Animating a cost effective character for an educational production

Animation is a powerful teaching tool. Ideas can be expressed through animation using only a fraction of the time needed with conventional teaching methods [John Halas 1987]. In short, a picture is worth a thousand words. However, educational budgets rarely allow for the expensive time-consuming task that animation entails. This thesis tackles the challenge of creating substantial quality educational animation using limited time, labor and money resources. A National Science Foundation sponsored planetarium show on lightning will be used as a demonstration project to document the techniques employed and results achieved. Anyone interested in reducing costs can reference this thesis for insight on what or what not to implement in their own production process

Animation of a hierarchical image based facial model and perceptual analysis of visual speech

In this Thesis a hierarchical image-based 2D talking head model is presented, together with robust automatic and semi-automatic animation techniques, and a novel perceptual method for evaluating visual-speech based on the McGurk effect. The novelty of the hierarchical facial model stems from the fact that sub-facial areas are modelled individually. To produce a facial animation, animations for a set of chosen facial areas are first produced, either by key-framing sub-facial parameter values, or using a continuous input speech signal, and then combined into a full facial output. Modelling hierarchically has several attractive qualities. It isolates variation in sub-facial regions from the rest of the face, and therefore provides a high degree of control over different facial parts along with meaningful image based animation parameters. The automatic synthesis of animations may be achieved using speech not originally included in the training set. The model is also able to automatically animate pauses, hesitations and non-verbal (or non-speech related) sounds and actions. To automatically produce visual-speech, two novel analysis and synthesis methods are proposed. The first method utilises a Speech-Appearance Model (SAM), and the second uses a Hidden Markov Coarticulation Model (HMCM) - based on a Hidden Markov Model (HMM). To evaluate synthesised animations (irrespective of whether they are rendered semi automatically, or using speech), a new perceptual analysis approach based on the McGurk effect is proposed. This measure provides both an unbiased and quantitative method for evaluating talking head visual speech quality and overall perceptual realism. A combination of this new approach, along with other objective and perceptual evaluation techniques, are employed for a thorough evaluation of hierarchical model animations.EThOS - Electronic Theses Online ServiceGBUnited Kingdo

Animation of a hierarchical image based facial model and perceptual analysis of visual speech

In this Thesis a hierarchical image-based 2D talking head model is presented, together with robust automatic and semi-automatic animation techniques, and a novel perceptual method for evaluating visual-speech based on the McGurk effect. The novelty of the hierarchical facial model stems from the fact that sub-facial areas are modelled individually. To produce a facial animation, animations for a set of chosen facial areas are first produced, either by key-framing sub-facial parameter values, or using a continuous input speech signal, and then combined into a full facial output. Modelling hierarchically has several attractive qualities. It isolates variation in sub-facial regions from the rest of the face, and therefore provides a high degree of control over different facial parts along with meaningful image based animation parameters. The automatic synthesis of animations may be achieved using speech not originally included in the training set. The model is also able to automatically animate pauses, hesitations and non-verbal (or non-speech related) sounds and actions. To automatically produce visual-speech, two novel analysis and synthesis methods are proposed. The first method utilises a Speech-Appearance Model (SAM), and the second uses a Hidden Markov Coarticulation Model (HMCM) - based on a Hidden Markov Model (HMM). To evaluate synthesised animations (irrespective of whether they are rendered semi automatically, or using speech), a new perceptual analysis approach based on the McGurk effect is proposed. This measure provides both an unbiased and quantitative method for evaluating talking head visual speech quality and overall perceptual realism. A combination of this new approach, along with other objective and perceptual evaluation techniques, are employed for a thorough evaluation of hierarchical model animations

Animating observed emotional behaviour: a practice-based investigation comparing three approaches to self-figurative animation

This research explores different animation approaches to rendering observed emotional behaviour, through the creation of an animated artefact. It opens with an introduction to the research and the methodology chosen before progressing to a review of academic and practitioner-based literature associated with observed emotional behaviour. Building upon this foundation of literature, the thesis outlines how the artifact was created with a practice based approach drawn from Haseman’s cycle of creation, feedback, reflection and then creation. The main research question is augmented by a series of contributory questions that explore the research through iterations of animation drawn from a base of live action footage of observed emotional behaviour. These exploratory iterations progress though motion capture, rotoscopy and finally freeform animation. The completed artifact and its findings are explored first though a perception study and then a production study. This thesis is based on the investigation and discourse of observed emotional behaviour surrounding the use of animation, specifically, the direct study of the observation of emotional behaviour through the application of animation as a tool of research. It aims to provide a basis of discussion and contribution to knowledge for animation practitioners, theorists and practitioner-researchers seeking to use less performative and exaggerated forms

South African stop-motion animation from 1980-2005

Abstract A critical history of South African animation that focuses on the use of three-dimensional (3D) stop-motion techniques in South Africa between the years 1980 and 2005, by three stop-motion studios: Klaybow Films, XYZoo, and Triggerfish. The history of these studios, as well as the technical and stylistic elements of the stop-motion they produced, will be discussed in terms of the social, political, economic and technological conditions that existed in South Africa during these years. Through this understanding of context, history, technique and style an attempt will be made to suggest a uniquely South African 3D stop-motion aesthetic

A Cloud-Based Extensible Avatar For Human Robot Interaction

Adding an interactive avatar to a human-robot interface requires the development of tools that animate the avatar so as to simulate an intelligent conversation partner. Here we describe a toolkit that supports interactive avatar modeling for human-computer interaction. The toolkit utilizes cloud-based speech-to-text software that provides active listening, a cloud-based AI to generate appropriate textual responses to user queries, and a cloud-based text-to-speech generation engine to generate utterances for this text. This output is combined with a cloud-based 3D avatar animation synchronized to the spoken response. Generated text responses are embedded within an XML structure that allows for tuning the nature of the avatar animation to simulate different emotional states. An expression package controls the avatar's facial expressions. The introduced rendering latency is obscured through parallel processing and an idle loop process that animates the avatar between utterances. The efficiency of the approach is validated through a formal user study

A tool for using the control of character animation to help teach children communication skills

Effective Communication is an integral part of everyday life but recent studies show that in the UK many children fail to obtain this essential skill. The traditional approach to teaching communication skills is still important in school but new developments and the increasing availability of technology in the classroom, offer the potential for new ways to approach this teaching. A number of research institutions in the UK, for example the British Film Institute, are investigating how to use media such as films and television, in the classroom, in order to enhance children’s learning. Making cartoon films is a potentially valuable teaching approach but the lack of a suitable software tool to support this aspiration limits its viability. Existing software tools do reference the learning of communication skills as one of their features but they do not see this as a major learning objective. The aim of this thesis is to investigate three hypotheses based around the concept of using cartoon animation as a tool to enhance learning of communication. The first of these is that film production software which gives children control of character animation design may significantly stimulate their interest in exploring how to express their feelings. The second is that a correctly designed tool will integrate well into classroom teaching to produce effective learning and finally that the same tool can be used to extend learning of these skills outside the classroom. As a result a software tool has been developed to help children engage with the features of character animation, while learning how to express their feelings through storytelling in films. By using the tool, children experience the major steps of character animation design in filmmaking and in this process, each step is specially designed to fulfil their needs and stimulate them to use emotions. Experiments were carried out both in the classroom and out of school. The result indicated that older primary children had significant engagement in exploring emotional usage on the virtual characters and further analysis revealed children’s engagement was associated with age, social adjustment and computer experience. Moreover, using tool-assisted teaching in the classroom could bring some positive effects which do not exist with conventional teaching. In the out of school testing, around half of the children had positive reactions to accepting parental guidance and some of them (including their parents) had significant engagement in exploring emotional usage

Rigging skeletal perissodactyl and artiodactyl ungulate limbs using analytic inverse kinematic-based solutions for a feature film production environment

The goal of this thesis is to develop and construct a repeatable, scalable, and portable rigging solution for the skeletal limbs of ungulates, maximizing functionality while streamlining intuitive interface controls for a feature film production pipeline. The research presents a methodology for breaking down character reference materials commonly available to feature film productions like artwork, anatomical drawings, photographs, and client provided performance criteria. It then presents a modular methodology and approach for successfully evaluating and applying the character reference to the construction of skeletal limbs using ungulates as the primary example. Each limb is broken down into modules that more easily translate into the digital world. The methodology then further defines how to combine and apply digital rigging tools such as constraints and inverse and forward kinematic techniques in a layered and modular way in order to achieve a robust character rig. The resulting ungulate limb rig provides an efficient, intuitive, and robust solution capable of replicating the given performance criteria as well as an example of a scalable approach applicable to non-ungulates. In application of the repeatable modular approach presented, huge efficiency gains have been realized in feature film production pipelines. Animation studios are under increasing pressure to create larger quantities of work, at higher quality, with shorter timetables, and smaller relative budgets. This methodology successfully meets those criteria