Motion Capture Technology for Entertainment
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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 -
Animation:Then,Now,Next
Fall 2020 FYI, section 093 is a 2nd half of the semester course. If you wish to enroll in the full-semester version please email instructor FILM1600 : Then|Now|Next [email protected] for permission code. (August 17,2020) What you need to know! Designed to be online (asynchronous – anytime during the week) since 2016. It is not a zoom/IVC adaptation because of COVID. The course incorporates extensive visual media that make up the majority of the course content (no required book to purchase). It is now 99% Closed Captioned (spring 2020). Updated each semester with newest advances in the field. This course is 8 weeks long, which means things move a bit faster to fit everything in but is very manageable with good organization. What is different about this course… this is not a history course but reveals the people, processes and future changes in how animation is used in digital media. The content of the course draws directly from the professor’s experience and insights working at Disney Feature Animation and Electronic Arts (games). Weekly Modules are structured to emulate regular in-person classes. The modules contain each week's opening animations, lectures, readings, and quizzes. You can access the material several weeks before due dates. Course Content Animation techniques have evolved from simple cartoon drawings to 3D VFX. Today this evolution continues as it is Link to Sample Lecture Class rapidly being integrated into XR. From Animation's beginnings, (2 lectures per week) each new technological innovation extended the creative possibilities for storytelling (e.g. -
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. -
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. -
Animating Race the Production and Ascription of Asian-Ness in the Animation of Avatar: the Last Airbender and the Legend of Korra
Animating Race The Production and Ascription of Asian-ness in the Animation of Avatar: The Last Airbender and The Legend of Korra Francis M. Agnoli Submitted for the degree of Doctor of Philosophy (PhD) University of East Anglia School of Art, Media and American Studies April 2020 This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with the author and that use of any information derived there from must be in accordance with current UK Copyright Law. In addition, any quotation or extract must include full attribution. 2 Abstract How and by what means is race ascribed to an animated body? My thesis addresses this question by reconstructing the production narratives around the Nickelodeon television series Avatar: The Last Airbender (2005-08) and its sequel The Legend of Korra (2012-14). Through original and preexisting interviews, I determine how the ascription of race occurs at every stage of production. To do so, I triangulate theories related to race as a social construct, using a definition composed by sociologists Matthew Desmond and Mustafa Emirbayer; re-presentations of the body in animation, drawing upon art historian Nicholas Mirzoeff’s concept of the bodyscape; and the cinematic voice as described by film scholars Rick Altman, Mary Ann Doane, Michel Chion, and Gianluca Sergi. Even production processes not directly related to character design, animation, or performance contribute to the ascription of race. Therefore, this thesis also references writings on culture, such as those on cultural appropriation, cultural flow/traffic, and transculturation; fantasy, an impulse to break away from mimesis; and realist animation conventions, which relates to Paul Wells’ concept of hyper-realism. -
Perceptual Evaluation of Cartoon Physics: Accuracy, Attention, Appeal
Perceptual Evaluation of Cartoon Physics: Accuracy, Attention, Appeal Marcos Garcia∗ John Dingliana† Carol O’Sullivan‡ Graphics Vision and Visualisation Group, Trinity College Dublin Abstract deformations to real-time interactive physics simulations e.g. Cel Damage by Pseudo Interactive R and Electronic Arts R . A num- People have been using stylistic methods in classical animation for ber of papers have been published on simulating cartoon physics many years and such methods have also been recently applied in 3D using a range of different approaches from simple geometrical de- Computer Graphics. We have developed a method to apply squash formations to complex physically based models of elasticity. In this and stretch cartoon stylisations to physically based simulations in paper we present the results of a number of experiments that were real-time. In this paper, we present a perceptual evaluation of this performed to address the question of whether and to what degree approach in a series of experiments. Our hypotheses were: that styl- stylisation contributes to the quality of a real-time interactive simu- ised motion would improve user Accuracy (trajectory prediction); lation. that user Attention would be drawn more to objects with cartoon physics; and that animations with cartoon physics would have more 1.1 Contributions Appeal. In a task that required users to accurately predict the tra- jectories of bouncing objects with a range of elasticities and vary- Our main contribution in this paper is to validate some well known ing degrees of information, we found that stylisation significantly assumptions that stylised behaviour has the potential to signifi- improved user accuracy, especially for high elasticities and low in- cantly affect a user’s perception and response to a scene. -
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. -
Incongruous Surrealism Within Narrative Animated Film
University of Central Florida STARS Electronic Theses and Dissertations, 2020- 2021 Incongruous Surrealism within Narrative Animated Film Daniel McCabe University of Central Florida Part of the Film and Media Studies Commons Find similar works at: https://stars.library.ucf.edu/etd2020 University of Central Florida Libraries http://library.ucf.edu This Masters Thesis (Open Access) is brought to you for free and open access by STARS. It has been accepted for inclusion in Electronic Theses and Dissertations, 2020- by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation McCabe, Daniel, "Incongruous Surrealism within Narrative Animated Film" (2021). Electronic Theses and Dissertations, 2020-. 529. https://stars.library.ucf.edu/etd2020/529 INCONGRUOUS SURREALISM WITHIN NARRATIVE ANIMATED FILM by DANIEL MCCABE B.A. University of Central Florida, 2018 B.S.B.A. University of Central Florida, 2018 A thesis submitted in partial fulfillment of the requirements for the degree of Masters of Fine Arts in the School of Visual Arts and Design in the College of Arts and Humanities at the University of Central Florida Orlando, Florida Spring Term 2021 © Daniel Francis McCabe 2021 ii ABSTRACT A pop music video is a form of media containing incongruous surrealistic imagery with a narrative structure supplied by song lyrics. The lyrics’ presence allows filmmakers to digress from sequential imagery through introduction of nonlinear visual elements. I will analyze these surrealist film elements through several post-modern philosophies to better understand how this animated audio-visual synthesis resides in the larger world of art theory and its relationship to the popular music video. -
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. -
Animating Film Theory Animating Film Theory
animating film animating animating film theorytheory film theory karen beckman, editor Animating Film Theory Animating Film Theory Karen Beckman, editor Duke university Press Durham anD LonDon 2014 © 2014 Duke University Press All rights reserved Printed in the United States of America on acid- free paper ♾ Typeset in Chaparral Pro by Tseng Information Systems, Inc. Library of Congress Cataloging- in- Publication Data Animating film theory / Karen Beckman, editor. pages cm Includes bibliographical references and index. isbn 978- 0- 8223- 5640- 0 (cloth : alk. paper) isbn 978- 0- 8223- 5652- 3 (pbk. : alk. paper) 1. Animated films—History and criticism. 2. Animated films—Social aspects. 3. Animation (Cinematography) I. Beckman, Karen Redrobe nc1765.a535 2014 791.43′34—dc23 2013026435 “Film as Experiment of Animation—Are Films Experiments on Human Beings?” © Gertrud Koch. In memory of Ruth Wright (1917–2012) Contents Acknowledgments · ix Animating Film Theory: An Introduction · karen beckman · 1 Part I: Time and Space 1 : : Animation and History · esther LesLie · 25 2 : : Animating the Instant: The Secret Symmetry between Animation and Photography · tom GunninG · 37 3 : : Polygraphic Photography and the Origins of 3- D Animation · aLexanDer r. GaLLoway · 54 4 : : “A Living, Developing Egg Is Present before You”: Animation, Scientific Visualization, Modeling · Oliver Gaycken · 68 Part II: Cinema and Animation 5 : : André Martin, Inventor of Animation Cinema: Prolegomena for a History of Terms · hervé Joubert- Laurencin; transLateD by Lucy swanson · 85 6 : : “First Principles” of Animation · aLan choLoDenko · 98 7 : : Animation, in Theory · suzanne buchan · 111 Part III: The Experiment 8 : : Film as Experiment in Animation: Are Films Experiments on Human Beings? · GertruD koch; transLateD by DanieL henDrickson · 131 9 : : Frame Shot: Vertov’s Ideologies of Animation · mihaeLa mihaiLova anD John mackay · 145 10 : : Signatures of Motion: Len Lye’s Scratch Films and the Energy of the Line · anDrew r. -
Topics in Computer Animation Different Approaches to Computer
Lecture 22 --- 6.837 Fall '00 Lecture 22 --- 6.837 Fall '00 Topics in Computer Animation Kinematics Kinematics is that branch of mechanics that describes Kinematics the motions of bodies without considering the forces required to produce and maintain the motion. Dynamics Translational We start with the time varying motions of points as a Rotational function of time: Key Framing Motion Capture Consider a point undergoing a constant acceleration k Lecture 22 Slide 1 6.837 Fall '00 Lecture 22 Slide 3 6.837 Fall '00 http://graphics.lcs.mit.edu/classes/6.837/F00/Lecture22/Slide01.html [12/7/2000 12:47:45 PM] http://graphics.lcs.mit.edu/classes/6.837/F00/Lecture22/Slide03.html [12/7/2000 12:47:51 PM] Lecture 22 --- 6.837 Fall '00 Lecture 22 --- 6.837 Fall '00 Different Approaches to Computer Animation Physically Based Animations - Newtonian Physics All about physics. Kinematics describes the motion of objects in equilibrium. Dynamics (or Kinetics) describes Assign masses to our objects, establish initial and reaction forces, the change in an object's kinematics due to a change in the object's mass or the application of then run simulations. forces. To understand dynamics we'll need to review Newtonian physics. Results look real Lack of control A moving mass has momentum. Forces are needed to change the momentum of a mass. Hand Tweaked Motions - Establish the positions and orientations of objects at "key" time steps Interpolate the positions of objects in-between Very good control Making it "look" real is an art, and sometimes we don't want things to look real Motion Capture - We can also define aggregate properties of point masses. -
Post-Print Version
1 This is a pre-copyedited version of an article accepted for publication in The Velvet Light Trap following peer review. The definitive publisher-authenticated version is available through the University of Texas Press. This article was published in The Velvet Light Trap No. 77 (Spring 2016). If you have institutional access to The Velvet Light Trap via Project Muse, the published version is available here: https://muse.jhu.edu/article/609056 Do the Locomotion: Obstinate Avatars, Dehiscent Performances, and the Rise of the Comedic Videogame Ian Bryce Jones In recent years, independent gaming has witnessed an explosion of bodies: gangling and ungainly bodies, hapless and haphazard bodies, bodies stretched, strewn out, their limbs and gestures de-articulated into component parts. Spurred on by a combination of technical advances in physics simulation, new digital distribution options for games with niche appeal, and the emergence of YouTube fan videos as an amplifier of cult games’ viral potential, a cluster of games with similar themes and mechanics have begun to radically re-assess the role of the avatar as embodied entity. Affixed by critics with the colloquial designation “fumblecore,” the games within this burgeoning micro-genre have gained notoriety not only for their frequent lapses into tremendous difficulty, but also for the unusual source of this difficulty: the control of bodily movement itself.1 This article has benefited enormously from the criticism and suggestions of a diverse array of scholars and players. I would especially like to thank Manuel Garin for the opportunity to present early material on the panel “Video Games and Comedy: Between Laughter and Performance” at SCMS 2014, as well as my co-panelists, Jaroslav Švelch and Constantino Oliva, for their welcome feedback.