Sketch-based Human Motion Retrieval via 2D Geometric Posture Descriptor.

AbstractSketch-based human motion retrieval is a hot topic in computer animation in recent years. In this paper, we present a novel sketch-based human motion retrieval method via selected 2-dimensional (2D) Geometric Posture Descriptor (2GPD). Specially, we firstly propose a rich 2D pose feature call 2D Geometric Posture Descriptor (2GPD), which is effective in encoding the 2D posture similarity by exploiting the geometric relationships among different human body parts. Since the original 2GPD is of high dimension and redundant, a semi-supervised feature selection algorithm derived from Laplacian Score is then adopted to select the most discriminative feature component of 2GPD as feature representation, and we call it as selected 2GPD. Finally, a posture-by-posture motion retrieval algorithm is used to retrieve a motion sequence by sketching several key postures. Experimental results on CMU human motion database demonstrate the effectiveness of our proposed approach

Sketch-Based Animation Tool for Character Animation Intergrating into a Production Pipeline

Creating appealing character poses can be time-consuming in an animation production pipeline incorporating skeletal-based character rigs. Animators utilize point-and- click input devices such as a mouse and keyboard to manipulate the character pose, rather than interacting intuitively as they would in a hand-drawn medium. This paper describes a sketch-based animation tool integrated into Autodesk Maya, enabling nondestructive and spatially accurate control over the animation of the line of action of arms, legs and spines. The tool provides a faster and more natural method for animators to pose and animate CG characters compared to mouse and keyboard input

Sketch-based skeleton-driven 2D animation and motion capture.

This research is concerned with the development of a set of novel sketch-based skeleton-driven 2D animation techniques, which allow the user to produce realistic 2D character animation efficiently. The technique consists of three parts: sketch-based skeleton-driven 2D animation production, 2D motion capture and a cartoon animation filter. For 2D animation production, the traditional way is drawing the key-frames by experienced animators manually. It is a laborious and time-consuming process. With the proposed techniques, the user only inputs one image ofa character and sketches a skeleton for each subsequent key-frame. The system then deforms the character according to the sketches and produces animation automatically. To perform 2D shape deformation, a variable-length needle model is developed, which divides the deformation into two stages: skeleton driven deformation and nonlinear deformation in joint areas. This approach preserves the local geometric features and global area during animation. Compared with existing 2D shape deformation algorithms, it reduces the computation complexity while still yielding plausible deformation results. To capture the motion of a character from exiting 2D image sequences, a 2D motion capture technique is presented. Since this technique is skeleton-driven, the motion of a 2D character is captured by tracking the joint positions. Using both geometric and visual features, this problem can be solved by ptimization, which prevents self-occlusion and feature disappearance. After tracking, the motion data are retargeted to a new character using the deformation algorithm proposed in the first part. This facilitates the reuse of the characteristics of motion contained in existing moving images, making the process of cartoon generation easy for artists and novices alike. Subsequent to the 2D animation production and motion capture,"Cartoon Animation Filter" is implemented and applied. Following the animation principles, this filter processes two types of cartoon input: a single frame of a cartoon character and motion capture data from an image sequence. It adds anticipation and follow-through to the motion with related squash and stretch effect

Seal Appeal: uma produção audiovisual de animação em 3D para a conscientização sobre a poluição do oceano, modelação 3D e captura de movimento

Desde o final do século XX, as técnicas de animação têm sido amplamente utilizadas em produções, anúncios, filmes, publicidade, efeitos visuais e assim por diante, e se tornaram uma parte indispensá vel do cinema e da televisão. O rápido crescimento da tecnologia e seu impacto em toda a indústria de produção permitiu que as técnicas de animação geradas por computador se tornassem variadas e generalizadas. As técnicas de animação por computador não só economizam trabalho e dinheiro, mas também dão ao produtor a opção de aplicar a técnica em duas dimensões (2D) ou tridimensio nais (3D), dependendo do período de tempo, cenário e conteúdos dados. Existe uma vasta gama de softwares e hardwares disponível tanto para a produção de uma animação 3D como para a captura de movimento, com valores bastante acessíveis ou até mesmo gratuitos que torna a criação pessoal de uma animação tridimensional possível. Assim, neste projeto foi encontrada uma solução acessível para a produção de uma curta-metragem de animação em 3D com o objetivo de conscientizar o pú blico em geral para o problema da poluição do oceano. Foi seguida uma metodologia própria para a realização deste projeto dividida em três fases tais como pré-produção - constituída por idealização, criação de um guião, de um storboard e finalmente, design dos conceitos visuais; produção - onde foi realizada toda a modelação, texturização, rigging e animação; e por último, pós-produção - constituí- da por edição de vídeo, áudio e efeitos visuais 2D. Desde modo, o resultado final do projeto foi uma curta-metragem de animação 3D criada com o uso de ferramentas acessíveis.Since the end of the 20th century, animation techniques have been widely used in productions, ad vertisements, films, advertising, visual effects and so on, and have become an indispensable part of cinema and television. The rapid growth of technology and its impact on the entire production industry has allowed computer-generated animation techniques to become varied and widespread. Computer animation techniques not only save labor and money, but also give the producer the option of applying the technique in two dimensions (2D) or three dimensional (3D), depending on the time period, scenario and content given. There is a wide range of software and hardware available both for the production of a 3D animation and for the capture of motion, with very accessible or even free values that makes the personal creation of a three-dimensional animation possible. Thus, in this project an accessible solu- tion was found for the production of a 3D animation short film with the objective of raising the general public’s awareness of the problem of ocean pollution. A specific methodology was followed to carry out this project, divided into three phases such as pre-production - consisting of idealization, creation of a script, a storboard and finally, design of visual concepts; production - where all modeling, texturing, rigging and animation was carried out; and finally, post-production - consisting of video editing, audio and 2D visual effects. In this way, the final result of the project was a 3D animation short film created using accessible tools

Sketch-based digital storyboards and floor plans for authoring computer-generated film pre-visuals

Pre-visualisation is an important tool for planning films during the pre-production phase of filmmaking. Existing pre-visualisation authoring tools do not effectively support the user in authoring pre-visualisations without impairing software usability. These tools require the user to either have programming skills, be experienced in modelling and animation, or use drag-and-drop style interfaces. These interaction methods do not intuitively fit with pre-production activities such as floor planning and storyboarding, and existing tools that apply a storyboarding metaphor do not automatically interpret user sketches. The goal of this research was to investigate how sketch-based user interfaces and methods from computer vision could be used for supporting pre-visualisation authoring using a storyboarding approach. The requirements for such a sketch-based storyboarding tool were determined from literature and an interview with Triggerfish Animation Studios. A framework was developed to support sketch-based pre-visualisation authoring using a storyboarding approach. Algorithms for describing user sketches, recognising objects and performing pose estimation were designed to automatically interpret user sketches. A proof of concept prototype implementation of this framework was evaluated in order to assess its usability benefit. It was found that the participants could author pre-visualisations effectively, efficiently and easily. The results of the usability evaluation also showed that the participants were satisfied with the overall design and usability of the prototype tool. The positive and negative findings of the evaluation were interpreted and combined with existing heuristics in order to create a set of guidelines for designing similar sketch-based pre-visualisation authoring tools that apply the storyboarding approach. The successful implementation of the proof of concept prototype tool provides practical evidence of the feasibility of sketch-based pre-visualisation authoring. The positive results from the usability evaluation established that sketch-based interfacing techniques can be used effectively with a storyboarding approach for authoring pre-visualisations without impairing software usability

Sketch-based digital storyboards and floor plans for authoring computer-generated film pre-visuals

Pre-visualisation is an important tool for planning films during the pre-production phase of filmmaking. Existing pre-visualisation authoring tools do not effectively support the user in authoring pre-visualisations without impairing software usability. These tools require the user to either have programming skills, be experienced in modelling and animation, or use drag-and-drop style interfaces. These interaction methods do not intuitively fit with pre-production activities such as floor planning and storyboarding, and existing tools that apply a storyboarding metaphor do not automatically interpret user sketches. The goal of this research was to investigate how sketch-based user interfaces and methods from computer vision could be used for supporting pre-visualisation authoring using a storyboarding approach. The requirements for such a sketch-based storyboarding tool were determined from literature and an interview with Triggerfish Animation Studios. A framework was developed to support sketch-based pre-visualisation authoring using a storyboarding approach. Algorithms for describing user sketches, recognising objects and performing pose estimation were designed to automatically interpret user sketches. A proof of concept prototype implementation of this framework was evaluated in order to assess its usability benefit. It was found that the participants could author pre-visualisations effectively, efficiently and easily. The results of the usability evaluation also showed that the participants were satisfied with the overall design and usability of the prototype tool. The positive and negative findings of the evaluation were interpreted and combined with existing heuristics in order to create a set of guidelines for designing similar sketch-based pre-visualisation authoring tools that apply the storyboarding approach. The successful implementation of the proof of concept prototype tool provides practical evidence of the feasibility of sketch-based pre-visualisation authoring. The positive results from the usability evaluation established that sketch-based interfacing techniques can be used effectively with a storyboarding approach for authoring pre-visualisations without impairing software usability