Physical, behavioral, and sensor-based animation

2007

Physically-based animation (PBA) is increasingly used to generate realistic motions in articulated figures (AFs). Three major strategies for motion control in PBA are local optimization, global optimization and tailored controller techniques. In local optimization, spacetime constraints are compatible with keyframing systems, but controller synthesis methods offer better robustness and reuse of motions. Global optimization strategies, such as generate-and-test and genetic programming, explore various search spaces to provide several different motion control solutions. Tailored controllers focus on specialized motions like walking, but offer general design principles that can be applied to many motions. The animator's involvement in motion specification, the scalability of the method, robustness and reuse of controllers, and the quality of motion generated are criteria used to compare the three above methods. We examine PBA's potential as an animation tool and how it compares to alternative methods. Finally, future research directions such as biomechanical modelling in animation and decompositional control strategies for animating very complex articulated figures are discussed.

2016

Animation as a technology is generic and as a discipline it has been growing leaps and bounds. Application of animation tools extends even to industry, education, trade and entertainment. In depth understanding of the concept needs a chronological development studies including the history and technological innovations. An attempt to trace the metamorphosis of animation from the stone-age till date so as to get a comprehensive knowledge and thereby analyze the difference between traditional and modern animation techniques is part of the research work, which is underway. Essentially this is an effort to pose a research question as to weigh the relative importance of traditional vis a vis computer-aided animation techniques. The process of finding an answer is central to this paper besides looking at the contours of animation and its application to various fields

KnE engineering, 2024

The keyframe method for making 3D animation movements is a traditional technique used by animators around the world to create certain animation movements based zon the 12 principles of animation. Meanwhile, motion capture is a motion recording technique used to describe the process of recording movements and interpreting these movements into a digital model. Motion capture itself is commonly used in the military, entertainment, sports, and other fields. In this study, we analyze the use of the two methods, the results of which can be used as a suggestion for the use of the two methods for the production of animated films. Three aspects were used to analyze the two methods, namely the number of keyframes, the level of refinement and detail, the final process and cleanup.

2008

In virtual human (VH) applications, and in particular, games, motions with different functions are to be synthesized, such as communicative and manipulative hand gestures, locomotion, expression of emotions or identity of the character. In the bodily behavior, the primary motions define the function, while the more subtle secondary motions contribute to the realism and variability. From a technological point of view, there are different methods at our disposal for motion synthesis: motion capture and retargeting, procedural kinematic animation, force-driven dynamical simulation, or the application of Perlin noise. Which method to use for generating primary and secondary motions, and how to gather the information needed to define them? In this paper we elaborate on informed usage, in its two meanings. First we discuss, based on our own ongoing work, how motion capture data can be used to identify joints involved in primary and secondary motions, and to provide basis for the specification of essential parameters for motion synthesis methods used to synthesize primary and secondary motion. Then we explore the possibility of using different methods for primary and secondary motion in parallel in such a way, that one methods informs the other. We introduce our mixed usage of kinematic an dynamic control of different body parts to animate a character in real-time. Finally we discuss motion Turing test as a methodology for evaluation of mixed motion paradigms.

2003

mv, a l~n i a~l r a l i . c s h a q (~~~~~~~i~~.~~~~~. m v , norzaiha.norhan(i7!inn.etln.nlv Abstract-The history of animation is generally referred to early production of traditional animation. It has begun in the early 1900, "Animalion is the essence of animation " as explained by Halas [I]. It is a series of images that appear to be in motion. It can be either traditional animation or computer animation. In addition Greenberg [23, explains "Animation is a deliberately interpreted "illusion of l$e. " I f 110s been practiced for the last 7 0~e a r s in both drawn and stop motion animnotion, and as such, is not an attempt to mimic kurnan and animal l$e exactly." Traditionally animation is produced by drawing illusion of movement created by photographing a series of individual drawings on successive frames on film. Gleicher [3], explains "Animation is a uniquely expressive art form: it provides the creator with conrrol over both the appmrance and the rirovcnienl of clzarricfers and objects. This gives artists tremendous freedom. which when well used, can create works with iremendous impact."

IEEE Computer Graphics and Applications, 2000

Although the computer plays an ever increasing role in animation, the term "computer animation" is imprecise and sometimes can be misleading, since the computer can play a variety of different roles. A popular and simple way of classifying animation systems is to distinguish between computer-assisted and modeled animation. Computer-assisted animation consists mainly of assisting conventional animation with a computer. This type of computer animation is carried out mainly in two dimensions. The computer can be used to input drawings, to produce in-betweens, to specify the motion of an object along a path, to color drawings and create backgrounds, to synchronize motion with sound, and to initiate the recording of a sequence on film. In modeled animation, the computer becomes more than an aid-it plays a basic role in the creation of a threedimensional world. This type of computer animation involves three main activities: object modeling, motion specification and synchronization, and image rendering. A computer animation bibliography could include references on a variety of related subjects, e.g., graphics editing, computer-aided geometry, computer art, and image synthesis. Following John Halas's statement that ''movement is the essence of animation," we decided to focus on papers on motion in two and three dimensions. This bibliography, then, comprises an exhaustive list of papers on key-frame systems and computer animation systems and languages. Papers on the rapidly developing topic of human modeling and animation are also

1989

distinguish between three types of three-dimensional computer animation: image-based key-frame animation, parametric keyframe animation and algorithmic animation. 2.1 Image-based keyframe animation Keyframe animation consists of the automatic generation of intermediate frames, called inbetweens, based on a set of key-frames supplied by the animator. In image-based keyframe animation, the inbetweens are obtained by interpolating the keyframe images themselves. This is an old technique, introduced by Burtnyk and Wein (1971). Fig.1 shows the principles to create inbetween frames by linear interpolation between corresponding vertices. When corresponding images have not the same number of vertices, it is necessary to add extra vertices, as shown in Fig. 2. A linear interpolation algorithm produces undesirable effects such as lack of smoothness in motion, discontinuities in the speed of motion and distortions in rotations, as shown in Fig. 3. Alternate methods have been proposed by Baecker (1969), Burtnyk and Wein (1976), Reeves (1981). According to Steketee and Badler (1985), there is no totally satisfactory solution to the deviations between the interpolated image and the object being modeled.

2004

We introduce basic mechanisms and tools as support to perform virtual animated agents. We use a control theory approach dealing with physics specifications and constraints, including dynamics and kinematics issues, providing a well structured way to control the agent resources. We validate the mechanisms by presenting two virtual agents with different structures (sensors, actuators, and dynamics) which have used them. As practical results, the animated agents are able to autonomously perform different purpose tasks in a virtual environment, like a visual monitoring of its neighborhood, progression tasks onto a rough terrain, and visually guided reaching and grasping manipulation.