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Animation De Personnages 3D Par Le Sketching 2D Martin Guay

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Animation De Personnages 3D Par Le Sketching 2D Martin Guay Animation de personnages 3D par le sketching 2D Martin Guay To cite this version: Martin Guay. Animation de personnages 3D par le sketching 2D. Mathématiques générales [math.GM]. Université Grenoble Alpes, 2015. Français. NNT : 2015GREAM016. tel-01178839 HAL Id: tel-01178839 https://tel.archives-ouvertes.fr/tel-01178839 Submitted on 22 Dec 2015 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. THÈSE Pour obtenir le grade de DOCTEUR DE L’UNIVERSITÉ DE GRENOBLE Spécialité : Mathématiques-Informatique Arrêté ministériel : 7 août 2006 Présentée par Martin Guay Thèse dirigée par Marie-Paule Cani & Rémi Ronfard préparée au sein du Laboratoire Jean Kuntzmann (LJK) et de l’École doctorale EDMSTII Sketching free-form poses and movements for expressive character animation Thèse soutenue publiquement le 2 juillet 2015, devant le jury composé de : Michiel van de Panne Professor, University of British Columbia, Rapporteur Robert W. Sumner Adjunct Professor, ETH Zurich & Director, Disney Research Zurich, Rapporteur Marie-Paule Cani Professeure, Grenoble INP, Directrice de thèse Rémi Ronfard Chargé de recherche, INRIA, Co-Directeur de thèse Frank Multon Professeur, Université Rennes 2, Examinateur Paul Kry Professor, McGill University, Examinateur Joëlle Thollot Prefesseure, Grenoble INP, Présidente 2 Abstract Free-form animation allows for exaggerated and artistic styles of motions such as stretch- ing character limbs and animating imaginary creatures such as dragons. Creating these animations requires tools flexible enough to shape characters into arbitrary poses, and control motion at any instant in time. The current approach to free-form animation is keyframing: a manual task in which animators deform characters at individual in- stants in time by clicking-and-dragging individual body parts one at a time. While this approach is flexible, it is challenging to create quality animations that follow high-level artistic principles—as keyframing tools only provide localized control both spatially and temporally. When drawing poses and motions, artists rely on different sketch-based abstractions that help fulfill high-level aesthetic and artistic principles. For instance, animators will draw lines of action to create more readable and expressive poses. To coordinate move- ments, animators will sketch motion abstractions such as semi-circles and loops to coor- dinate bouncing and rolling motions. Unfortunately, these drawing tools are not part of the free-form animation tool set today. The fact that we cannot use the same artistic tools for drawing when animating 3D characters has an important consequence: 3D animation tools are not involved in the creative process. Instead, animators create by first drawing on paper, and only later are 3D animation tools used to fulfill the pose or animation. The reason we do not have these artistic tools (the line of action, and motion abstractions) in the current animation tool set is because we lack a formal understanding relating the character’s shape—possibly over time—to the drawn abstraction’s shape. Hence the main contribution of this thesis is a formal understanding of pose and motion abstractions (line of action and motion abstractions) together with a set of al- gorithms that allow using these tools in a free-form setting. As a result, the techniques described in this thesis allow exaggerated poses and movements that may include squash and stretch, and can be used with various character morphologies. These pose and an- imation drafting tools can be extended. For instance, an animator can sketch and com- pose different layers of motion on top of one another, add twist around strokes, or turn- ing the strokes into elastic ribbons. Fig. 1-5 shows a summary of the content and contri- butions of this thesis, also summarized as follows: 1. The line of action facilitating expressive posing by directly sketching the overall flow of the character’s pose (Chapter3). 2. The space-time curve allowing to draft full coordinated movements with a single stroke—applicable to arbitrary characters (Chapter5). 3. A fast and robust skeletal line matching algorithm that supports squash-and-stretch (Chapter5). 4. Elastic lines of action with dynamically constrained bones for driving the motion of a multi-limbed character with a single moving 2D line (Chapter4). 4 Résumé L’animation expressive permet des styles de mouvements exagerés et artistiques comme l’étirement du corps ou encore l’animation de créatures imaginaires comme par example un dragon. Créer ce genre d’animation nécessite des outils suffisamment flexibles pour déformer un personnage en des poses quelconques, ou encore contrôler l’animation à tout moment dans le temps. L’approche acutelle pour l’animation expressive est le keyframing: une approche manuelle avec laquelle les animateurs déforment leur per- sonnage à un moment spécifique dans le temps en cliquant et glissant la souris sur une partie spécifique du corps. Malgré le fait que cette approche soit flexible, il est difficile de créer des animations de qualité qui suivent les principes artistiques, puisque le keyfram- ing permet seulement un contrôle local spatiallement et temporellement. Lorsqu’ils dessinent des poses ou des mouvements, les artistes s’appuient sur dif- férentes abstractions qui facillitent la réalisation de certain principes artistiques. Par example, certains animateurs dessinent des lignes d’action afin de créer une pose plus lisible et expressive. Afin de coordonner un mouvement, les animateurs vont souvent dessiner des abstractions de mouvement comme des demi-cercles pour des sauts, ou des boucles pour des pirouettes—leur permettant de pratiquer la coordination du mou- vement. Malheureusement, ces outils artistiques ne font pas parti de l’ensemble d’outils d’animation 3D. Le fait que l’on ne puisse pas employer les même outils artistiques pour animer des personnages 3D a une importante conséquence: les outils d’animation 3D ne sont pas employés dans le processus créatif. Aujourd’hui, les animateurs créent sur du papier et utilisent le keyframing seulement à la fin pour réaliser leur animation. La raison pour laquelle nous n’avons pas ces outils artistiques (ligne d’action, abstractions de mouve- ment) en animation 3D, est parce que nous n’avons toujours pas une compréhension formelle de ceux-ci qui nous permet d’exprimer la forme du personnage—potentiellement au cours du temps—en fonction de la forme de ces croquis artistiques. Ainsi la contribution principale de cette thèse est une compréhension formelle et mathématique des abstractions de forme et de mouvement courrament employées par des artistes, ainsi qu’un ensemble d’algorithme qui permettent l’utilisation de ces outils artistiques pour créer des animations expressives. C’est-à-dire que les outils développés dans cette thèse permettent d’étirer des parties du corps ainsi que d’animer des per- sonnages de différentes morphologies. J’introduis aussi plusieurs extentions à ces out- ils. Par example, j’explore l’idée de sculpter du mouvement en permettant à l’artiste de dessigner plusieurs couches de mouvement une par dessus l’autre, de vriller en 3D les croquis, ou encore d’animer un croquis ligne comme un élastique. La Figure. 1-5 mon- tre un résumé du contenu et des contributions principales de cette thèse, résumées ci- dessous: 1. La ligne d’action qui facilite la création de poses expressives en dessinant directe- ment le flow complet du personnage (Chapitre3). 2. La courbe spatio-temporelle qui permet de spécifier un mouvement coordoné com- plet avec un seul geste (en dessinant une seule courbe), applicable à n’importe quel personnage 3D (Chapitre5). 3. Un algorithme de matching rapide et robuste qui permet du “squash and stretch” (Chapitre5). 4. La ligne d’action élastique avec des attachements dynamiques à la ligne permettant d’animer un personnages à plusieurs jambes (bras) avec une seule ligne 2D animée (Chapitre4). 7 Acknowledgments I want to express my gratitude to my advisors Marie-Paule Cani and Remi Ronfard for giving me the opportunity to do this thesis, and for allowing me so much freedom along the way while supporting me in times of hardship. Michael Gleicher came to Grenoble during his sabbatical, and we immediately started collaborating on character animation. I learned a great deal from his experience on the topic and am grateful for the conversations we had. I want to thank to all the people in the lab who helped with the submissions’ material and deadlines. Antoine Begault, Estelle Charleroy and Laura Paiardini helped and sup- ported me on different projects. Antoine was able to dive into my code and implement some of the much-needed user interface, while setting-up a user-study for the space- time sketching paper. Sketching and interaction requires a lot of software design and many iterations with users. Estelle and Laura, two artists in our team, always gave me feedback about my methods—telling me whether they were useful or not, which had a positive impact on this thesis. I would ask them to gesture over animations and then I could see if my ideas for sketching motion would be natural or not to most people. Laura helped me with Maya on the line of action paper, and Estelle used my software to produce a large portion of the animation results in the sketching motion video. I thank all the committee members Michiel van de Panne, Bob Sumner, Paul Kry, Frank Multon and Joölle Thollot for their suggestions and improvements. It is no secret, my passion for graphics and animation is for entertainment.
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