247,080 research outputs found
An Animation Framework for Continuous Interaction with Reactive Virtual Humans
We present a complete framework for animation of Reactive Virtual Humans that offers a mixed animation paradigm: control of different body parts switches between keyframe animation, procedural animation and physical simulation, depending on the requirements of the moment. This framework implements novel techniques to support real-time continuous interaction. It is demonstrated on our interactive Virtual Conductor
Getting the message across : ten principles for web animation
The growing use of animation in Web pages testifies to the increasing ease with which such multimedia components can be created. This trend indicates a commitment to animation that is often unmatched by the skill of the implementers. The present paper details a set of ten commandments for web animation, intending to sensitise budding animators to key aspects that may impair the communicational effectiveness of their animation. These guidelines are drawn from an extensive literature survey coloured by personal experience of using Web animation packages. Our ten principles are further elucidated by a Web-based on-line tutorial
Improving Listening and Speaking Skills by Using Animation Videos and Discussion Method
Listening and speaking are the important skills that have to be mastered by the students. By having these skills, the students can communicate with others easily. There are many strategies that can be used to teach listening and speaking skills. One of the strategies is by using animation videos. Many students of all ages still like watching animation videos for they are interesting. Animation videos can help the students more understand because they present visual context aids that assist the students comprehend and improve their learning skills. Animation videos can be integrated with discussion method. This paper aims at providing required information about the advantages of animation videos and how to use them in the teaching and learning English activity
A Platform Independent Architecture for Virtual Characters and Avatars
We have developed a Platform Independent Architecture for Virtual Characters and Avatars (PIAVCA), a character animation system that aims to be independent of any underlying graphics framework and so be easily portable. PIAVCA supports body animation based on a skeletal representation and facial animation based on morph targets
Sketch-based virtual human modelling and animation
Animated virtual humans created by skilled artists play a remarkable role in todayâs 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 âsketch-outâ 3D virtual humans and animation.
We devised a âStick FigureFleshing-outSkin Mappingâ 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 âCreative Model-based Methodâ, which performs a human perception process to transfer usersâ 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 âfleshing-outâ 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
âcreative model-based methodâ 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 usersâ 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
In Godâs Land: Cinematic Affect, Animation and the Perceptual Dilemmas of Slow Violence
In this paper, I argue that Indian independent filmmaker Pankaj Rishi Kumar\u27s documentary In Godâs Land (2012) blends animation and live-action to illuminate the destructive nuances of postcolonial literary scholar, Rob Nixon\u27s notion of slow violence. In turning to cinema, I also suggest that In Godâs Landâs âaesthetic strategiesâ further eco-film scholarshipâs recent interests in animation, which have tended to highlight the mode\u27s feel good affect. I draw attention to In God\u27s Land\u27s hybrid of dark, discordant animation spectacle interspliced in the documentary live-action to articulate the potential of eco-animation outside of this affect. Ultimately, the film not only draws attention to animationâs non-playful affectâits potentials and dilemmas, but I also suggest that reading such a film adds postcolonial understandings of cinema beyond the Western/Japanese center on with eco-animation scholars have so far focused
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