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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. -
Automated Staging for Virtual Cinematography Amaury Louarn, Marc Christie, Fabrice Lamarche
Automated Staging for Virtual Cinematography Amaury Louarn, Marc Christie, Fabrice Lamarche To cite this version: Amaury Louarn, Marc Christie, Fabrice Lamarche. Automated Staging for Virtual Cinematography. MIG 2018 - 11th annual conference on Motion, Interaction and Games, Nov 2018, Limassol, Cyprus. pp.1-10, 10.1145/3274247.3274500. hal-01883808 HAL Id: hal-01883808 https://hal.inria.fr/hal-01883808 Submitted on 28 Sep 2018 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. Automated Staging for Virtual Cinematography Amaury Louarn Marc Christie Fabrice Lamarche IRISA / INRIA IRISA / INRIA IRISA / INRIA Rennes, France Rennes, France Rennes, France [email protected] [email protected] [email protected] Scene 1: Camera 1, CU on George front screencenter and Marty 3/4 backright screenleft. George and Marty are in chair and near bar. (a) Scene specification (b) Automated placement of camera and characters (c) Resulting shot enforcing the scene specification Figure 1: Automated staging for a simple scene, from a high-level language specification (a) to the resulting shot (c). Our system places both actors and camera in the scene. Three constraints are displayed in (b): Close-up on George (green), George seen from the front (blue), and George screencenter, Marty screenleft (red). -
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 -
Lightweight Procedural Animation with Believable Physical Interactions
Proceedings of the Fourth Artificial Intelligence and Interactive Digital Entertainment Conference Lightweight Procedural Animation with Believable Physical Interactions Ian Horswill Northwestern University, Departments of EECS and Radio/Television/Film 2133 Sheridan Road, Evanston IL 60208 [email protected] Abstract matics system. Posture control is performed by applying I describe a procedural animation system that uses tech- simulated forces and torques to the torso and pelvis. niques from behavior-based robot control, combined with a Interestingly, the use of a dynamic simulation actually minimalist physical simulation, to produce believable cha- simplifies control, allowing the use of relatively crude con- racter motions in a dynamic world. Although less realistic trol signals, which are then smoothed by the passive dy- than motion capture or full biomechanical simulation, the namics of the character body and body-environment inte- system produces compelling, responsive character behavior. raction; similar results have been found in both human and It is also fast, supports believable physical interactions be- robot motor control (Williamson, 2003). tween characters such as hugging, and makes it easy to au- Twig shows that surprisingly simple techniques can gen- thor new behaviors. erate believable2 motions and interactions. Much of the focus of this paper will be on ways in which Twig is able to Overview1 cheat to avoid doing complicated modeling or control, while still maintaining believability. This work is indebted Versatile procedural animation is a necessary component to the work of Jakobsen (Jakobsen, 2001) and Perlin (Per- for applications such as interactive drama, in which charac- lin, 1995, 2003; Perlin & Goldberg, 1996), both for their ters participate in complex interactions that cannot be pre- general approaches of using simple techniques to generate planned at authoring time. -
Inverse Kinematics Last Time? Today Keyframing Procedural Animation Physically-Based Animation
Last Time? • Navier-Stokes Equations • Conservation of Inverse Kinematics Momentum & Mass • Incompressible Flow Today Keyframing • How do we animate? • Use spline curves to automate the in betweening – Keyframing – Good control – Less tedious than drawing every frame – Procedural Animation • Creating a good animation still requires considerable – Physically-Based Animation skill and talent – Forward and Inverse Kinematics – Motion Capture • Rigid Body Dynamics • Finite Element Method ACM © 1987 “Principles of traditional animation applied to 3D computer animation” Procedural Animation Physically-Based Animation • Describes the motion algorithmically, • Assign physical properties to objects as a function of small number of (masses, forces, inertial properties) parameters • Example: a clock with second, minute • Simulate physics by solving equations and hour hands • Realistic but difficult to control – express the clock motions in terms of a “seconds” variable – the clock is animated by varying the v0 seconds parameter mg • Example: A bouncing ball -kt –Abs(sin(ωt+θ0))*e 1 Articulated Models Skeleton Hierarchy • Articulated models: • Each bone transformation – rigid parts described relative xyzhhhhhh,,,,,qf s – connected by joints to the parent in hips the hierarchy: qfttt,, s • They can be animated by specifying the joint left-leg ... angles as functions of time. r-thigh qc qi qi ()t r-calf y vs qfff, x r-foot z t1 t2 t1 t2 1 DOF: knee 2 DOF: wrist 3 DOF: arm Forward Kinematics Inverse Kinematics (IK) • Given skeleton xyzhhhhhh,,,,,qf -
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. -
Procedural Animation
Procedural Animation Computer Graphics Seminar 2017 Spring Andreas Sepp Coming up today ● Keyframe animation ● Procedural animation for basic character animation ○ Procedural animation with keyframe animation ○ Inverse kinematics ● Procedural animation as a broader field ○ Artificial life animation ○ Physics based modelling and animation Basic keyframe animation ● Animator draws or models the starting and ending points of a transition, called keyframes, and sets their position in time ● The remaining frames inbetween 2 keyframes are interpolated from them ● The animator is in control of everything at every point in time key key key Basic keyframe animation problems ● Transitions in interactive setting ○ Blend walking and running animation? ○ Create a walk ↔ run transition animation? ■ 15 animations - 105 blends required ● Unrealistic movement ○ No proper feedback from the environment ○ Not acceptable anymore Procedural Animation ● a type of computer animation, used to automatically generate animation in real-time to allow for a more diverse series of actions than could otherwise be created using predefined animations ● Animator not in control of everything anymore ● a) Integrated with keyframe animation ○ Roughly follows keyframes ○ Change dynamically ■ e.g. getting hit while running, going up the stairs ● b) Fully procedural animation ○ Initial parameters and some sort of input parameters are provided to control the animation ■ Initial position; forces, torques in time Keyframe + procedural animation ● Dynamic combining of multiple animations ○ Lower body running ○ Upper body swinging a sword ○ Body recoiling to a blow ● What you can achieve with just 14 keyframes and procedural animation: ○ http://www.gamasutra.com/view/news/216973/Video_An_indie_a pproach_to_procedural_animation.php [4:00-10:00] To actually feel connected to 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. -
Use Style: Paper Title
INTERNATIONAL CONFERENCE ON INFORMATICS AND CREATIVE MULTIMEDIA 2013 (ICICM’13) UTM, KUALA LUMPUR. SEPTEMBER 3-6, 2013, pp.104,109, 4-6 Sept. 2013 doi:10.1109/ICICM.2013.25 IEEEXplore Expression driven Trignometric based Procedural Animation of Quadrupeds Zeeshan Bhatti, Asadullah Shah, Mustafa Karabasi and Waheed Mahesar Khulliyyah of Information and Communication Technology International Islamic University Malaysia, Kuala Lumpur e-mail: [email protected], [email protected], [email protected], [email protected] Abstract— This research paper addresses the problem of riggers need [3]. So a character animator normally ends up generating involuntary and precise animation of quadrupeds building a custom skeletal rig for the ease of animation with automatic rigging system of various character types. The [3][4]. The process is also known as Character Rigging. We technique proposed through this research is based on a two have used MAYA as the basic development and simulation tier animation control curve with base simulation being driven tool with motion equations implemented as Maya Embedded through dynamic mathematical model using procedural Language (MEL) code written as expressions that gets algorithm and the top layer with a custom user controlled executed at every frame controlling and driving the various animation provided with intuitive Graphical User Interface body part of the character rig. (GUI). The character rig is based on forward and inverse kinematics driven through trigonometric based motion II. LITERATURE REVIEW equations. The User is provided with various manipulators and Quadruped motion has always been an integral part of attributes to control and handle the locomotion gaits of the characters and choose between various types of simulated character animation and simulation. -
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 .................................................................................................