EG 2007 Course on Populating Virtual Environments with Crowds

Total Page:16

File Type:pdf, Size:1020Kb

EG 2007 Course on Populating Virtual Environments with Crowds EUROGRAPHICS 2007/ K. Myszkowski and V. Havran Tutorial EG 2007 Course on Populating Virtual Environments with Crowds Organisers Daniel Thalmann EPFL VRlab Email : [email protected] URL: http://vrlab.epfl.ch Carol O’Sullivan Trinity College, Dublin, Ireland [email protected] Lecturers: Daniel Thalmann (EPFL), Carol O’Sullivan (Trinity College), Barbara Yersin (EPFL), Jonathan Maïm (EPFL), Rachel McDonnell (Trinity College) Abstract For many years, it was a challenge to produce realistic virtual crowds for special effects in movies. Now, there is a new challenge: the production of real-time autonomous Virtual Crowds. Real-time crowds are necessary for games, VR systems for training and simulation and crowds in Augmented Reality applications. Autonomy is the only way to create believable crowds reacting to events in real-time. This course will present state-of-the-art techniques and methods. Keywords: population, crowd simulation, informed virtual environments, autonomous agents, perception real-time simulation of virtual environments is also a great Necessary background and potential target audience for challenge. the tutorial: experience with computer animation is recommended but not mandatory. The course is intended In this course, we will first present in detail the different for animators, designers, and students in computer science. approaches to creating virtual crowds, including particle systems with flocking techniques using attraction and repulsion forces, copy and pasting techniques, and agent- based methods. Detailed outline of the tutorial The necessity to model virtual populations occurs in many applications of computer animation and simulation. Such applications encompass several different domains – representative or autonomous agents in virtual We will survey methods for animating the individual environments, perceptual metrics and human factors, members that make up a crowd, encompassing a variety of training, education, simulation-based design, and approaches, with particular focus on how example-based entertainment. Realistically reproducing dynamic life in the synthesis methods can be adapted for crowds. Agent 24 Thalmann et al. / EG 2007 Course on Populating Virtual Environments with Crowds architectures for scalable crowd simulation will also be Carol O'Sullivan is an Associate Professor and acting head presented. of the Computer Science department in Trinity College Dublin, where she also leads the Graphics, Vision The course will cover the topics of real-time crowd andVisualisation group (GV2). Her research interests rendering, including image-based/impostor, polygonal and include computer graphics, perception, virtual humans, point-based techniques. The topic of Level of Detail (LOD) crowds, and physically-based animation. She has managed crowd animation will also be covered, not only for a range of projects with significant budgets and successfully rendering, but also for animation. Perceptual issues with supervised many researchers. She has been a member of respect to the appearance and movement of crowds of many IPCs, including the SIGGRAPH and Eurographics characters will be addressed. papers committees, and has published about 90 peer- reviewed papers. She is an associate editor of IEEE CG&A New challenges in the production of real-time crowds for and Graphical models, and has organised and co-chaired games, VR systems for training and simulation will be several international conferences and workshops, including presented and analysed, with an emphasis on techniques for Eurographics 2005, the SIGGRAPH/EG Symposium on highly scalable crowd rendering. The course will be Computer Animation 2006 and the SIGGRAPH/EG illustrated with many examples from recent movies and Campfire on Perceptually Adaptive Graphics 2001. real-time applications in Emergency Scenarios and Cultural Heritage (such as adding virtual audiences in Roman or Rachel McDonnell is a postdoctoral researcher at the Greek theaters). Graphics, Vision and Visualization Group in Trinity College Dublin where she recently finished her PhD entitled "Realistic Crowd Animation: A Perceptual Approach". Her research interests include perceptually adaptive graphics, real-time crowd simulation, virtual human animation and cloth simulation. Barbara Yersin is a PhD student at the VRLab, EPFL. She has achieved her Master project at the University of Montreal, after which she has received her Master in Computer Science in March 2005 from EPFL (Swiss Federal Institute of Technology in Lausanne). Her main interests are in computer graphics, particularly crowd simulation and animation. Jonathan Maïm is PhD student at VRlab at the Swiss Federal Institute of Technology in Lausanne (EPFL). In April 2005, he receives a Master Degree in Computer Science from EPFL after achieving his Master Project at the University of Montréal. His research efforts are Resume of the presenters concentrated on building an architecture for simulating real- time crowds of virtual humans. Daniel Thalmann is Professor and Director of The Virtual Reality Lab (VRlab) at EPFL, Switzerland. He is a pioneer Selected Publications in research on Virtual Humans. His current research interests include Real-time Virtual Humans in Virtual S. Raupp Musse, D.Thalmann, A Behavioral Model for Reality, Networked Virtual Environments, Artificial Life, Real Time Simulation of Virtual Human Crowds, IEEE and Multimedia. He is coeditor-in-chief of the Journal of Transactions on Visualization and Computer Graphics, Computer Animation and Virtual Worlds and member of Vol.7, No2, 2001, pp.152-164. the editorial board of the Visual Computer and 4 other journals. Daniel Thalmann was member of numerous B. Ulicny, P. de Heras Ciechomski, D. Thalmann, Program Committees, Co-chair, and Program Co-chair of Crowdbrush: Interactive Authoring of Real-time Crowd several conferences including IEEE VR 2000. He has also Scenes, Proc. ACM SIGGRAPH/Eurographics Symposium organized 5 courses at SIGGRAPH on human animation on Computer Animation ‘04, 2004, pp.243-252 and crowd simulation. Daniel Thalmann has published numerous papers in Graphics, Animation, and Virtual B. Ulicny, D. Thalmann, Towards Interactive Real-Time Reality. He is coeditor of 30 books included the recent Crowd Behavior Simulation, Computer Graphics Forum, “Handbook of Virtual Humans”, published by John Wiley 21(4):767-775, December 2002 and Sons and coauthor of several books. He received his PhD in Computer Science in 1977 from the University of P. de Heras Ciechomski, S. Schertenleib, J. Maïm, D. Geneva and an Honorary Doctorate (Honoris Causa) from Maupu and D. Thalmann, Real-time Shader Rendering for University Paul-Sabatier in Toulouse, France, in 2003. Crowds in Virtual Heritage, VAST '05, 2005 Thalmann et al. / EG 2007 Course on Populating Virtual Environments with Crowds 25 N. Magnenat-Thalmann, D. Thalmann (eds), Handbook of Virtual Humans, John Wiley, 2004 C. O´Sullivan, J. Cassell, H. Vilhjalmsson, J. Dingliana, S. Dobbyn, B. McNamee, C. Peters and T. Giang, Levels of Detail for Crowds and Groups, Computer Graphics Forum, 21(4), 2002. S. Dobbyn, J. Hamill, K. O'Conor and C. O'Sullivan, Geopostors: A Real-Time Geometry/Impostor Crowd Rendering System. ACM SIGGRAPH 2005 Symposium on Interactive 3D Graphics and Games 2005, pp. 95-102. S. Dobbyn, R. McDonnell, L. Kavan, S. Collins, and C. O’Sullivan, Clothing the masses: Real-time clothed crowds with variation. In Eurographics Short Papers 2006, pp. 103– 106. R. McDonnell, S. Dobbyn, and C. O'Sullivan, Crowd Creation Pipeline for Games, In Proceedings of the 9th International Conference on Computer Games, CGames 2006, pp. 183-190. J. Hamill, R. McDonnell, S. Dobbyn, and C. O'Sullivan, Perceptual Evaluation of Impostor Representations for Virtual Humans and Buildings. Computer Graphics Forum 24(3) (EUROGRAPHICS 2005 Proceedings) 2005. R. McDonnell, S. Dobbyn, and C. O'Sullivan, LOD Human Representations: A Comparative Study. Proceedings of the First International Workshop on Crowd Simulation (V- CROWDS '05) 2005. R. McDonnell, S. Dobbyn, S. Collins, and C. O'Sullivan, Perceptual evaluation of LOD clothing for virtual humans. In Proceedings of the 2006 ACM SIGGRAPH/Eurographics Symposium on Computer Animation 2006, pp. 117–126. J. Pettré, P. de Heras Ciechomski, J. Maïm, B. Yersin, J.-P. Laumond, D. Thalmann. Real-time navigating crowds: scalable simulation and rendering. Computer Animation and Virtual Worlds. Volume 17, Issue 3-4 , Pages 445 – 455. Special Issue: CASA 2006. B. Yersin, J. Maïm, P. de Heras Ciechomski, S. Schertenleib and D. Thalmann, Steering a Virtual Crowd Based on a Semantically Augmented Navigation Graph, Proceedings of the First International Workshop on Crowd Simulation (V-CROWDS '05) 2005. Smooth Movers: Perceptually Guided Human Motion Simulation.Rachel McDonnell, Fional Newell and Carol O'Sullivan. Eurographics/ACM SIGGRAPH Symposium on Computer Animation (SCA'07). To appear (2007) 26 EUROGRAPHICS 2007/ K. Myszkowski and V. Havran Tutorial State-of-the-Art: Real-Time Crowd Simulations B. Ulicny, P. de Heras Ciechomski, S. R. Musse2 & D. Thalmann VRLab, EPFL CH-1015, Lausanne, Switzerland branislav.ulicny, pablo.deheras, daniel.thalmann@epfl.ch http://vrlab.epfl.ch 2 CROMOS Lab, Universidade do Vale do Rio dos Sinos Ciências Exatas e Tecnológicas - PIPCA Av. Unisinos 950 93022-000 - São Leopoldo - RS, Brazil [email protected] http://www.inf.unisinos.br/ cromoslab Abstract Crowds are part of our everyday experience; nevertheless, in virtual worlds
Recommended publications
  • 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.
    [Show full text]
  • 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
    [Show full text]
  • A Moor Propre: Charles Albert Fechter's Othello
    A MOOR PROPRE: CHARLES ALBERT FECHTER'S OTHELLO A Thesis Presented in Partial Fulfillment of the Requirements for the Degree Master of Arts in the Graduate School of The Ohio State University By Matthew Scott Phillips, B.A. * * * * * The Ohio State University •· 1992 Thesis Committee: Approved by Alan Woods Joy Reilly Adviser Department of Theatre swift, light-footed, and strange, with his own dark face in a rage,/ Scorning the time-honoured rules Of the actor's conventional schools,/ Tenderly, thoughtfully, earnestly, FECHTER comes on to the stage. (From "The Three Othellos," Fun 9 Nov. 1861: 76.} Copyright by Matthew Scott Phillips ©1992 J • To My Wife Margaret Freehling Phillips ii ACKNOWLEDGEMENTS I express heartfelt appreciation to the members of my thesis committee: to my adviser, Dr. Alan Woods, whose guidance and insight made possible the completion of this thesis, and Dr. Joy Reilly, for whose unflagging encouragement I will be eternally grateful. I would also like to acknowledge the invaluable services of the British Library, the Jerome Lawrence and Robert E. Lee Theatre Research Institute and its curator, Nena Couch. The support and encouragement given me by my family has been outstanding. I thank my father for raising my spirits when I needed it and my mother, whose selflessness has made the fulfillment of so many of my goals possible, for putting up with me. Finally, I would like to thank my wife, Maggie, for her courage, sacrifice and unwavering faith in me. Without her I would not have come this far, and without her I could go no further.
    [Show full text]
  • Authoring Motion Cycles
    Authoring Motion Cycles Loïc Ciccone Martin Guay ETH Zurich Disney Research Zurich Maurizio Nitti Robert W. Sumner Disney Research Zurich ETH Zurich, Disney Research Zurich Figure 1: Left: To specify a motion cycle, the user acts out several loops of the motion using a variety of capture devices. Middle: A looping motion cycle is automatically extracted from the noisy performance. Right: A custom motion representation tool, called MoCurves, allows controlling and coordinating spatial and temporal transformations from a single viewport. ABSTRACT CCS CONCEPTS Motion cycles play an important role in animation production • Computing methodologies → Animation; Graphics systems and game development. However, creating motion cycles relies and interfaces; on general-purpose animation packages with complex interfaces that require expert training. Our work explores the specic chal- KEYWORDS lenges of motion cycle authoring and provides a system simple Motion cycles, Animation interface, Performance, Motion curves enough for novice animators while maintaining the exibility of control demanded by experts. Due to their cyclic nature, we show ACM Reference format: that performance animation provides a natural interface for mo- Loïc Ciccone, Martin Guay, Maurizio Nitti, and Robert W. Sumner. 2017. tion cycle specication. Our system allows the user to act several Authoring Motion Cycles. In Proceedings of ACM SIGGRAPH / Eurographics loops of motion using a variety of capture devices and automat- Symposium on Computer Animation, Los Angeles, California USA, July 2017 (SCA’17), 9 pages. ically extracts a looping cycle from this potentially noisy input. DOI: 10.475/123_4 Motion cycles for dierent character components can be authored in a layered fashion, or our method supports cycle extraction from higher-dimensional data for capture devices that deliver many de- 1 INTRODUCTION grees of freedom.
    [Show full text]
  • MAULANA ABUL KALAM AZAD UNIVERSITY of TECHNOLOGY, WB Syllabus for B. Sc (H) in Animation, Film Making, Graphics & VFX (CBCS)
    MAULANA ABUL KALAM AZAD UNIVERSITY OF TECHNOLOGY, WB Syllabus for B. Sc (H) in Animation, Film Making, Graphics & VFX (CBCS) COURSE STRUCTURE (In-house) (Effective from Admission Session 2020 -2021) Total Credit: 140 Semester I I. Core 20 Credits SL Type of Paper Name Paper Code Contracts Total Credits Paper Period per Contact week Hours Theory L P 1 Core Introduction To BAFMGV 101 4 40 4 (C1) Basic Animation 2 Core Introduction to BAFMGV 102 4 40 4 (C2) Film Making Practical 1 Core Traditional BAFMGV 191 2 20 2 (CP1) Animation Lab 2 Core Story & Script BAFMGV 192 2 20 2 (CP2) Writing II. Elective Courses B.1 General Elective Theory General a) Python BAFMGV GE 4 40 4 1 Elective Programming 101 (GE1) b) R Programming Practical General a) Python BAFMGV 1 Elective Programming GEP 191 2 20 2 Practical b) R (GEP1) Programming III. Ability Enhancement Courses 1. Ability Enhancement Compulsory Courses (AECC) Theory Ability Communicative BAFMGV AECC 1 Enhance English I 101 2 20 2 ment Compuls ory Courses (AECC1) Semester II I. Core 20 Credits SL Type of Paper Name Paper Code Contracts Total Credits Paper Period per Contact week Hours L P Theory Introduction to BAFMGV 201 1 Core (C3) Graphic Design 4 40 4 & Visual Art Introduction to BAFMGV 202 2 Core (C4) 2D Animation 4 40 4 Practical Digital Design, 1 Core Info graphics & BAFMGV 291 2 20 2 (CP3) Branding (Adobe Photoshop, illustrator, Corel Draw) 2 Core 2D animation lab BAFMGV 292 2 20 2 (CP4) (Flash) II. Elective Courses B.1 General Elective Theory General a) Web Design BAFMGV 1 Elective b)Computer GE201 4 40 4 (GE2) Networks Practical General a) Webpage BAFMGV 1 Elective Design GEP291 2 20 2 Practical (GEP2) b)Networking Lab III.
    [Show full text]
  • Multiple Dynamic Pivots Rig for 3D Biped Character Designed Along Human-Computer Interaction Principles
    Multiple Dynamic Pivots Rig for 3D Biped Character Designed along Human-Computer Interaction Principles by Mihaela D. Petriu A thesis submitted to the Faculty of Graduate and Postdoctoral Affairs in partial fulfillment of the requirements for the degree of Master of Computer Science in Human-Computer Interaction Carleton University Ottawa, Ontario © 2020, Mihaela D. Petriu Abstract This thesis is addressing the design, implementation and usability testing of a modular extensible animator-centric authoring tool-independent 3D Multiple Dynamic Pivots (MDP) biped character rig. An objective of the thesis is to show that the design of the character rig must be independent of its platform, cater to the needs of the animation workflow based on HCI principles (particularly that of Direct Manipulation) and be modular and extensible in order to build and grow as needed within the production pipeline. In the thesis, the proposed rig design is implemented in Maya, the most widely used and taught commercial 3D animation authoring tool. Another thesis objective is to perform usability testing of the MDP rig with animation students and professionals, in order to gauge the new design’s intuitiveness for those relatively new to the trade and those already steeped in its decades of accumulated technical idiosyncrasies. ii Acknowledgements My deepest gratitude goes to my supervisor Dr. Chris Joslin for his constant guidance and support. I would also like to thank my family for their continuous help and encouragement. Finally, I thank my friend Sandra E. Hobbs for her constructive chaos that shed light on my design's weaknesses. iii Table of Contents Abstract .............................................................................................................................
    [Show full text]
  • Video Puppetry: a Performative Interface for Cutout Animation
    Video Puppetry: A Performative Interface for Cutout Animation Connelly Barnes1 David E. Jacobs2 Jason Sanders2 Dan B Goldman3 Szymon Rusinkiewicz1 Adam Finkelstein1 Maneesh Agrawala2 1Princeton University 2University of California, Berkeley 3Adobe Systems Figure 1: A puppeteer (left) manipulates cutout paper puppets tracked in real time (above) to control an animation (below). Abstract 1 Introduction Creating animated content is difficult. While traditional hand- We present a video-based interface that allows users of all skill drawn or stop-motion animation allows broad expressive freedom, levels to quickly create cutout-style animations by performing the creating such animation requires expertise in composition and tim- character motions. The puppeteer first creates a cast of physical ing, as the animator must laboriously craft a sequence of frames puppets using paper, markers and scissors. He then physically to convey motion. Computer-based animation tools such as Flash, moves these puppets to tell a story. Using an inexpensive overhead Toon Boom and Maya provide sophisticated interfaces that allow camera our system tracks the motions of the puppets and renders precise and flexible control over the motion. Yet, the cost of pro- them on a new background while removing the puppeteer’s hands. viding such control is a complicated interface that is difficult to Our system runs in real-time (at 30 fps) so that the puppeteer and learn. Thus, traditional animation and computer-based animation the audience can immediately see the animation that is created. Our tools are accessible only to experts. system also supports a variety of constraints and effects including Puppetry, in contrast, is a form of dynamic storytelling that per- articulated characters, multi-track animation, scene changes, cam- 1 formers of all ages and skill levels can readily engage in.
    [Show full text]
  • Animation of a High-Definition 2D Fighting Game Character
    Tuula Rantala ANIMATION OF A HIGH-DEFINITION 2D FIGHTING GAME CHARACTER Thesis Kajaani University of Applied Sciences School of Business Business Information Technology Spring 2013 OPINNÄYTETYÖ TIIVISTELMÄ Koulutusala Koulutusohjelma Luonnontieteiden ala Tietojenkäsittely Tekijä(t) Tuula Rantala Työn nimi Teräväpiirtoisen 2d-taistelupelihahmon animointi Vaihtoehtoisetvaihtoehtiset ammattiopinnot Ohjaaja(t) Peligrafiikka Nick Sweetman Toimeksiantaja - Aika Sivumäärä ja liitteet Kevät 2013 56 Tämä opinnäytetyö pyrkii erittelemään hyvän pelihahmoanimaation periaatteita ja tarkastelee eri lähestymistapoja 2d-animaation luomiseen. Perinteisen animaation periaatteet, kuten ajoitus ja liikkeen välistys, pätevät pelianimaa- tiossa samalla tavalla kuin elokuva-animaatiossakin. Pelien tekniset rajoitukset ja interaktiivisuus asettavat kuiten- kin lisähaasteita animaatioiden toteuttamiseen tavalla, joka sekä tukee pelimekaniikkaa että on visuaalisesti kiin- nostava. Vetoava hahmoanimaatio on erityisen tärkeää taistelupeligenressä. Varhaiset taistelupelit 1990–luvun alusta käyt- tivät matalaresoluutioista bittikarttagrafiikkaa ja niissä oli alhainen määrä animaatiokehyksiä, mutta nykyään pelien standardit grafiikan ja animaation suhteen ovat korkealla. Viime vuosina monet pelinkehittäjät ovat siirtyneet käyttämään 2d-grafiikan sijasta 3d-grafiikkaa, koska 3d-animaation tuottaminen on monella tavalla joustavampaa. Perinteiselle 2d-grafiikalle on kuitenkin edelleen kysyntää, sillä käsin piirretyn animaation ainutlaatuista ulkoasua ei voi täysin korvata
    [Show full text]
  • The Art of Animation
    UNIVERSITY OF CALIFORNIA College of Engineering Department of Electrical Engineering and Computer Sciences Computer Science Division CS 294-7 The Art Of Animation Professor Brian A. Barsky and Laurence Arcadias Fall 2002 Overview Class time and place The class is on Mondays, from 3 pm to 6 pm, in 380 Soda Hall. The first class is August 26 and the last class is December 2. There will be no class on Sept. 2 (Labor Day) nor on Nov.11 (Veterans Day). Computer lab The computer lab is located in 111 Cory. It is open from 7:30 am to 6:30 pm and is accessible by cardkey outside those hours. This multimedia instructional lab comprises: six Apple PowerMac G4 computers (each with 1.5 GB RAM, SuperDrive, 867 MHz CPU, NVIDIA GeForce2 MX graphics card, 80 GB hard drive, and a 250-MB ZIP drive, running MacOSX 10.1) eight Windows 2000 computers (each with Pentium III 931 MHz CPU and 256 MB RAM) Instructors Prof. Brian A. Barsky Office: 785 Soda Hall Phone: (510) 642-9838 E-mail: [email protected] Office hours: Monday 1 pm to 3 pm Laurence Arcadias Office: 329 Soda Hall Phone: (510) 642-9827; 643-4207 E-mail: E-mail: [email protected] Office hours: Monday 1 pm to 3 pm Course Summary This hands-on animation course is intended for students with a computer science background who would like to improve their sense of observation, timing, and motion through the real art of animation to create strong believable animation pieces. A good understanding of motion is an important foundation for using computers and technology to their full potential for the creation of animation.
    [Show full text]
  • Nutzung Der Game Engine Unity Als Charakter-Animationstool Für Filmproduktion
    Nutzung der Game Engine Unity als Charakter-Animationstool für Filmproduktion Eva-Maria Hobl MASTERARBEIT eingereicht am Fachhochschul-Masterstudiengang Digital Arts in Hagenberg im Januar 2020 Betreuung: Designer FH Alexander Wilhelm ii © Copyright 2020 Eva-Maria Hobl Diese Arbeit wird unter den Bedingungen der Creative Commons Lizenz Attribution- NonCommercial-NoDerivatives 4.0 International (CC BY-NC-ND 4.0) veröffentlicht – siehe https://creativecommons.org/licenses/by-nc-nd/4.0/. iii Erklärung Ich erkläre eidesstattlich, dass ich die vorliegende Arbeit selbstständig und ohne fremde Hilfe verfasst, andere als die angegebenen Quellen nicht benutzt und die den benutzten Quellen entnommenen Stellen als solche gekennzeichnet habe. Die Arbeit wurde bisher in gleicher oder ähnlicher Form keiner anderen Prüfungsbehörde vorgelegt. Hagenberg, am 22. Januar 2020 Eva-Maria Hobl iv Gender Erklärung Aus Gründen der besseren Lesbarkeit wird in dieser Arbeit die Sprachform des ge- nerischen Maskulinums angewendet. Es wird an dieser Stelle darauf hingewiesen, dass die ausschließliche Verwendung der männlichen Form geschlechtsunabhängig verstanden werden soll. v Inhaltsverzeichnis Erklärung iv Gender Erklärung v Kurzfassung viii Abstract ix 1 Einleitung 1 1.1 Fragestellung . .2 1.2 Methodik . .2 2 Grundlagen von Rigging und Animation 3 2.1 Rigging . .3 2.2 Keyframe Animation . .4 2.3 Motion Capture . .6 3 Machinima 7 3.1 Videospiel Machinima . .8 3.2 Software Machinima . .9 3.3 Source Filmmaker ..............................9 4 Animation in Videospielen 11 4.1 Dialog Szenen in The Witcher 3: Wild Hunt ................ 12 4.2 Cinematics in World of Warcraft ...................... 14 4.3 Meet the Team: Teaser für Team Fortress 2 ................ 16 5 Charakter-Animation in Unity 19 5.1 Rigs .
    [Show full text]
  • Michel Chion's Audio-Vision Bravely Sets out to Rectify
    In Audio-Vision, the French composer-filmmaker-critic Michel Chion presents a reassessment of the audiovisual media since sound's revolutionary debut in 1927 and sheds light on the mutual influ­ ences of sound and image in audiovisual perception. Chion expands on the arguments from his influential trilogy on sound in cinema—La Voix au cinema, Le Son au cinema, and La Toile trouee—while providing an overview of the functions and aesthetics of sound in film and television. He considers the effects of evolving audiovisual technologies such as widescreen, multi- track sound, and Dolby stereo on audio-vision, influences of sound on the perception of space and time, and contemporary forms of audio-vision embodied in music videos, video art, and commercial television. His final chapter presents a model for audiovisual analysis of film. Walter Murch, who contributes the foreword, has been hon­ ored by both the British and American Motion Picture Academies for his sound design and picture editing. He is especially well- known for his work on The Godfather, The Conversation, and Apoc­ alypse Now. "Michel Chion is the leading French cinema scholar to study the sound track. ... I know of no writer in any language to have published as much in this area, and of such uniformly high quality, a, he." ALAN W|LUAMS RUTGERS UNIVERSITY MICHEL CHION is an experimental composer, a director of short films, and a critic for Cahiers du cinema. He has pub­ lished books on screenwriting, Jacques Tati, David Lynch, and Charlie Chaplin, in addition to his four books on film sound.
    [Show full text]
  • The Birth of the Mob: Representations of Crowds in Archaic and Classical Greek Literature by Justin Jon Schwab
    The Birth of the Mob: Representations of Crowds in Archaic and Classical Greek Literature By Justin Jon Schwab A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Classics in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Leslie Kurke, Chair Professor Mark Griffith Professor Daniel F. Melia Fall 2011 Abstract The Birth of the Mob: Representations of Crowds in Archaic and Classical Greek Literature by Justin Jon Schwab Doctor of Philosophy in Classics University of California, Berkeley Professor Leslie Kurke, Chair This dissertation surveys the representation of crowds and related phenomena in Homer, the Attic tragedians, and Aristophanes. The first chapter begins by noting that while recent scholarship has explored the role of the crowd in ancient Roman history and literature, virtually no similar work has been done in archaic and classical Greek studies. Admittedly, Greek poleis were on a much smaller scale than was Rome, and it may be for this reason that classical scholars have assumed “the” crowd is not a feature of ancient Greek society. In order to explain why this absence of study is due to a limited understanding of what crowds are, I survey the development of crowd theory and mass psychology in the modern era. I adopt the model of Elias Canetti’s Crowds and Power, which studies crowds as part of a spectrum of group behavior, ranging from small “packs” to imagined crowds at the level of a nation. Under this expanded model, I argue that crowds are universal human phenomena whose representations in archaic and classical Greek literature are fruitful objects of study.
    [Show full text]