Senescence: An Aging based Character Simulation Framework

The \u27Senescence\u27 framework is a character simulation plug-in for Maya that can be used for rigging and skinning muscle deformer based humanoid characters with support for aging. The framework was developed using Python, Maya Embedded Language and PyQt. The main targeted users for this framework are the Character Technical Directors, Technical Artists, Riggers and Animators from the production pipeline of Visual Effects Studios. The characters that were simulated using \u27Senescence\u27 were studied using a survey to understand how well the intended age was perceived by the audience. The results of the survey could not reject one of our null hypotheses which means that the difference in the simulated age groups of the character is not perceived well by the participants. But, there is a difference in the perception of simulated age in the character between an Animator and a Non-Animator. Therefore, the difference in the simulated character\u27s age was perceived by an untrained audience, but the audience was unable to relate it to a specific age group

Rigging Realistic Skin Deformation with Muscle Systems

Realistic skin deformation is one of the major criteria for creating believable, dig- itally enhanced characters. Muscle simulation is one of the more popular techniques used in filmmaking. It helps bring a sense of realism to the character by adding subtle, secondary motion to the skin. Small features like these make the character appear more lifelike. This thesis focuses on the generation of a character rig and implementation of a digital muscle system for a tiger. The rig is built and animated in Maya and the Maya Muscle tool was used to create the muscle system. The muscle deformations are compared to the standard smooth skinning method in a walk and run animation

Chinchi and Eleanor

I once heard a female animator say that giving birth to her child was easier than making a film. Making an animation is indeed a very long and arduous task. It takes both the craftsmanship of an artist and the skill of a technician. The making of my film, Chinchi and Eleanor, was no different. It is difficult to explain to the average person exactly how a film is made. Every artist has their own practices, some useful and some just old habits. Animators generally keep to a set of methods that were handed down from the animators before them. My film-making process was similar to the way other films were made, but each experience is unique to the artist. Although computer animation is highly technical the film-making process is still very organic. No two people will share the same path. Whether a film is successful or not is really hard to say. I obviously wanted my film to be successful but unlike the fine arts, much of an animation\u27s success is determined by the audience. This can be a disconcerting when your only aim is to please the viewer. It was for this reason I mostly just tried to push my skills to the next level. I wanted to perfect some of my old tried and true techniques as well as create some innovative methods. The idea was to create a pleasing film for others but even if I for some reason fell short, I knew that at least I would have progressed my skill level in the process. As an artist, that is all one can really hope for

Position-Based Skinning for Soft Articulated Characters

Avempace Erasmus Mundus Projec