Keyframe Or Motion Capture? Reflections on Education of Character Animation
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Motion Enriching Using Humanoide Captured Motions
MASTER THESIS: MOTION ENRICHING USING HUMANOIDE CAPTURED MOTIONS STUDENT: SINAN MUTLU ADVISOR : A NTONIO SUSÌN SÀNCHEZ SEPTEMBER, 8TH 2010 COURSE: MASTER IN COMPUTING LSI DEPERTMANT POLYTECNIC UNIVERSITY OF CATALUNYA 1 Abstract Animated humanoid characters are a delight to watch. Nowadays they are extensively used in simulators. In military applications animated characters are used for training soldiers, in medical they are used for studying to detect the problems in the joints of a patient, moreover they can be used for instructing people for an event(such as weather forecasts or giving a lecture in virtual environment). In addition to these environments computer games and 3D animation movies are taking the benefit of animated characters to be more realistic. For all of these mediums motion capture data has a great impact because of its speed and robustness and the ability to capture various motions. Motion capture method can be reused to blend various motion styles. Furthermore we can generate more motions from a single motion data by processing each joint data individually if a motion is cyclic. If the motion is cyclic it is highly probable that each joint is defined by combinations of different signals. On the other hand, irrespective of method selected, creating animation by hand is a time consuming and costly process for people who are working in the art side. For these reasons we can use the databases which are open to everyone such as Computer Graphics Laboratory of Carnegie Mellon University. Creating a new motion from scratch by hand by using some spatial tools (such as 3DS Max, Maya, Natural Motion Endorphin or Blender) or by reusing motion captured data has some difficulties. -
Overview of History of Irish Animation
Overview of History of Irish Animation i) The history of animation here and the pattern of its development, ii) ii) The contemporary scene, iii) iii) Funding and support, iv) iv) The technological advancement, which can allow filmmakers do more and do it more excitingly, v) v) The educational background. i) History and Development. The history of animation in Ireland is comparable to the history of live action film in Ireland in that in the early years it offered the promise of much to come and stopped really before it got started; indeed in the final analysis animation has even far less to show for itself than its early live action cousin. One outstanding exception is the pioneering work of James Horgan. Horgan became involved in cinema at the end of the 19th century when he acquired a Lumiere camera and established his own moving picture exhibition company for the south show to his audiences - mostly religious events. However soon his eager mind began to turn to the Munster region. As well as projecting regular international shows, Horgan shot local footage to look into cinematography in a scientific way and in fact he made some money by patenting a cog for film traction in the camera, which was widely used. He also experimented with Polaroid film. He then began to dabble in stop frame work - animation - around the year 1909 and considering that the first animation was made in 1906, this is quite significant. His most famous and most popular piece was his dancing Youghal Clock Tower - where the town's best known landmark has to hop into the frame and "manipulate" itself frame by frame into its rightful place in the main street in Youghal. -
The University of Chicago Looking at Cartoons
THE UNIVERSITY OF CHICAGO LOOKING AT CARTOONS: THE ART, LABOR, AND TECHNOLOGY OF AMERICAN CEL ANIMATION A DISSERTATION SUBMITTED TO THE FACULTY OF THE DIVISION OF THE HUMANITIES IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF CINEMA AND MEDIA STUDIES BY HANNAH MAITLAND FRANK CHICAGO, ILLINOIS AUGUST 2016 FOR MY FAMILY IN MEMORY OF MY FATHER Apparently he had examined them patiently picture by picture and imagined that they would be screened in the same way, failing at that time to grasp the principle of the cinematograph. —Flann O’Brien CONTENTS LIST OF FIGURES...............................................................................................................................v ABSTRACT.......................................................................................................................................vii ACKNOWLEDGMENTS....................................................................................................................viii INTRODUCTION LOOKING AT LABOR......................................................................................1 CHAPTER 1 ANIMATION AND MONTAGE; or, Photographic Records of Documents...................................................22 CHAPTER 2 A VIEW OF THE WORLD Toward a Photographic Theory of Cel Animation ...................................72 CHAPTER 3 PARS PRO TOTO Character Animation and the Work of the Anonymous Artist................121 CHAPTER 4 THE MULTIPLICATION OF TRACES Xerographic Reproduction and One Hundred and One Dalmatians.......174 -
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. -
Lego ® Minifigurák
LEGO ® MINIFIGURÁK Írta: Simon Hugo, Gregory Farshtey és Daniel Lipkowitz Javított kiadás A fordítás alapja: LEGO® 0LQLƓJXUH$9LVXDO+LVWRU\1HZ(GLWLRQ )ĎV]HUNHV]WĎ Ruth Amos 9H]HWĎWHUYH]ĎN Anna Formanek, Lisa Sodeau First published in Great Britain in 2013 by Dorling Kindersley Limited 6]HUNHV]WĎDVV]LV]WHQV Nicole Reynolds This edition published in Great Britain in 2020 by Dorling Kindersley Limited 6]HUNHV]WĎN Tori Kosara, Julia March, One Embassy Gardens, 8 Viaduct Gardens, London SW11 7BW Helen Murray, Rosie Peet %RU¯WµWHUY James McKeag Page design copyright © 2013, 2020 Dorling Kindersley Limited 1\RPGDLHOĎN«V]¯W«VMarc Staples A Penguin Random House Company 9H]HWĎQ\RPGDLHOOHQĎU Lloyd Robertson /(*2WKH/(*2ORJRWKH0LQLƓJXUHWKH%ULFNDQG.QREFRQƓJXUDWLRQVWKH'83/2 )HOHOĎVV]HUNHV]WĎ Paula Regan )HOHOĎVPĮY«V]HWLYH]HWĎ Jo Connor BELVILLE, EXO-FORCE, FRIENDS, and HIDDEN SIDE logos, BIONICLE, MINDSTORMS, LEGENDS OF CHIMA, NINJAGO, NEXO KNIGHTS, and LEGOLAND are trademarks of 0ĮY«V]HWLLJD]JDWµ Lisa Lanzarini the LEGO Group. ©2013, 2021 The LEGO Group. )HOHOĎVNLDGµ Mark Searle .LHJ«V]¯WĎI«Q\N«SHN Gary Ombler Manufactured by Dorling Kindersley, One Embassy Gardens, 8 Viaduct Gardens, London 1«Y«VW£UJ\PXWDWµ Vanessa Bird SW11 7BW under licence from the LEGO Group. Published by HVG Kiadó Zrt., 1037 Budapest, Montevideo u. 14. (UHGHWLNLDG£V HVG Könyvek, Budapest, 2021 )ĎV]HUNHV]WĎ Helen Murray Fordította: Nagy Györgyi Eszter, 2021 9H]HWĎWHUYH]Ď Lisa Sodeau 6]HUNHV]WHWWH7ĮUN5LWD )HOHOĎVPĮY«V]HWLYH]HWĎ Owen Bennett .LDGµYH]HWĎ%XGDK£]\US£G 1\RPGDLHOĎN«V]¯W«V Siu Yin Chan )HOHOĎVV]HUNHV]WĎ6]ĮFV$GULHQQ 3URGXFHU Louise Daly www.hvgkonyvek.hu )HOHOĎVV]HUNHV]WĎ Elizabeth Dowsett 7HUYH]ĎLJD]JDWµ Nathan Martin ,6%1bb 0ĮY«V]HWLLJD]JDWµ Ron Stobbart bbb )HOHOĎVNLDGµ Simon Beecroft Minden jog fenntartva. -
Ipi Soft Motion Capture Software Inspires Feature Length Machinima
iPi Soft Motion Capture Software Inspires Feature Length Machinima Horror Movie Ticket Zer0 Director Ian Chisholm Uses End-to-End Markerless Performance Capture Pipeline For Character Animation; Film Now Airing on YouTube _____ MOSCOW, RUSSIA – September 25, 2018 – For his most ambitious project to date, the feature length horror film Ticket Zer0, motion capture director/writer Ian Chisholm once again leaned heavily on iPi Motion Capture, the advanced markerless motion capture technology from iPi Soft. The 66-minute animated machinima cinematic production is currently available for streaming on YouTube or Blu-Ray here. Ticket Zer0 is a follow-up to Chisholm’s Clear Skies trilogy series (viewed by hundreds of thousands on YouTube), which also used iPi Mocap throughout for performance capture. Ticket Zer0 tells the story of the night shift at a deserted industrial facility. When a troubleshooter is sent in to fix a mysterious problem, something far more sinister emerges than any of them could have imagined. Chisholm notes production for Ticket Zer0 took almost five years to complete and used iPi Motion Capture for recording movement in every single frame for all the characters in the film. “iPi Soft technology has proven to be an invaluable creative resource for me as a filmmaker during motion capture sessions,” he says. “There wasn't anything on screen that wasn't recorded by iPi Mocap. The ability to perform the motion capture was exactly what I needed to expand and improve the immersive quality of my film.” Workflow Details: For motion capture production, Chisholm used iPi Mocap in conjunction with six Sony PS3 Eye cameras along with two PlayStation Move controllers to track hand movements. -
Top Questions About Character Animation
Top Questions About Character Animation What are some of the exciting aspects of character animation, and how is it different than other computer animation forms? The phrase computer animation is often used as a catch-all for many computer generated effects including spinning logos, Flash programming on the Web or special effects in movies. These are not character animation. Character animation is the process of giving life to a character, whether it is a dog that can talk, a drawn person or an animated object. Character animation creates personality. How long does it take one person to create one minute of animation? This is difficult to pinpoint, but it can take one animator about 16 – 20 weeks of full-time work to produce 60 seconds of animation.1 At Pixar Animation Studios, due to their high level of quality control, animators have been known to work on two minutes of film for a year or more. How many animators typically work on an animated feature film? It depends on the studio and its needs, so anywhere from 20 – 80 animators could be working on an animated feature film. What is the biggest myth about character animation? A lot of people believe that the computer does all of the work for the animator, but the reality is that the animator is only using the computer as a tool to create detailed animation frame by frame. What are some of the most challenging aspects of character animation? Character animators work in fun, collaborative, exciting and detailed environments. They need to have a high level of patience while working with the tiny movements of a character frame by frame. -
Application of Performance Motion Capture Technology in Film and Television Performance Animation
Proceedings of the 2nd International Symposium on Computer, Communication, Control and Automation (ISCCCA-13) Application of Performance Motion Capture Technology in Film and Television Performance Animation ZHANG Manyu Dept. Animation of Art, Tianjin Academy of Fine Arts Tianjin , CHINA E-mail: [email protected] Abstract—In today’s animation films, virtual character tissue simulation technique” for the first time, so that acting animation is a research field developing rapidly in computer skills of actors can be delivered to viewers maximally. graphics, and motion capture is the most significant What’s more, people realize that “motion capture component, which has brought about revolutionary change for technology” shall be called as “performance capture 3D animation production technology. It makes that animation technology” increasingly. Orangutan Caesar presented in producers are able to drive animation image models directly with the use of actors’ performance actions and expressions, Rise of the Apes through “motion capture” technology is which has simplified animation manufacturing operation very classical. Various complicated and subtle expressions greatly and enhanced quality for animation production. and body languages of Caesar’s not vanished bestiality and initially emerged human nature have been presented Keywords- film and television films, motion capture, naturally and freshly in the film, which has achieved the technology excellent realm of mixing the false with the genuine. When Caesar stands in front of Doctor Will in equal gesture, its I. INTRODUCTION independence and arbitrariness in its expression with dignity With the development of modern computer technology, of orangutan has undoubtedly let viewers understand computer animation technology has developed rapidly. -
Motion Capture Assisted Animation: Texturing and Synthesis
Motion Capture Assisted Animation: Texturing and Synthesis Katherine Pullen Christoph Bregler Stanford University Stanford University Abstract Keyframed Data 2 We discuss a method for creating animations that allows the anima- 0 (a) tor to sketch an animation by setting a small number of keyframes −2 on a fraction of the possible degrees of freedom. Motion capture −4 data is then used to enhance the animation. Detail is added to de- −6 grees of freedom that were keyframed, a process we call texturing. −8 Degrees of freedom that were not keyframed are synthesized. The −10 method takes advantage of the fact that joint motions of an artic- −12 ulated figure are often correlated, so that given an incomplete data 0 0.2 0.4 0.6 0.8 1 1.2 1.4 1.6 1.8 2 set, the missing degrees of freedom can be predicted from those that Motion Capture Data are present. 1 CR Categories: I.3.7 [Computer Graphics]: Three-Dimensional 0 (b) Graphics and Realism—Animation; J.5 [Arts and Humantities]: −1 performing arts −2 Keywords: animation, motion capture, motion texture, motion −3 synthesis −4 translation in inches −5 0 0.2 0.4 0.6 0.8 1 1.2 1.4 1.6 1.8 2 time in seconds 1 Introduction Figure 1: Comparison of keyframed data and motion capture As the availability of motion capture data has increased, there has data for root y translation for walking. (a) keyframed data, with been more and more interest in using it as a basis for creating com- keyframes indicated by red dots (b) motion capture data. -
October Events Guide.Indd
EVENT & FILM GUIDE – OctOBER 2017 Richard the Stork (G) The Changeover (M) Running Time: 81 minutes Running Time: 93 minutes Orphaned at birth and raised by a stork family, the teenage sparrow Richard believes he is one of them. But when the time comes to reveal In post-earthquake Christchurch, teenager Laura Chant (Erana James) cares for her younger brother Jacko (Benji Purchase) while their mum his true identity and migrate to Africa without him, Richard boldly chases (Melanie Lynskey) is at work. After school one day Laura loses Jacko, after them to prove that he is a stork after all. Together with his newfound only to find him playing in a pop-up shop filled with strange toys. The pals, Olga, an oversized pygmy owl with an imaginary friend, and Kiki, a creepy old shop-owner, Carmody Braque (Timothy Spall) gives Jacko narcissistic, disco-singing parakeet with a fear of heights, the oddball trio a stamp on his hand and sends them on their way.But Jacko suddenly journeys south on planes, trains and automobiles, past vicious bats, online begins to get sick and Laura realises there’s more to Braque, and the pigeons, mafia crows and a deadly honey badger. Before the tiniest stork stamp, than she had first realised. Fearing that something supernatural can reach his goal, however, he must first learn to see himself as a great is at work and desperate to save her little brother, Laura seeks help from sparrow. Sorensen Carlisle (Nicholas Galitzine), a prefect at her school to whom she is mysteriously drawn.Laura discovers that Sorensen is from a family of witches. -
California Institute of the Arts
Ismael Sanz-Pena ismaelsanzpena.com California Institute of the Arts • 2008-11 MFA in Experimental Animation Los Angeles Central Saint Martins School of Arts and Design • 2007-08 Postgraduate Diploma in Character Animation London Thames Valley University • 2004-07 BA(Hons) Digital Animation London • 2018- Maryland Institute College of Art Professor Animation department . • 2016-18 Kansas City Art Institute Assistant Professor Animation department t • 2015/16 Klipp og Lim Media AS Animator Short films, music videos and commercial work . • 2013/14 Promatica AS UX/UI Designer Interface and web design for a marketing and date management software . m • 2011/12 Maryland Institute College of Art University of Maryland, Baltimore County Adjunct Professor Animation and Foundation Departments Visual Arts Department. m • 2008-10 CalArts Arts Partnership Animation Instructor Workshops for High School Students at the Inner City Arts, Los Angeles m • 2008 Lister Community School, London Assistant Teacher at Performing Arts Specialized School m • 2007-08 Chiang Mai University, Thailand Animation Instructor Media Department m • 2016 - Kunstakademiet I Trondheim, guest lecturer, Norway - Høyskolen Kristiania, guest lecturer, Norway. - Norges Kreative Høyskole, guest lecturer, Norway. • 2014 - Norges Kreative Fagskole, guest lecturer, Norway. • 2013 - Lademoen Kunstnerverksteder, workshop, Norway. - Noroff, guest lecturer, Norway. - Diploma, The Visuelt Competition. Oslo, Norway. - Best International Very Short Films Competition: Sommets du Cinema d’Animation, Canada. (2017) - ARTfest Digital, Highly Commended (2017) - Stipend, Norwegian Film Institute (2017) - Stipend, Midtnorsk Film (2017) - British Animation Awards, Public choice (2016) - Film grant, Stipend, Midtnorsk Filmsenter Trondheim (2016) - Artist grant, Tilskudd til Kunstner Trondheim (2015) - Artist grant, Cultiva Ekspress Kristiansand (2013) - Artist grant, Tilskudd til Kunstner Kristiansand (2013) - Full Scholarship to study at the Mahindra United World College of India (02-04). -
Creating 3DCG Animation with a Network of 3D Depth Sensors Ning
2016 International Conference on Sustainable Energy, Environment and Information Engineering (SEEIE 2016) ISBN: 978-1-60595-337-3 Creating 3DCG Animation with a Network of 3D Depth Sensors Ning-ping SUN1,*, Yohei YAMASHITA2 and Ryosuke OKUMURA1 1Dept. of Human-Oriented Information System Engineering 2Advanced Electronics and Information Systems Engineering Course, National Institute of Technology, Kumamoto College, 2659-2 Suya, Koshi, Kumamoto 861-1102, Japan *Corresponding author Keywords: Depth sensor, Network, 3D computer graphics, Animation production. Abstract. The motion capture is a useful technique for creating animations instead of manual labor, but the expensive camera based devices restrict its practical application. The emerging of inexpensive small size of depth-sensing devices provides us opportunities to reconstitute motion capture system. We introduced a network of 3D depth sensors into the production of real time 3DCG animation. Different to the existing system, the new system works well for data communication and anime rendering. We discuss below server how communicate with a group of sensors, and how we operate a group of sensors in the rendering of animation. Some results of verification experiments are provided as well. Introduction The presentation of character’s movement is very important for animation productions. In general, there are two kinds of technique to present movement in an anime. First one is a traditional method, in which animators draw a series of frames of character’s movements individually, and show these frames continuously in a short time interval. Fps, i.e., frames per second is involved the quality of an animation. The more the fps is, the better the quality becomes.