Performance timing for keyframe animation

This thesis presents a novel technique for retiming keyframe-based animation. We call our approach Performance Timing. Keyframing is a standard technique for generating computer animation that typically requires artistic ability and a set of skills for the software package being used. From our experience observing novice animators and their work, it appears that setting keyframe values is straightforward, while specifying the keyframe timing is difficult and often time-consuming. The goal of this thesis was to address the needs of the novice animator who is not necessarily artistically skilled or familiar with keyframing interfaces. Performance timing allows novice users to time keyframes using gestures without changing the motion itself. The user acts out the timing information in a 2D environment, namely with an input device such as the mouse. The user's actions are then analyzed for feature points that can be correlated to the original motion, and the timing is mapped to the motion based on those features. We present both quantitative and qualitative results from our user studies with over 20 subjects

Perancangan Animasi 3D “Rahmat Allah yang Terindah” dengan Menerapkan Metode Keyframe

3D animation is one of the applications of computer graphics. 3D animated films can be used as learning media to convey messages. In its implementations, there are still many 3D animated films that produce stiff and unrealistic movements. This is because there are deficiencies in the animation process. This problem is the background of this research. The goal to be achieved is to find the right method to produce animated movements that are not rigid so that they can convey the message well. The theme of this is islamic and mother love. The method used in the animating process is the keyframe method; method of making 3D animation that starts from one point to another until it becomes a unified visualization of object images. The design of 3D animation is done using blender software and is carried out in 8 stages, namely determining story design, storyboarding, character modeling, texturing, rigging, animating, rendering, and editing. This research produces a mp4 formatted 3D animated film with a duration of 90 seconds. The keyframing method is also proven to be effective and easy to apply to produce smooth animation movements if the interpolated value is reduced.Animasi 3D merupakan salah satu penerapan ilmu grafika komputer. Film animasi 3D dapat digunakan sebagai media pembelajaran untuk menyampaikan pesan. Dalam perancangannya, masih banyak film animasi 3D yang menghasilkan gerakan kaku dan tidak realistis. Hal ini disebabkan karena terdapat kekurangan pada proses animating. Masalah tersebut melatarbelakangi penelitian ini. Tujuan yang ingin dicapai adalah menemukan metode yang tepat guna menghasilkan gerakan animasi yang tidak kaku sehingga dapat menyampaikan pesan dengan baik. Penelitian ini mengangkat tema islami dan kasih sayang ibu. Metode yang digunakan dalam proses animating adalah metode keyframe; metode pembuatan animasi 3D yang dimulai dari satu point ke point lainnya hingga menjadi satu kesatuan visualisasi gambar object. Perancangan animasi 3D dilakukan menggunakan software blender dan dilakukan dalam 8 tahap yaitu penentuan desain cerita, penggambaran storyboard, character modelling, texturing, rigging, animating, rendering, dan editing. Penelitian ini menghasilkan film animasi 3D yang berdurasi 90 detik dalam format mp4. Metode keyframing juga terbukti efektif dan mudah diterapkan untuk menghasilkan gerakan animasi yang halus jika interpolated value nya diperkecil

How I Animate: A Hand Gesture-Centric Technique

The complexity of movement requires detailed observation imagining continuous real‐time movement into fragmented keyframes that are used to construct movement in 3D computer animation. Although movement is the key element underpin every animation, however, animation remains blunt and movement merely a movement without imbuing the aesthetic of timing.We propose a novel approach to animation techniques based on hand gesture movement using motion sensing controller, Leap Motion. We investigate the depiction of timing of movement through a motion sensing device that detects hand/finger movements and gestures in midair

Guided Time Warping for Motion Editing

Time warping allows users to modify timing without affecting poses. It has many applications in animation systems for motion editing, such as refining motions to meet new timing constraints or modifying the acting of animated characters. However, time warping typically requires many manual adjustments to achieve the desired results. We present a technique which simplifies this process by allowing time warps to be guided by a provided reference motion. Given few timing constraints, it computes a warp that both satisfies these constraints and maximizes local timing similarities to the reference. The algorithm is fast enough to incorporate into standard animation workflows. We apply the technique to two common tasks: preserving the natural timing of motions under new time constraints and modifying the timing of motions for stylistic effects.Singapore-MIT GAMBIT Game La

Spatial Motion Doodles: Sketching Animation in VR Using Hand Gestures and Laban Motion Analysis

International audienceWe present a method for easily drafting expressive character animation by playing with instrumented rigid objects. We parse the input 6D trajectories (position and orientation over time)-called spatial motion doodles-into sequences of actions and convert them into detailed character animations using a dataset of parameterized motion clips which are automatically fitted to the doodles in terms of global trajectory and timing. Moreover, we capture the expres-siveness of user-manipulation by analyzing Laban effort qualities in the input spatial motion doodles and transferring them to the synthetic motions we generate. We validate the ease of use of our system and the expressiveness of the resulting animations through a series of user studies, showing the interest of our approach for interactive digital storytelling applications dedicated to children and non-expert users, as well as for providing fast drafting tools for animators

Impact effect of using computer graphics animation in education

Animation development has changed over time, and usage context illustrates phenomena and concepts that are difficult to understand. Animations may not always be useful; however, teachers who use animations need to understand their importance of them. This paper focused on illustrating the potential applications of animations in learning and education. Animation, a form of pictorial presentation, has become the most prominent feature of technology-based learning environments. Educational computer animation has become one of the most elegant tools for presenting multimedia materials for learners, and its significance in helping to understand and remember information has greatly increased since the advent of powerful graphics-oriented computers. This study used data analysis processing to analyze the frequency of responses to each question from the collected survey data. All interviews were transcribed for qualitative analysis of in-depth interview data. This research aims to investigate whether animation aids learners' understanding of dynamic phenomena and has come up with positive, negative, and neutral results

A PROPOSED CHARACTER ANIMATION WORKFLOW FOR DIGITAL PRODUCTION ARTS WITH PREPARATION FOR CLOTH DYNAMICS

In a fast-paced production studio, procedures and standard operating practices have been created to ensure maximum use of resources, while being flexible enough to account for problems that might arise. For the animation section of the pipeline, it is imperative to produce animation in a timely manner so that the other sections of the pipeline that are dependent on animation can begin at an appropriate time. Using \u27Mileena Malign\u27 and \u27SpaceCat\u27 as case studies, a possible workflow for computer animation--specifically as it pertains to preparation for cloth dynamics--is developed, with highlights on the advantages and challenges encountered. This thesis presents a method for efficiently and effectively creating animation within a multi-tiered CG production pipeline

Combined filtering and keyframe reduction for motion capture data

Ankara : The Department of Computer Engineering and the Institute of Engineering and Science of Bilkent University, 2007.Thesis (Master's) -- Bilkent University, 2007.Includes bibliographical references leaves 36-38Two new methods for combined filtering and key-frame reduction of motion capture data are proposed. Filtering of motion capture data is necessary to eliminate any jitter introduced by a motion capture system. Although jitter removal is needed to obtain a more realistic animation, it may result in an oversmoothed motion data if it is not done properly. Key-frame reduction, on the other hand, allows animators to easily edit motion data by representing animation curves with a significantly smaller number of key frames. One of the proposed techniques achieves key frame reduction and jitter removal simultaneously by fitting a Hermite curve to motion capture data using dynamic programming. Another method is to use curve simplification algorithms on the motion capture data until the desired reduction is reached. In this research, the results of these algorithms are evaluated and compared. Both subjective and objective results are presented.Önder, OnurM.S

Digital Alchemy: Matter and Metamorphosis in Contemporary Digital Animation and Interface Design

The recent proliferation of special effects in Hollywood film has ushered in an era of digital transformation. Among scholars, digital technology is hailed as a revolutionary moment in the history of communication and representation. Nevertheless, media scholars and cultural historians have difficulty finding a language adequate to theorizing digital artifacts because they are not just texts to be deciphered. Rather, digital media artifacts also invite critiques about the status of reality because they resurrect ancient problems of embodiment and transcendence.In contrast to scholarly approaches to digital technology, computer engineers, interface designers, and special effects producers have invented a robust set of terms and phrases to describe the practice of digital animation. In order to address this disconnect between producers of new media and scholars of new media, I argue that the process of digital animation borrows extensively from a set of preexisting terms describing materiality that were prominent for centuries prior to the scientific revolution. Specifically, digital animators and interface designers make use of the ancient science, art, and technological craft of alchemy. Both alchemy and digital animation share several fundamental elements: both boast the power of being able to transform one material, substance, or thing into a different material, substance, or thing. Both seek to transcend the body and materiality but in the process, find that this elusive goal (realism and gold) is forever receding onto the horizon.The introduction begins with a literature review of the field of digital media studies. It identifies a gap in the field concerning disparate arguments about new media technology. On the one hand, scholars argue that new technologies like cyberspace and digital technology enable radical new forms of engagement with media on individual, social, and economic levels. At the same time that media scholars assert that our current epoch is marked by a historical rupture, many other researchers claim that new media are increasingly characterized by ancient metaphysical problems like embodiment and transcendence. In subsequent chapters I investigate this disparity

Investigating User Experience Using Gesture-based and Immersive-based Interfaces on Animation Learners

Creating animation is a very exciting activity. However, the long and laborious process can be extremely challenging. Keyframe animation is a complex technique that takes a long time to complete, as the procedure involves changing the poses of characters through modifying the time and space of an action, called frame-by-frame animation. This involves the laborious, repetitive process of constantly reviewing results of the animation in order to make sure the movement-timing is accurate. A new approach to animation is required in order to provide a more intuitive animating experience. With the evolution of interaction design and the Natural User Interface (NUI) becoming widespread in recent years, a NUI-based animation system is expected to allow better usability and efficiency that would benefit animation. This thesis investigates the effectiveness of gesture-based and immersive-based interfaces as part of animation systems. A practice-based element of this research is a prototype of the hand gesture interface, which was created based on experiences from reflective practices. An experimental design is employed to investigate the usability and efficiency of gesture-based and immersive-based interfaces in comparison to the conventional GUI/WIMP interface application. The findings showed that gesture-based and immersive-based interfaces are able to attract animators in terms of the efficiency of the system. However, there was no difference in their preference for usability with the two interfaces. Most of our participants are pleasant with NUI interfaces and new technologies used in the animation process, but for detailed work and taking control of the application, the conventional GUI/WIMP is preferable. Despite the awkwardness of devising gesture-based and immersive-based interfaces for animation, the concept of the system showed potential for a faster animation process, an enjoyable learning system, and stimulating interest in a kinaesthetic learning experience