The Evolution of Stop-motion Animation Technique Through 120 Years of Technological Innovations

Stop-motion animation history has been put on paper by several scholars and practitioners who tried to organize 120 years of technological innovations and material experiments dealing with a huge literature. Bruce Holman (1975), Neil Pettigrew (1999), Ken Priebe (2010), Stefano Bessoni (2014), and more recently Adrián Encinas Salamanca (2017), provided the most detailed even tough partial attempts of systematization, and designed historical reconstructions by considering specific periods of time, film lengths or the use of stop-motion as special effect rather than an animation technique. This article provides another partial historical reconstruction of the evolution of stop-motion and outlines the main events that occurred in the development of this technique, following criteria based on the innovations in the technology of materials and manufacturing processes that have influenced the fabrication of puppets until the present day. The systematization follows a chronological order and takes into account events that changed the technique of a puppets’ manufacturing process as a consequence of the use of either new fabrication processes or materials. Starting from the accident that made the French film-pioneer Georges Méliès discover the trick of the replacement technique at the end of the nineteenth century, the reconstruction goes through 120 years of experiments and films. “Build up” puppets fabricated by the Russian puppet animator Ladislaw Starevicz with insect exoskeletons, the use of clay puppets and the innovations introduced by LAIKA entertainment in the last decade such as Stereoscopic photography and the 3D computer printed replacement pieces, and then the increasing influence of digital technologies in the process of puppet fabrication are some of the main considered events. Technology transfers, new materials’ features, innovations in the way of animating puppets, are the main aspects through which this historical analysis approaches the previously mentioned events. This short analysis is supposed to remind and demonstrate that stop-motion animation is an interdisciplinary occasion of both artistic expression and technological experimentation, and that its evolution and aesthetic is related to cultural, geographical and technological issues. Lastly, if the technology of materials and processes is a constantly evolving field, what future can be expected for this cinematographic technique? The article ends with this open question and without providing an answer it implicitly states the role of stop-motion as a driving force for innovations that come from other fields and are incentivized by the needs of this specific sector

Modelling Reactive Multimedia: Design and Authoring

Multimedia document authoring is a multifaceted activity, and authoring tools tend to concentrate on a restricted set of the activities involved in the creation of a multimedia artifact. In particular, a distinction may be drawn between the design and the implementation of a multimedia artifact. This paper presents a comparison of three different authoring paradigms, based on the common case study of a simple interactive animation. We present details of its implementation using the three different authoring tools, MCF, Fran and SMIL 2.0, and we discuss the conclusions that may be drawn from our comparison of the three approaches

Feeling crowded yet?: Crowd simulations for VR

With advances in virtual reality technology and its multiple applications, the need for believable, immersive virtual environments is increasing. Even though current computer graphics methods allow us to develop highly realistic virtual worlds, the main element failing to enhance presence is autonomous groups of human inhabitants. A great number of crowd simulation techniques have emerged in the last decade, but critical details in the crowd's movements and appearance do not meet the standards necessary to convince VR participants that they are present in a real crowd. In this paper, we review recent advances in the creation of immersive virtual crowds and discuss areas that require further work to turn these simulations into more fully immersive and believable experiences.Peer ReviewedPostprint (author's final draft

Relating Objective and Subjective Performance Measures for AAM-based Visual Speech Synthesizers

We compare two approaches for synthesizing visual speech using Active Appearance Models (AAMs): one that utilizes acoustic features as input, and one that utilizes a phonetic transcription as input. Both synthesizers are trained using the same data and the performance is measured using both objective and subjective testing. We investigate the impact of likely sources of error in the synthesized visual speech by introducing typical errors into real visual speech sequences and subjectively measuring the perceived degradation. When only a small region (e.g. a single syllable) of ground-truth visual speech is incorrect we find that the subjective score for the entire sequence is subjectively lower than sequences generated by our synthesizers. This observation motivates further consideration of an often ignored issue, which is to what extent are subjective measures correlated with objective measures of performance? Significantly, we find that the most commonly used objective measures of performance are not necessarily the best indicator of viewer perception of quality. We empirically evaluate alternatives and show that the cost of a dynamic time warp of synthesized visual speech parameters to the respective ground-truth parameters is a better indicator of subjective quality

Modeling the Speed and Timing of American Sign Language to Generate Realistic Animations

While there are many Deaf or Hard of Hearing (DHH) individuals with excellent reading literacy, there are also some DHH individuals who have lower English literacy. American Sign Language (ASL) is not simply a method of representing English sentences. It is possible for an individual to be fluent in ASL, while having limited fluency in English. To overcome this barrier, we aim to make it easier to generate ASL animations for websites, through the use of motion-capture data recorded from human signers to build different predictive models for ASL animations; our goal is to automate this aspect of animation synthesis to create realistic animations. This dissertation consists of several parts: Part I, defines key terminology for timing and speed parameters, and surveys literature on prior linguistic and computational research on ASL. Next, the motion-capture data that our lab recorded from human signers is discussed, and details are provided about how we enhanced this corpus to make it useful for speed and timing research. Finally, we present the process of adding layers of linguistic annotation and processing this data for speed and timing research. Part II presents our research on data-driven predictive models for various speed and timing parameters of ASL animations. The focus is on predicting the (1) existence of pauses after each ASL sign, (2) predicting the time duration of these pauses, and (3) predicting the change of speed for each ASL sign within a sentence. We measure the quality of the proposed models by comparing our models with state-of-the-art rule-based models. Furthermore, using these models, we synthesized ASL animation stimuli and conducted a user-based evaluation with DHH individuals to measure the usability of the resulting animation. Finally, Part III presents research on whether the timing parameters individuals prefer for animation may differ from those in recordings of human signers. Furthermore, it also includes research to investigate the distribution of acceleration curves in recordings of human signers and whether utilizing a similar set of curves in ASL animations leads to measurable improvements in DHH users\u27 perception of animation quality