Sutradara otonom pada penempatan kamera virtual berbasis constraint optimization

Abstrak : Camera animation atau menganimasikan kamera merupakan sebuah teknik animasi lanjut yang secara teknis adalah menggerakkan kamera untuk membuat animasi terlihat lebih dinamis. Salah satu cara untuk menentukan shot dalam lingkungan 3D pada teknik camera animation ini, digunakan pendekatan constraint-based. Sistem yang dikembangkan untuk menentukan shot masih perlu dilengkapi dengan visualisasi berdasarkan narasi sinematografi. Dalam penelitian ini, penulis akan menciptakan animasi berbasis permainan 3D dengan mengembangkan SVC ( Smart Virtual Camera ) melalui pendekatan constraint yang menggunakan referensi sesuai dengan Database komponen shot yang meliputi pergerakan, aksi, dan lingkungan. Sehingga menghasilkan animasi yang dapat memberikan visualisasi terhadap konsep yang akan disampaikan. Hasil Penelitian ini menunjukan bahwa, 83,33% shot yang dihasilkan dari pengujian yang telah dilakukan dapat dibangkitkan dengan waktu pencarian (pembangkitan kontrol kamera virtual) kurang dari batas waktu maksimal yang ditentukan, yaitu kurang dari 34,4 milisecond Abstrak: Camera animation is an animation technique that involves moving the camera to make the animation move more dynamically. One of the ways to determine the shot in a 3D environment is to use a constraint-based theory. The system developed for determining shots still needs to be equipped with visualizations based on cinematographic narration. In this study, the author will create an animation based on 3D games by developing SVC (Smart Virtual Camera) through theory constraint which uses references from the shot component database which includes movement, action, and environment. The result of this research is that animation can provide a visualization of the concept to be delivered. The results of this study indicate that 83.33% of the shots produced from the tests that have been carried out can be generated with a search time (generating virtual camera control) less than the maximum specified time limit, which is less than 34.4 milliseconds. Abstrak: الرسوم املتحركة للكامري ا أو الرسوم املتحركة للكامريا هي تقنية رسوم متحركة متقدمة تتضمن اً تقني حتريك الكامريا جلعل الرسوم املتحركة تبدو أكثر ديناميكية. تتمثل إحدى طرق حتديد اللقطة يف بيئة ثالثية األبعاد يف تقنية الرسوم املتحركة للكامريا يف استخدام هنج قائم على القيد. ال يزال النظام الذي مت تطويره لتحديد اللقطات حباجة إىل أن يكون ا ً مزود مبرئيات قائمة على السرد السينمائي. يف هذه الدراسة ، سيقوم املؤلف إبنشاء رسوم متحركة مبنية على لعبة ثالثية األبعاد من خالل تطوير SVC( الكامريا االفرتاضية الذكية( من خالل هنج القيد الذي يستخدم املراجع اًوفق لقاعدة بياانت مكوانت اللقطة اليت تتضمن احلركة واحلركة والبيئة. وذلك إلنتاج الرسوم املتحركة اليت ميكن أن توفر ا ًتصور للمفهوم الذي سيتم تسليمه. تشري نتائج هذه الدراسة إىل أنه ميكن توليد 33.83 ٪من اللقطات الناجتة عن االختبارات اليت مت إجراؤها بوقت حبث )توليد التحكم ابلكامريا االفرتاضية( أقل من احلد األقصى للوقت احملدد ، والذي يقل عن 4.34 مللي اثنية

Project knole: an autocosmic approach to authoring resonant computational characters

Project knole, consisting of this thesis and a mixed reality installation artwork centred around a computational simulation, is a practice-based response to the question of how a character in a work of computational narrative art might maintain their defining quality of dynamic agency within a system (arguably one of the key potentials of the form), while achieving the ‘resonant’ qualities of characters in more materially-static artforms. In all aspects of this project, I explore a new design philosophy for achieving this balance; between the authorship of a procedural computational system, and the ability of that system to ‘resonate’ with the imagination of an audience. This philosophy, which I term the ‘autocosmic’, seeks inspiration for the curation of audience response outside the obvious boundaries of artistic discipline, across the wider spectrum of human imaginative engagement; examples often drawn from mostly non-aesthetic domains. As well as defining the terms ‘resonance’ and ‘autocosmic’, and delineating my methodology more generally, this thesis demonstrates how the ‘autocosmic’ was employed within my creative work. In particular, it shows how some of the perennial problems of computational character development might be mediated by exploring other non-aesthetic examples of imaginative, narrative engagement with personified systems. In the context of this project, such examples come from the historio-cultural relationship between human beings and the environments they inhabit, outside of formal artistic practice. From this ‘autocosmic’ launchpad, I have developed an artwork that starts to explore how this rich cultural and biological lineage of human social engagement with systemic place can be applied fruitfully to the development of a ‘resonant’ computational character

Constraint-based facial animation

Constraints have been traditionally used for computer animation applications to define side conditions for generating synthesized motion according to a standard, usually physically realistic, set of motion equations. The case of facial animation is very different, as no set of motion equations for facial expressions is available. In this paper we discuss a facial animation editor, which uses numerical constraints for two roles: to declare the mimic repertoire of synthetic faces and other requirements a facial animation has to meet, and to aid the animator in the process of composing a specific animation fulfilling the requirements. The editor is thus also a `motion sculpturing` tool, which lifts the task of creating facial animation from the control data manipulation level to the conceptual design level. The major aid of the editor is to repair inconsistencies due to changes made by the user, and revise changes for which no good repair is possible. Also, reuse of constrained animations, especially expressions, is supported. The main machinery behind these services is interval propagation, which, if using certain type of linear inequalities to express the character- as well as the animation-specific requirements, can produce quickly the interval of feasible values for each control variable. If a solution (usually, repair) has to be produced, it is generated by selecting the best one from a restricted set of acceptable solutions, based on user-defined or automatically generated criteria for the choices

FESINC: Facial Expression Sculpturing with INterval Constraints

The animation of synthetic faces is still a low-level process requiring much human expertise and hw/sw resources. The constraint-based facial animation editor system, FESINC, provides two kinds of support: allows the a-priory, declarative definition of dynamical expressions and requirements, and assures that while making the animation, these requirements are fulfilled. The novelty of the approach is that it makes possible the intensional definition and manipulation of (facial) animations

FESINC: Facial Expression Sculpturing with INterval Constraints

The animation of synthetic faces is still a low-level process requiring much human expertise and hw/sw resources. The constraint-based facial animation editor system, FESINC, provides two kinds of support: allows the a-priory, declarative definition of dynamical expressions and requirements, and assures that while making the animation, these requirements are fulfilled. The novelty of the approach is that it makes possible the intensional definition and manipulation of (facial) animations