender ................................................................................................................... 10 3.4. Library Linmath ...................................................................................................... 11 4. Implementation ................................................................................................. -
Scale Based Model for the Psychology of Crowds Into Virtual Environments»
« Scale Based Model for the psychology of crowds into virtual environments» Fabien Tschirhart ATI – University of Paris VIII [email protected] Crowds into virtual environments Different purposes Crowds into virtual environments Different purposes Video Games ↑ Hitman Absolution ↓ Supreme Commander ↑ Theme Hospital ↓ Total War : Shogun 2 Crowds into virtual environments Different purposes Cinema ↑ King Kong ↓ The Curious Case of Benjamin Button ↑ Troie ↓ The Mummy : Tomb of the Dragon Emperor Crowds into virtual environments Different purposes Simulation ↑ SpirOps Crowd ↓ MassMotion ↑ Geppetto ↓ Myriad II Existing crowd models The macroscopic approach Macroscopic models assimilates people as a unique mass behaving like a fluid or a gas : This kind of model was introduced by Henderson in 1971 who identified people as a fluid flowing out in a building. In 1992, Helbing suggested that people could be acting like gas particles, making a comparison between an individual state and the different states gases have according to the Maxwell-Boltzmann distribution. ← Myriad II Existing crowd models The macroscopic approach This approach was then ehanced with more complex models : Predtechenshkii and Milinskii suggested a model to estimate the local density of a flow of people and it’s propagation between blocs : The conflagration model from Takahashi, Tanaka and Kose, cuts infrastructures into different kinds of generic areas, then it computes the maximal time required for the evacuation of each area according to the room obstruction : Existing crowd models The macroscopic approach Strenght and weakness : => Can be used for sequences with thousands individuals for a low cost. => Easy to set up. => Very fast to compute. => Almost exclusively designed for the simulation of massive evacuations of buildings. -
Final Report, Blend'it Project
Final report, Blend'it project Benjamin Boisson, Guillaume Combette, Dimitri Lajou, Victor Lutfalla, Octave Mariotti,∗ Raphaël Monat, Etienne Moutot, Johanna Seif, Pijus Simonaitis 2015-2016 Abstract The goal of this project, Blend'it, was to design two open-source plug-ins for Blender, which is a computer graphics software. These two plug-ins aim to help artists creating complex environments. The rst of these plug-in should be able to realistically animate crowds, and the other one to design static environments by making dierent elements such as rivers and mountains automatically interact to produce realistic scenes. Although this kind of software is already developed in the Computer Graphics industry, there are often unavailable to the public and not free. ∗was abroad during the second semester, he did not contributed to the second part of the project Contents 1 Introduction 2 1.1 Objectives . .2 1.2 State of the art . .3 1.3 Team . .3 1.4 Choice of Blender. .4 1.5 Structure of the project . .4 2 Blender exploration team 5 2.1 Blender discovery . .5 2.2 Unitary tests . .5 2.3 Code coverage . .5 2.4 Code organization . .5 3 Crowd plug-in 6 3.1 Human animation . .6 3.2 Path generation . .6 3.2.1 Implementation . .6 3.3 Path interpolation in Blender . .8 3.3.1 Creating a path . .8 3.4 GUI . .8 3.4.1 The Map Panel . .9 3.4.2 The Crowd Panel . .9 3.4.3 The Simulation Panel . .9 4 Environment plug-in 11 4.1 Overview . -
AAIP ] Term 01 Graphics and Visual Design
Arena Animation International Program [ AAIP ] Term 01 Graphics and Visual Design Term AAIP 02 2D Animation VFX Term 3D Animation 03 Term Advanced VFX 04 Term 1 – Details Program Structure Modules Concepts of Graphics and Illustrations Anatomy Study Tools Typography Design Adobe Illustrator CC Digital Illustrations AAIP Adobe Photoshop CC Digital Painting VFX Adobe Audition CC Digital Filmmaking Concepts Adobe Premiere CC Sound Editing Video Editing Project Design Portfolio Learning Objectives Understand concepts of Design, Composition & Visualization AAIP Explain fundamentals of Graphics and various aspects of drawings Explain fundamentals of typography Create artworks/Illustrations Use image Editing tools and retouch images Understand the fundamentals of Digital Filmmaking Understand sound & video editing Term 2 - Details Program Structure Modules 2D Animation Concepts Tools AAIP Digital Pre-Production Storyboarding and Adobe Premiere Pro CC Animatics 2D Animation using Adobe Animate CC Animate CC Project 2D Animation Portfolio Learning Objectives Describe importance of anatomy in animation Construct poses in different action AAIP Explain the evolution and importance of animation Describe the techniques of animation Create storyboarding in Animatics Create storyboards for animation Create vector graphics and 2D digital animation AAIP VFX – Term 3 - Details Modules 3D Basics - Modeling to Animation 3D Modeling Texturing Tools AAIPLighting and Rendering Maya Unlimited Rigging Golaem Crowd VFX Animation Arnold Renderer for Maya Dynamics -
Sallukazi Crowd Simulations | Lighting | Technical Direction
SalluKazi crowd simulations | lighting | technical direction With 10 years of production experience, working in various roles as Technical Director in Crowd simulations, Lighting and Pipeline, I’m a self motivated team player, adapting to pipeline, workflows and the team with ease. Cinesite Lead Crowd TD CREDITS may 2018 - aug 2019 The Addams Family Black Panther Method Studios Senior Crowd TD jul 2016 - may 2018 Thor: Ragnarok Spider-Man: Homecoming Framestore Senior Crowd TD King Arthur apr 2015 - jun 2016 Now You See Me 2 Crowd TD may 2014 - aug 2014 Dracula Untold Walking With Dinosaurs 3D Golaem S.A VFX/Animation Support Specialist aug 2014 - mar 2015 Happy Feet Two 3D Sucker Punch Animal Logic Crowd TD Sammy’s Adventures: The - Secret Passage [3D] feb 2012 - feb 2013 Delhi 6 Crowd TD mar 2010 - jul 2010 Tinker Bell Tales Of The Riverbank Rising Sun Pictures Crowd TD nov 2011 - jan 2012 SKILLS maya Dr. D Studios Crowd TD nov 2010 - oct 2011 golaem Nwave Studios Lighter massive nov 2008 - sept 2009 arnold Prana Studios Crowd / Lighting TD vray sep 2007 - nov 2008 renderman Prime Focus Pipeline TD katana dec 2006 - aug 2007 nuke Skyworks Studios Technical Director oct 2005 - nov 2006 python houdini Vanarts - Diploma with Honors in Visual Effects Art Institute of Vancouver - Certificate in Visual Effects and Digital Animation M S Ramaiah Institute of Technology - Bachelors of Electrical and Electronics Engineering m: +1 236 999 6300 | e: [email protected] | w: www.sallukazi.com CINESITE The Addams Family - Lead Technical Director (Crowds) Crowd character setup involving rig conversion and motion retargeting. -
Simulation - Sig-01Version-Francaise
Usine-3325-Spe-Simulation - Sig-01version-Francaise www.usinenouvelle.com www.industrie-techno.com SUPPLÉMENT AU NUMÉRO 3325 DU 4 AVRIL 2013. NE PEUT ÊTRE VENDU SÉPARÉMENT SIMULATION LA FRENCH TOUCH Usine-3325-Spe-Simulation - Sig-01version-Francaise Un tremplin pour L’INNOVATION industrielle Localisé dans le Très grand centre de calcul du CEA (TGCC), à Bruyères-le-Châtel (Essonne), le CCRT offre à ses partenaires la puissance de calcul nécessaire à leurs simulations, et les compétences des équipes du CEA dans toutes les disciplines scientifiques liées à la simulation numérique. © Snecma ©CEA/Cadam © Ineris Airain, Simulation de la calculateur du CCRT combustion ultra (200 Teraflops). low émissions du moteur Snecma “Silvercrest” pour avions d'affaires - Snecma. Simulation de la qualité de l’air à très haute résolution sur © Turbomeca l’Europe - Ineris. Nouvelles approches physiques pour simuler Simulation numérique de intensivement des la combustion dans un foyer systèmes de turbomoteur biochimiques. d’hélicoptère - Turbomeca. LES PARTENAIRES ACTUELS DU CCRT : Areva, EADS/Astrium, EDF, Ineris, L’Oréal, Snecma, Techspace Aero, Thalès, Turbomeca, Valéo sont partenaires du CCRT ainsi © CEA/DSV que les quatre pôles de recherche du CEA (sciences de la matière, énergie nucléaire, applications militaires et sciences du vivant). Contact : [email protected] Pour en savoir plus : www-ccrt.cea.fr Usine-3325-Spe-Simulation - Sig-02Version-Francaise éditorial sommaire France, terre cachée TECHNOLOGIE delasimulation • Pas d’innovation sans calcul.......................................... ÿ P. 4 ENTRETIEN • Gérard Roucairol, le président de l’Académie e savoir-faire est certain. Reste à le faire des technologies et de l’association Teratec ......... ÿ P.