A sketch-based gesture interface for rough 3D stick figure animation

This paper introduces a novel gesture interface for sketching out rough 3D stick figure animation. This interface can allow users to draw stick figures with the system automatic assistance in figure proportion control. Given a 2D hand-drawn stick figure under a parallel view, there is a challenge to reconstruct a unique 3D pose from a set of candidates. Our system utilizes figure perspective rendering, and introduces the concept of ‘thickness contrast’ as a sketch gesture combined with some other constraints/assumptions for pose recovery. The resulting pose can be further corrected, based on physical constraints of human body. Once obtaining a series of 3D stick figure poses, user can easily sketch out motion paths and timing, and add their preferable sound/background. The resulting 3D animation can be automatically synthesized in VRML. This system has been tested on a variety of input devices: electric whiteboard, tablet PC, as well as a standard mouse

Sketch-based virtual human modelling and animation

Animated virtual humans created by skilled artists play a remarkable role in today’s public entertainment. However, ordinary users are still treated as audiences due to the lack of appropriate expertise, equipment, and computer skills. We developed a new method and a novel sketching interface, which enable anyone who can draw to “sketch-out” 3D virtual humans and animation. We devised a “Stick FigureFleshing-outSkin Mapping” graphical pipeline, which decomposes the complexity of figure drawing and considerably boosts the modelling and animation efficiency. We developed a gesture-based method for 3D pose reconstruction from 2D stick figure drawings. We investigated a “Creative Model-based Method”, which performs a human perception process to transfer users’ 2D freehand sketches into 3D human bodies of various body sizes, shapes and fat distributions. Our current system supports character animation in various forms including articulated figure animation, 3D mesh model animation, and 2D contour/NPR animation with personalised drawing styles. Moreover, this interface also supports sketch-based crowd animation and 2D storyboarding of 3D multiple character interactions. A preliminary user study was conducted to support the overall system design. Our system has been formally tested by various users on Tablet PC. After minimal training, even a beginner can create vivid virtual humans and animate them within minutes

Sketching-out virtual humans: A smart interface for human modelling and animation

In this paper, we present a fast and intuitive interface for sketching out 3D virtual humans and animation. The user draws stick figure key frames first and chooses one for “fleshing-out” with freehand body contours. The system automatically constructs a plausible 3D skin surface from the rendered figure, and maps it onto the posed stick figures to produce the 3D character animation. A “creative model-based method” is developed, which performs a human perception process to generate 3D human bodies of various body sizes, shapes and fat distributions. In this approach, an anatomical 3D generic model has been created with three distinct layers: skeleton, fat tissue, and skin. It can be transformed sequentially through rigid morphing, fatness morphing, and surface fitting to match the original 2D sketch. An auto-beautification function is also offered to regularise the 3D asymmetrical bodies from users’ imperfect figure sketches. Our current system delivers character animation in various forms, including articulated figure animation, 3D mesh model animation, 2D contour figure animation, and even 2D NPR animation with personalised drawing styles. The system has been formally tested by various users on Tablet PC. After minimal training, even a beginner can create vivid virtual humans and animate them within minutes

Sketching-out virtual humans: From 2d storyboarding to immediate 3d character animation

Virtual beings are playing a remarkable role in today’s public entertainment, while ordinary users are still treated as audiences due to the lack of appropriate expertise, equipment, and computer skills. In this paper, we present a fast and intuitive storyboarding interface, which enables users to sketch-out 3D virtual humans, 2D/3D animations, and character intercommunication. We devised an intuitive “stick figurefleshing-outskin mapping” graphical animation pipeline, which realises the whole process of key framing, 3D pose reconstruction, virtual human modelling, motion path/timing control, and the final animation synthesis by almost pure 2D sketching. A “creative model-based method” is developed, which emulates a human perception process, to generate the 3D human bodies of variational sizes, shapes, and fat distributions. Meanwhile, our current system also supports the sketch-based crowd animation and the storyboarding of the 3D multiple character intercommunication. This system has been formally tested by various users on Tablet PC. After minimal training, even a beginner can create vivid virtual humans and animate them within minutes

Sketch2Pose : estimating a 3D character pose from a bitmap sketch

Artists frequently capture character poses via raster sketches, then use these drawings as a reference while posing a 3D character in a specialized 3D software --- a time-consuming process, requiring specialized 3D training and mental effort. We tackle this challenge by proposing the first system for automatically inferring a 3D character pose from a single bitmap sketch, producing poses consistent with viewer expectations. Algorithmically interpreting bitmap sketches is challenging, as they contain significantly distorted proportions and foreshortening. We address this by predicting three key elements of a drawing, necessary to disambiguate the drawn poses: 2D bone tangents, self-contacts, and bone foreshortening. These elements are then leveraged in an optimization inferring the 3D character pose consistent with the artist's intent. Our optimization balances cues derived from artistic literature and perception research to compensate for distorted character proportions. We demonstrate a gallery of results on sketches of numerous styles. We validate our method via numerical evaluations, user studies, and comparisons to manually posed characters and previous work

The Line of Action: an Intuitive Interface for Expressive Character Posing

International audienceThe line of action is a conceptual tool often used by cartoonists and illustrators to help make their figures more consistent and more dramatic. We often see the expression of characters--may it be the dynamism of a super hero, or the elegance of a fashion model--well captured and amplified by a single aesthetic line. Usually this line is laid down in early stages of the drawing and used to describe the body's principal shape. By focusing on this simple abstraction, the person drawing can quickly adjust and refine the overall pose of his or her character from a given viewpoint. In this paper, we propose a mathematical definition of the line of action (LOA), which allows us to automatically align a 3D virtual character to a user specified LOA by solving an optimization problem. We generalize this framework to other types of lines found in the drawing literature, such as secondary lines used to place arms. Finally, we show a wide range of poses and animations that were rapidly created using our system

Freeform User Interfaces for Graphical Computing

報告番号: 甲15222 ; 学位授与年月日: 2000-03-29 ; 学位の種別: 課程博士 ; 学位の種類: 博士(工学) ; 学位記番号: 博工第4717号 ; 研究科・専攻: 工学系研究科情報工学専

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