Hierarchical Motion Brushes for Animation Instancing

International audienceOur work on "motion brushes" provides a new workflow for the creation and reuse of 3D animation with a focus on stylized movement and depiction. Conceptually, motion brushes expand existing brush models by incorporating hierarchies of 3D animated content including geometry, appearance information, and motion data as core brush primitives that are instantiated using a painting interface. Because motion brushes can encompass all the richness of detail and movement offered by animation software, they accommodate complex, varied effects that are not easily created by other means. To support reuse and provide an effective means for managing complexity, we propose a hierarchical representation that allows simple brushes to be combined into more complex ones. Our system provides stroke-based control over motion-brush parameters, including tools to effectively manage the temporal nature of the motion brush instances. We demonstrate the flexibility and richness of our system with motion brushes for splashing rain, footsteps appearing in the snow, and stylized visual effects

3DCGキャラクタの表現の改善法と実時間操作に関する研究

早大学位記番号:新8176早稲田大

Literacy for digital futures : Mind, body, text

The unprecedented rate of global, technological, and societal change calls for a radical, new understanding of literacy. This book offers a nuanced framework for making sense of literacy by addressing knowledge as contextualised, embodied, multimodal, and digitally mediated. In today’s world of technological breakthroughs, social shifts, and rapid changes to the educational landscape, literacy can no longer be understood through established curriculum and static text structures. To prepare teachers, scholars, and researchers for the digital future, the book is organised around three themes – Mind and Materiality; Body and Senses; and Texts and Digital Semiotics – to shape readers’ understanding of literacy. Opening up new interdisciplinary themes, Mills, Unsworth, and Scholes confront emerging issues for next-generation digital literacy practices. The volume helps new and established researchers rethink dynamic changes in the materiality of texts and their implications for the mind and body, and features recommendations for educational and professional practice

1001stories+: An effective and affordable multi-media, multi-format communication framework for cultural heritage institutions

Over the last decade, there has been an increasing number of technologies and devices (including smartphones, tablets and alike) able to provide new perspectives for the use of multimedia applications in the field of Cultural Heritage. This work arises from the interest in providing better authoring/delivery possibilities to cultural heritage institutions (small and medium sized in particular). Indeed, often medium and small sized museums do not have the necessary resources to create high quality multimedia productions. Not only have they faced short time and low budget, but a shortage of dedicated staff. Based on an interdisciplinary approach, this thesis focuses on the development of an effective and affordable multi-media, multi-format communication framework. The framework provides institutions with guidelines and methodologies and it is based on an innovative authoring tools (not developed in this thesis, but available). Specific concerns of the framework are: developing multimedia content within a short time span, developing multimedia content with a limited, low-budget, adapting multimedia content to different technologies and to different user experiences, making possible to “reuse multimedia content” (e.g. from websites, to audio guides, to multimedia guides, to YouTube or to paper brochures) This research has been conducted throughout parallel and intertwined processes, requiring a take of perspective. One the one hand, a general investigation (about multimedia formats, technologies and methodologies for production) has been conducted. On the other hand, an empirical work on real-life multimedia productions has been undergone. Indeed, the merging of theoretical knowledge and real fieldwork remains the main characteristic of this study’s methodological approach and of its strength. Its overall result is a fully developed framework (named 1001stories +), providing: multi-media, content information is presented throughout different media, including images, text, audio, and video; effective, the content can have the desired impact on the audience; affordable, content can be created in a short time, within low budget, and can be reused; multi-technology, content is available on different channels (web, smart phones, tablets, You tube, etc…); multi-format, content can be reorganized into various solutions, generating different formats for different user experiences. A more conceptual contribution of this thesis is about consideration of what communication in the Cultural Heritage domain is about, what its purposes are, and what the most appropriate means to reach the potential audience may be

Analysis of Visualisation and Interaction Tools Authors

This document provides an in-depth analysis of visualization and interaction tools employed in the context of Virtual Museum. This analysis is required to identify and design the tools and the different components that will be part of the Common Implementation Framework (CIF). The CIF will be the base of the web-based services and tools to support the development of Virtual Museums with particular attention to online Virtual Museum.The main goal is to provide to the stakeholders and developers an useful platform to support and help them in the development of their projects, despite the nature of the project itself. The design of the Common Implementation Framework (CIF) is based on an analysis of the typical workflow ofthe V-MUST partners and their perceived limitations of current technologies. This document is based also on the results of the V-MUST technical questionnaire (presented in the Deliverable 4.1). Based on these two source of information, we have selected some important tools (mainly visualization tools) and services and we elaborate some first guidelines and ideas for the design and development of the CIF, that shall provide a technological foundation for the V-MUST Platform, together with the V-MUST repository/repositories and the additional services defined in the WP4. Two state of the art reports, one about user interface design and another one about visualization technologies have been also provided in this document

Painterly interfaces for audiovisual performance

Thesis (S.M.)--Massachusetts Institute of Technology, Program in Media Arts & Sciences, 2000.Includes bibliographical references (p. 145-149).This thesis presents a new computer interface metaphor for the real-time and simultaneous performance of dynamic imagery and sound. This metaphor is based on the idea of an inexhaustible, infinitely variable, time-based, audiovisual "substance" which can be gesturally created, deposited, manipulated and deleted in a free-form, non-diagrammatic image space. The interface metaphor is exemplified by five interactive audiovisual synthesis systems whose visual and aural dimensions are deeply plastic, commensurately malleable, and tightly connected by perceptually- motivated mappings. The principles, patterns and challenges which structured the design of these five software systems are extracted and discussed, after which the expressive capacities of the five systems are compared and evaluated.Golan Levin.S.M

Real-time Cinematic Design Of Visual Aspects In Computer-generated Images

Creation of visually-pleasing images has always been one of the main goals of computer graphics. Two important components are necessary to achieve this goal --- artists who design visual aspects of an image (such as materials or lighting) and sophisticated algorithms that render the image. Traditionally, rendering has been of greater interest to researchers, while the design part has always been deemed as secondary. This has led to many inefficiencies, as artists, in order to create a stunning image, are often forced to resort to the traditional, creativity-baring, pipelines consisting of repeated rendering and parameter tweaking. Our work shifts the attention away from the rendering problem and focuses on the design. We propose to combine non-physical editing with real-time feedback and provide artists with efficient ways of designing complex visual aspects such as global illumination or all-frequency shadows. We conform to existing pipelines by inserting our editing components into existing stages, hereby making editing of visual aspects an inherent part of the design process. Many of the examples showed in this work have been, until now, extremely hard to achieve. The non-physical aspect of our work enables artists to express themselves in more creative ways, not limited by the physical parameters of current renderers. Real-time feedback allows artists to immediately see the effects of applied modifications and compatibility with existing workflows enables easy integration of our algorithms into production pipelines

Animation and Improvisation

This paper is a discussion of the research I have undertaken in developing a process of audio-visual composition based in the methodologies of ‘direct animation’ and musical improvisation. The central thesis project is Improvisation no. 1: Cumulative Loops, a work that might be described as audio-visual music, consisting of hand-drawn image sequences and music generated together in a cumulative and improvisatory process. Additional studio works related to this thesis include Bagirmi Beat, a sound composition achieved through frame-by-frame mark-making on the optical track of film, and nine experimental Motion Studies that investigate the audio-visual relationship between hand drawn animation and sound. Innovations emerging from my studio experiments include the pantographic brush array and an accompanying system of paper ‘filmstrips’. While all of the works incorporate these analog tools and materials, they are essentially digital media, made with and presented on computers, speakers and video displays. Speaking to the convergence of visual art and music in digital media and the possibilities for an individual artist therein, the works invite the viewer-listener to consider the place of materiality and the hand-made in the digital age. My methodology is based upon the notion that the fundamental correlation between image and sound is time. Arbitrary transpositions between, for example, pitch and color are less important than establishing in my mark-making process the conditions under which a musician might improvise. These conditions and the activities engaged with therein become the primary work while the resulting media ‘objects’ remain as testaments to the act of improvisation. Through the production and discussion of these works I address the importance of drawing in the ontology of animation and I explain the significance of human gesture, mark making and empathy in my practice. Referencing contemporary philosophical thought in the emerging area of improvisation studies, I position my audio-visual compositions within the idiomatic traditions of jazz music. Navigating the contradictions between pre-determination, spontaneity, chance and control, I present a body of work that speaks to the apparent paradox of improvisation in animation

Et Cetera

Et Cetera is woven together with five works that are essentially five bodies of writings as digital poetry -- a poetic practice that is made possible by digital media and technology in which aesthetic possibilities are extended through the semantic impact of data, alphabets, visuals, sound, etc. Interlaced by multimedial meaning-making, Et Cetera re(produces) installations that are engineered with algorithmic materials utilizing real-time data feeds, animated letterforms, performative instructions and sensory synthesis. Exploring different scenarios of human-machine coupling that consequently lead to multifarious illegibilities, Et Cetera amplifies the noise of information overflow in the concurrent mediascape with its rhizomatic networks largely beyond human conscious apprehension. On the B-side, Et Cetera is also involved with writing about the alphabetic writing apparatus, the role of artist as author as human-machine-centaur and networked subjectivity