Velocity based controllers for dynamic character animation

Dynamic character animation is a technique used to create character movements based on physics laws. Proportional derivative (PD) controllers are one of the preferred techniques in real time character simulations for driving the state of the character from its current state to a new target-state. In this paper is presented an alternative approach named velocity based controllers that are able to introduce into the dynamical system desired limbs relative velocities as constraints. As a result, the presented technique takes into account all the dynamical system to calculate the forces that transform our character from its current state to the target-state. This technique allows realtime simulation, uses a straightforward parameterization for the character muscle force capabilities and it is robust to disturbances. The paper shows the controllers capabilities for the case of human gait animation.Postprint (published version

Real Time Virtual Humans

The last few years have seen great maturation in the computation speed and control methods needed to portray 3D virtual humans suitable for real interactive applications. Various dimensions of real-time virtual humans are considered, such as appearance and movement, autonomous action, and skills such as gesture, attention, and locomotion. A virtual human architecture includes low level motor skills, mid-level PaT-Net parallel finite-state machine controller, and a high level conceptual action representation that can be used to drive virtual humans through complex tasks. This structure offers a deep connection between natural language instructions and animation control

Adding dynamics to sketch-based character animations

International audienceCartoonists and animators often use lines of action to emphasize dynamics in character poses. In this paper, we propose a physically-based model to simulate the line of action's motion, leading to rich motion from simple drawings. Our proposed method is decomposed into three steps. Based on user-provided strokes, we forward simulate 2D elastic motion. To ensure continuity across keyframes, we re-target the forward simulations to the drawn strokes. Finally, we synthesize a 3D character motion matching the dynamic line. The fact that the line can move freely like an elastic band raises new questions about its relationship to the body over time. The line may move faster and leave body parts behind, or the line may slide slowly towards other body parts for support. We conjecture that the artist seeks to maximize the filling of the line (with the character's body)---while respecting basic realism constraints such as balance. Based on these insights, we provide a method that synthesizes 3D character motion, given discontinuously constrained body parts that are specified by the user at key moments

Motion In-Betweening with Phase Manifolds

This paper introduces a novel data-driven motion in-betweening system to reach target poses of characters by making use of phases variables learned by a Periodic Autoencoder. Our approach utilizes a mixture-of-experts neural network model, in which the phases cluster movements in both space and time with different expert weights. Each generated set of weights then produces a sequence of poses in an autoregressive manner between the current and target state of the character. In addition, to satisfy poses which are manually modified by the animators or where certain end effectors serve as constraints to be reached by the animation, a learned bi-directional control scheme is implemented to satisfy such constraints. The results demonstrate that using phases for motion in-betweening tasks sharpen the interpolated movements, and furthermore stabilizes the learning process. Moreover, using phases for motion in-betweening tasks can also synthesize more challenging movements beyond locomotion behaviors. Additionally, style control is enabled between given target keyframes. Our proposed framework can compete with popular state-of-the-art methods for motion in-betweening in terms of motion quality and generalization, especially in the existence of long transition durations. Our framework contributes to faster prototyping workflows for creating animated character sequences, which is of enormous interest for the game and film industry.Comment: 17 pages, 11 figures, conferenc

Linear Bellman combination for control of character animation

Controllers are necessary for physically-based synthesis of character animation. However, creating controllers requires either manual tuning or expensive computer optimization. We introduce linear Bellman combination as a method for reusing existing controllers. Given a set of controllers for related tasks, this combination creates a controller that performs a new task. It naturally weights the contribution of each component controller by its relevance to the current state and goal of the system. We demonstrate that linear Bellman combination outperforms naive combination often succeeding where naive combination fails. Furthermore, this combination is provably optimal for a new task if the component controllers are also optimal for related tasks. We demonstrate the applicability of linear Bellman combination to interactive character control of stepping motions and acrobatic maneuvers.Singapore-MIT GAMBIT Game LabNational Science Foundation (U.S.) (Grant 2007043041)National Science Foundation (U.S.) (Grant CCF-0810888)Adobe SystemsPixar (Firm

Space-time sketching of character animation

International audienceWe present a space-time abstraction for the sketch-based design of character animation. It allows animators to draft a full coordinated motion using a single stroke called the space-time curve (STC). From the STC we compute a dynamic line of action (DLOA) that drives the motion of a 3D character through projective constraints. Our dynamic models for the line's motion are entirely geometric, require no pre-existing data, and allow full artistic control. The resulting DLOA can be refined by over-sketching strokes along the space-time curve, or by composing another DLOA on top leading to control over complex motions with few strokes. Additionally , the resulting dynamic line of action can be applied to arbitrary body parts or characters. To match a 3D character to the 2D line over time, we introduce a robust matching algorithm based on closed-form solutions, yielding a tight match while allowing squash and stretch of the character's skeleton. Our experiments show that space-time sketching has the potential of bringing animation design within the reach of beginners while saving time for skilled artists

Interactive simulation of stylized human locomotion

Animating natural human motion in dynamic environments is difficult because of complex geometric and physical interactions. Simulation provides an automatic solution to parts of this problem, but it needs control systems to produce lifelike motions. This paper describes the systematic computation of controllers that can reproduce a range of locomotion styles in interactive simulations. Given a reference motion that describes the desired style, a derived control system can reproduce that style in simulation and in new environments. Because it produces high-quality motions that are both geometrically and physically consistent with simulated surroundings, interactive animation systems could begin to use this approach along with more established kinematic methods.Singapore-MIT GAMBIT Game LabNational Science Foundation (U.S.) (Fellowship 2007043041)Pixar (Firm

Real Time Animation of Virtual Humans: A Trade-off Between Naturalness and Control

Virtual humans are employed in many interactive applications using 3D virtual environments, including (serious) games. The motion of such virtual humans should look realistic (or ‘natural’) and allow interaction with the surroundings and other (virtual) humans. Current animation techniques differ in the trade-off they offer between motion naturalness and the control that can be exerted over the motion. We show mechanisms to parametrize, combine (on different body parts) and concatenate motions generated by different animation techniques. We discuss several aspects of motion naturalness and show how it can be evaluated. We conclude by showing the promise of combinations of different animation paradigms to enhance both naturalness and control