Eine Annäherung an den Avantgardismus? Amateur-animation und das Ringen mit der Technik

The chapter examines the status of animation within the emerging British amateur cine movement of the interwar decades, and introduces a case study of the work of the British animator, Alan Cleave

The Stretch-Engine: A Method for Creating Exaggeration in Animation Through Squash and Stretch

Animators exaggerate character motion to emphasize personality and actions. Exaggeration is expressed by pushing a character’s pose, changing the action’s timing, or by changing a character’s form. This last method, referred to as squash and stretch, creates the most noticeable change in exaggeration. However, without practice, squash and stretch can adversely affect the animation. This work introduces a method to create exaggeration in motion by focusing solely on squash and stretch to control changes in a character’s form. It does this by displaying a limbs' path of motion and altering the shape of that path to create a change in the limb’s form. This paper provides information on tools that exist to create animation and exaggeration, then discusses the functionality and effectiveness of these tools and how they influenced the design of the Stretch-Engine. The Stretch-Engine is a prototype tool developed to demonstrate this approach and is designed to be integrated into an existing animation software, Maya. The Stretch-Engine contains a bipedal-humanoid rig with controls necessary for animation and the ability to squash and stretch. It can be accessed through a user interface that allows the animator to control squash and stretch by changing the shape of generated paths of motion. This method is then evaluated by comparing animations of realistic motion to versions created with the Stretch-Engine. These stretched versions displayed exaggerated results for their realistic counterparts, creating similar effects to Looney Tunes animation. This method fits within the animator’s workflow and helps new artists visualize and control squash and stretch to create exaggeration

A critical assessment of the animator's artistic ownership over motion captured performances

The intention of this research report is to critically assess, as well as theoretically expand upon, the increasingly contentious area regarding character performance in computer generated (CG) animation for feature films that utilize motion capture technology. This paper specifically aims to investigate whether or not the use of motion capture in live-action visual effects, in the pursuit of creating CG characters that are as realistic as possible, has eroded the artistic autonomy of character animators and their artistic ownership of the performances of these characters. Through the analysis and comparison of pertinent case studies, it should become apparent that this perception is not absolute, and is largely dependent on the kinds of characters intended to be portrayed and the kind of film that they are to be portrayed in. It will be shown that motion capture can be a very effective collaborative tool not only in the relationship between directors and actors, but also between animators and actors under the creative supervision of directors

Comments on event driven animation

Event driven animation provides a general method of describing controlling values for various computer animation techniques. A definition and comments are provided on genralizing motion description with events. Additional comments are also provided about the implementation of twixt

A Tool for Creating Expressive Control Over Fur and Feathers

The depiction of body fur and feathers has received relatively abundant focus within the animation production environment and continues to pose significant computational challenges. Tools to control fur and feathers as an expressive characteristic to be used by animators have not been explored as fully as dynamic control systems. This thesis outlines research behind and development of a control system for fur and feathers intended to enable authoring of animation in an interactive software tool common in many animation production environments. The results of this thesis show a control system over fur and feathers as easily used as appendages control to create strong posing, silhouette and timing of animations. The tool created impacts the capacity of more effective and efficient animation of characters that use fur and feathers for expressive communication such as hedgehogs, birds, and cats

Computer-assisted animation creation techniques for hair animation and shade, highlight, and shadow

制度:新 ; 報告番号:甲3062号 ; 学位の種類:博士(工学) ; 授与年月日:2010/2/25 ; 早大学位記番号:新532

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

Procedural animation: towards studio solutions for believability

This thesis sets out to investigate the understanding of the relationship between key-frame movement performances and procedural animation. It is geared towards building a theory of practice that would help develop a succinct method for generating believable character animation using procedural animation. This research places an emphasis on a practical aproach to the theory of animation and movement, and investigates the historical development of character animation and the notion of believability. It uses Laban Movement Analysis as a method in the application of procedural animation. The study seeks to address the following objectives: (1) To examine what areas of procedural animation may enhance the believability of a key-framed movement performance; (2) To identify the areas of procedural animation that are or could be used within professional studio practice; (3) To examine the potential of procedural animation to help develop convincing and life-like character movements; (4) To identify where and how a keyframed character movement can be enhanced procedurally; (5) To carry out empirical studies in order to analyse the effects and possible benefits of procedural enhancements on a key-framed movement

Choreographic and Somatic Approaches for the Development of Expressive Robotic Systems

As robotic systems are moved out of factory work cells into human-facing environments questions of choreography become central to their design, placement, and application. With a human viewer or counterpart present, a system will automatically be interpreted within context, style of movement, and form factor by human beings as animate elements of their environment. The interpretation by this human counterpart is critical to the success of the system's integration: knobs on the system need to make sense to a human counterpart; an artificial agent should have a way of notifying a human counterpart of a change in system state, possibly through motion profiles; and the motion of a human counterpart may have important contextual clues for task completion. Thus, professional choreographers, dance practitioners, and movement analysts are critical to research in robotics. They have design methods for movement that align with human audience perception, can identify simplified features of movement for human-robot interaction goals, and have detailed knowledge of the capacity of human movement. This article provides approaches employed by one research lab, specific impacts on technical and artistic projects within, and principles that may guide future such work. The background section reports on choreography, somatic perspectives, improvisation, the Laban/Bartenieff Movement System, and robotics. From this context methods including embodied exercises, writing prompts, and community building activities have been developed to facilitate interdisciplinary research. The results of this work is presented as an overview of a smattering of projects in areas like high-level motion planning, software development for rapid prototyping of movement, artistic output, and user studies that help understand how people interpret movement. Finally, guiding principles for other groups to adopt are posited.Comment: Under review at MDPI Arts Special Issue "The Machine as Artist (for the 21st Century)" http://www.mdpi.com/journal/arts/special_issues/Machine_Artis