A Lightweight Intelligent Virtual Cinematography System for Machinima Production

Machinima is a low-cost alternative to full production filmmaking. However, creating quality cinematic visualizations with existing machinima techniques still requires a high degree of talent and effort. We introduce a lightweight artificial intelligence system, Cambot, that can be used to assist in machinima production. Cambot takes a script as input and produces a cinematic visualization. Unlike other virtual cinematography systems, Cambot favors an offline algorithm coupled with an extensible library of specific modular and reusable facets of cinematic knowledge. One of the advantages of this approach to virtual cinematography is a tight coordination between the positions and movements of the camera and the actors

DocuDrama

This paper presents an approach combining concepts of virtual storytelling with cooperative processes. We will describe why storytelling is relevant in cooperation support applications. We will outline how storytelling concepts provide a new quality for groupware applications. Different prototypes illustrate a combination of a groupware application with various storytelling components in a Theatre of Work

Probabilistic Roadmaps for Virtual Camera Pathing with Cinematographic Principles

As technology use increases in the world and inundates everyday life, the visual aspect of technology or computer graphics becomes increasingly important. This thesis presents a system for the automatic generation of virtual camera paths for fly-throughs of a digital scene. The sample scene used in this work is an underwater setting featuring a shipwreck model with other virtual underwater elements such as rocks, bubbles and caustics. The digital shipwreck model was reconstructed from an actual World War II shipwreck, resting off the coast of Malta. Video and sonar scans from an autonomous underwater vehicle were used in a photogrammetry pipeline to create the model. This thesis presents an algorithm to automatically generate virtual camera paths using a robotics motion planning algorithm, specifically the probabilistic roadmap. This algorithm uses a rapidly-exploring random tree to quickly cover a space and generate small maps with good coverage. For this work, the camera pitch and height along a specified path were automatically generated using cinematographic and geometric principles. These principles were used to evaluate potential viewpoints and influence whether or not a view is used in the final path. A computational evaluation of ‘the rule of thirds’ and evaluation of the model normals relative to the camera viewpoint are used to represent cinematography and geometry principles. In addition to the system that automatically generates virtual camera paths, a user study is presented which evaluates ten different videos produced via camera paths with this system. The videos were created using different viewpoint evaluation methods and different path generation characteristics. The user study indicates that users prefer paths generated by our system over flat and randomly generated paths. Specifically, users prefer paths generated using the computational evaluation of the rule of thirds and paths that show the wreck from a large variety of angles but without too much camera undulation

SOHNI MAHIWAL Preserving South Asian Cultural Heritage Through Animated Storytelling

Majority of Pakistani youth is not enthralled by the country’s rich cultural heritage. There is less public knowledge on the subject. This translates into less appreciation or interest. The academic system is largely responsible for this. It imparts a conservative history of undivided India, focuses on politics, ignores its nuanced culture. Unless students venture into specialized fields of art and humanities, most do not get stimulated to study history. Additionally, today when digital learning is on the rise, there is a lack of relevant sources on the subject. This thesis is creating a digital source. It is re-packaging an Indian cultural folk story into a short animation. This may engage the target audience into thinking about their cultural heritage. Furthermore, it aims to interest a global audience. Sohni Mahiwal is a folk story of the 1800’s. Set in Punjab (then in the Indian Subcontinent, and today split between India and Pakistan), it is part of a series of tragic love stories. Poets, Shah Abdul Latif Bhittai and Fazal Shah Sayyad were first to document this tale. Ever since it has become part of Pakistani pop culture. This story has been written about in prose and poetry, performed in film and television and has been the subject of paintings. Most recently in 2016, it resurfaced as an immensely popular Coke Studio song. While this project is documenting one folk story, the general sentiment is to keep the region’s vast cultural heritage alive. It is an extraordinary region to study. Over centuries a variety of people made Hindustan their home. They all brought with them their way of life. This movement continued to enrich this region, creating a land of immeasurable diversity. Highlighting this will increase public knowledge on the subject and engender more social discourse. It is impossible to study, present or preserve the complex Indian heritage in one project of this size and scale. This thesis complements the efforts of relevant organizations and artists. However, its medium is novel. A short digital animation is fitting to spark interest in the younger population. It can be conveniently shared across social media and quickly reach a bigger audience. Comments can generate dialogue. This can lead to further study. In addition, this project can expand into a series of short animations

Digital Cinemas

Digital technologies have altered the terms of all the major areas of film: finance, production and post-production, distribution and consumption.  This chapter looks at these through the lens of debates over historical continuities and discontinuities in each area, looking especially at the variety of production and dissemination formats from blockbusters to zero-budget film-making, the impact of technical standardisation, the affordances of different digital technologies, notably bitmap and vector, and the role of platforms like YouTube and their alternatives. The possibilities and challenges of 'world cinema' as a concept in this terrain will be the central them

As cinemáticas e narrativas de jogos digitais: implicações para o design de jogos

Game cinematics integrating filming techniques, cutscenes, and animations are likely to have a pivotal role in the player experience, emotional attachment, and relatedness to the game narrative content. In recent years, the avoidance of cuts to generate a seamless and connected game experience has challenged older patterns on storytelling in games and find new ways of intertwining gameplay with the narrative. However, a one-size-fits-all strategy may not be applied when considering different storytelling purposes, structures, and language used in diversified game genres. The purpose of this research is to examine the contributions of cinematics to affect game story comprehension, especially in young adults. A multi-stage development research method is applied, encompassing the following activities: (1) identification of requirements to develop game cinematics based on the literature review and interviews with 16 scholars and industry professionals in Game UX, and cinematic development; (2) Development of a Game Cinematics experiment for the game Mutation Madness, using first- and third- perspectives; and a (3) Comparative evaluation of game cinematics in terms of experience and narrative comprehension. The cinematics developed are tested with 46 young adults to assess the effect of the Point Of View (POV) camera on visual attention and story comprehension in Mutation Madness, using an eye- tracking experiment. The results suggest that third- perspective in game cinematics constitute omniscient knowledge of the story, evoking the sense of time and focusing on the story agents, while first- perspective visually guides the player to the game events happening in the time of gameplay. This research contributes to the Communication Sciences and Technologies field by presenting a set of best practices developing game cinematics.As cinemáticas de jogos que integram técnicas de filmagem, cutscenes, e animações, tendem a ter um papel central na experiência do jogador, envolvimento emocional, e relação com a narrativa. Nos últimos anos, os padrões mais antigos inerentes ao processo de contar histórias nos jogos têm sido desafiados pela ausência de cortes e interrupções na experiência, de modo a garantir a interconexão e o entrelaçar da jogabilidade com a narrativa. No entanto, a adoção de uma estratégia de dimensão única pode não atender a diferentes propósitos da narrativa, estruturas e linguagem utilizadas em diferentes géneros de jogos. O objetivo desta investigação é compreender o modo como as cinemáticas podem afetar a compreensão de histórias de jogos, especialmente em jovens adultos. O método de investigação de desenvolvimento é aplicado, subdividido nas seguintes etapas: (1) Identificação de requisitos para desenvolver cinemáticas de jogos com base na revisão da literatura e entrevista a 16 académicos e profissionais da indústria em experiência de jogo, e desenvolvimento de cinemáticas; (2) Desenvolvimento de cinemáticas do jogo Mutation Madness, com recurso à primeira e terceira perspetiva; e (3) Avaliação comparativa das cinemáticas de jogo em termos de experiência e compreensão da narrativa. As cinemáticas desenvolvidas são testadas por 46 jovens adultos, recorrendo à metodologia eye-tracking, para avaliar o efeito da perspetiva da câmara [Point Of View (POV)] na atenção visual e na compreensão da narrativa do jogo Mutation Madness. Os resultados sugerem que a cinemática em que é adotada a terceira perspetiva no jogo proposto contribui para um conhecimento omnisciente da história, evocando o sentido do tempo e concentrando-se nos agentes da história, enquanto a primeira perspetiva orienta visualmente o jogador para os eventos do jogo que acontecem no tempo da jogabilidade. Esta investigação contribui para a área das Ciências da Tecnologia da Comunicação ao apresentar um conjunto de melhores práticas para desenvolver as cinemáticas nos jogos.Mestrado em Comunicação Multimédi

Thinking like a director: Film editing paterns for virtual cinematographic storytelling

International audienceThis paper introduces Film Editing Patterns (FEP), a language to formalize film editing practices and stylistic choices found in movies. FEP constructs are constraints, expressed over one or more shots from a movie sequence that characterize changes in cinematographic visual properties such as shot sizes, camera angles, or layout of actors on the screen. We present the vocabulary of the FEP language, introduce its usage in analyzing styles from annotated film data, and describe how it can support users in the creative design of film sequences in 3D. More specifically, (i) we define the FEP language, (ii) we present an application to craft filmic sequences from 3D animated scenes that uses FEPs as a high level mean to select cameras and perform cuts between cameras that follow best practices in cinema and (iii) we evaluate the benefits of FEPs by performing user experiments in which professional filmmakers and amateurs had to create cinematographic sequences. The evaluation suggests that users generally appreciate the idea of FEPs, and that it can effectively help novice and medium experienced users in crafting film sequences with little training

Intelligent Camera Control Using Behavior Trees

Automatic camera systems produce very basic animations for virtual worlds. Users often view environments through two types of cameras: a camera that they control manually, or a very basic automatic camera that follows their character, minimizing occlusions. Real cinematography features much more variety producing more robust stories. Cameras shoot establishing shots, close-ups, tracking shots, and bird’s eye views to enrich a narrative. Camera techniques such as zoom, focus, and depth of field contribute to framing a particular shot. We present an intelligent camera system that automatically positions, pans, tilts, zooms, and tracks events occurring in real-time while obeying traditional standards of cinematography. We design behavior trees that describe how a single intelligent camera might behave from low-level narrative elements assigned by “smart events”. Camera actions are formed by hierarchically arranging behavior sub-trees encapsulating nodes that control specific camera semantics. This approach is more modular and particularly reusable for quickly creating complex camera styles and transitions rather then focusing only on visibility. Additionally, our user interface allows a director to provide further camera instructions, such as prioritizing one event over another, drawing a path for the camera to follow, and adjusting camera settings on the fly.We demonstrate our method by placing multiple intelligent cameras in a complicated world with several events and storylines, and illustrate how to produce a well-shot “documentary” of the events constructed in real-time

View recommendation for multi-camera demonstration-based training

While humans can effortlessly pick a view from multiple streams, automatically choosing the best view is a challenge. Choosing the best view from multi-camera streams poses a problem regarding which objective metrics should be considered. Existing works on view selection lack consensus about which metrics should be considered to select the best view. The literature on view selection describes diverse possible metrics. And strategies such as information-theoretic, instructional design, or aesthetics-motivated fail to incorporate all approaches. In this work, we postulate a strategy incorporating information-theoretic and instructional design-based objective metrics to select the best view from a set of views. Traditionally, information-theoretic measures have been used to find the goodness of a view, such as in 3D rendering. We adapted a similar measure known as the viewpoint entropy for real-world 2D images. Additionally, we incorporated similarity penalization to get a more accurate measure of the entropy of a view, which is one of the metrics for the best view selection. Since the choice of the best view is domain-dependent, we chose demonstration-based training scenarios as our use case. The limitation of our chosen scenarios is that they do not include collaborative training and solely feature a single trainer. To incorporate instructional design considerations, we included the trainer’s body pose, face, face when instructing, and hands visibility as metrics. To incorporate domain knowledge we included predetermined regions’ visibility as another metric. All of those metrics are taken into account to produce a parameterized view recommendation approach for demonstration-based training. An online study using recorded multi-camera video streams from a simulation environment was used to validate those metrics. Furthermore, the responses from the online study were used to optimize the view recommendation performance with a normalized discounted cumulative gain (NDCG) value of 0.912, which shows good performance with respect to matching user choices

Looking at instructional animations through the frame of virtual camera

This thesis investigates the virtual camera and the function of camera movements in expository motion graphics for the purpose of instruction. Motion graphic design is a popular video production technique often employed to create instructional animations that present educational content through the persuasive presentation styles of the entertainment media industry. Adopting animation as a learning tool has distinct concerns and challenges when compared to its use in entertainment, and combining cognitive learning and emotive design aspects requires additional design considerations for each design element. The thesis will address how the camera movement-effect in supporting the narrative and aesthetic in instructional animations. It does this by investigating the virtual camera in terms of technical, semiotic and psychological level, culminating in a systematic categorization of functional camera movements on the basis of conceptual framework that describes hybrid integration of physical, cognitive and affective design aspects; and a creative work as a case study in the form of a comprehensive instructional animation that demonstrates practiced camera movements. Due to the correlation of the conceptual framework relied upon by the supplementary work with the techniques of effective instructional video production and conventional entertainment filmmaking, this thesis touches on the relationship between live action and animation in terms of directing and staging, concluding that the virtual camera as a design factor can be useful for supporting a narrative, evoking emotion and directing the audience’s focus while revealing, tracking and emphasizing informatio