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

Character customization: Animated hair and clothing

Treball final de Grau en Disseny i Desenvolupament de Videojocs. Codi: VJ1241. Curs acadèmic: 2018/2019This project consists in designing and implementing a 3D female character editor. It is focused in modeling and animating the female character, hairstyle and clothes. This editor will be developed using the Unity 3D Game Engine. It will consist in an interface that allows changing skin and eye color, style and color of hair and, lastly, the clothes the character is to wear among a catalogue of predefined models. With each change, the character will respond with an animation in order to improve the experience of perceiving the final style of the character

Assessment criteria for 2D shape transformations in animation

The assessment of 2D shape transformations (or morphing) for animation is a difficult task because it is a multi-dimensional problem. Existing morphing techniques pay most attention to shape information interactive control and mathematical simplicity. This paper shows that it is not enough to use shape information alone, and we should consider other factors such as structure, dynamics, timing, etc. The paper also shows that an overall objective assessment of morphing is impossible because factors such as timing are related to subjective judgement, yet local objective assessment criteria, e.g. based on shape, are available. We propose using “area preservation” as the shape criterion for the 2D case as an acceptable approximation to “volume preservation” in reality, and use it to establish cases in which a number of existing techniques give clearly incorrect results. The possibility of deriving objective assessment criteria for dynamics simulations and timing under certain conditions is discussed

Design, creation and implementation of characters for video games Final Degree Work report

Treball final de Grau en Disseny i Desenvolupament de Videojocs. Codi: VJ1241. Curs acadèmic: 2018/2019This document has been created in order to explain the process of character modeling for video games and its implementation in a game engine. Its main objective is that the reader can understand, without going into technical details, the general process followed to develop a character of these characteristics. It is interesting because many people do not know the effort and work it takes to make the video games they consume

THE REALISM OF ALGORITHMIC HUMAN FIGURES A Study of Selected Examples 1964 to 2001

It is more than forty years since the first wireframe images of the Boeing Man revealed a stylized hu-man pilot in a simulated pilot's cabin. Since then, it has almost become standard to include scenes in Hollywood movies which incorporate virtual human actors. A trait particularly recognizable in the games industry world-wide is the eagerness to render athletic muscular young men, and young women with hour-glass body-shapes, to traverse dangerous cyberworlds as invincible heroic figures. Tremendous efforts in algorithmic modeling, animation and rendering are spent to produce a realistic and believable appearance of these algorithmic humans. This thesis develops two main strands of research by the interpreting a selection of examples. Firstly, in the computer graphics context, over the forty years, it documents the development of the creation of the naturalistic appearance of images (usually called photorealism ). In particular, it de-scribes and reviews the impact of key algorithms in the course of the journey of the algorithmic human figures towards realism . Secondly, taking a historical perspective, this work provides an analysis of computer graphics in relation to the concept of realism. A comparison of realistic images of human figures throughout history with their algorithmically-generated counterparts allows us to see that computer graphics has both learned from previous and contemporary art movements such as photorealism but also taken out-of-context elements, symbols and properties from these art movements with a questionable naivety. Therefore, this work also offers a critique of the justification of the use of their typical conceptualization in computer graphics. Although the astounding technical achievements in the field of algorithmically-generated human figures are paralleled by an equally astounding disregard for the history of visual culture, from the beginning 1964 till the breakthrough 2001, in the period of the digital information processing machine, a new approach has emerged to meet the apparently incessant desire of humans to create artificial counterparts of themselves. Conversely, the theories of traditional realism have to be extended to include new problems that those active algorithmic human figures present

The hidden world of gaming: an exploration of pre-production design, hyperrealism, and its function in establishing conceptual and aesthetic visualisation, characterisation and narrative structure.

Masters Degree. University of KwaZulu-Natal, Pietermaritzburg.Pre-production design in the video game industry is an extremely important and fundamental part of the pipeline production as it impacts the production, post-production and distribution phases of game development. It is what sets the foundation for the visual and narrative style of the project and, if done incorrectly, it can have adverse effects on the other phases of production, ultimately wasting time, money and contributing to the failure of a project being executed efficiently. The purpose of this study is to explore the impact of pre-production design on the video game industry as a whole and the effects that hyperrealism has had on the industry itself. To fully understand the context and importance of pre-production design, its history and origin will be explored. The two aspects of hyperrealism that I will be referring to and discussing are those of creating a reality that goes beyond true reality, and the integration of the constructed reality into one’s own natural reality. How does a game appear visually hyper-realistic. Where the visuals of the game can picture perfect and in fact sometime better than reality? Secondly, how does a game as a whole evoke the notion of hyperrealism as expressed by theorists like Umberto Eco and Jean Baudrillard where playing the game becomes a part of one’s life? The notion of leaving the game can be distressing as the player does not want to lose out on this aspect of the hyper-real simulation (or Simulacra) that has become a part of his life. As this study has a practice-based component, a set of character and creature designs will accompany my theoretical work as an exploration of pre-production design within the context of video games. This has been done in order to explore how design ties in with hyperrealism when looking at creature and character design. Gameplay mechanics have also been briefly considered as the character and creature designs will impact what is visually achievable in the game. Through investigation of both theoretical and practical applications, the study will conclude that pre-production design is imperative to the success of the making of a video game

Thokolosi

The legend or myth of the malevolent spirit known as Thokolosi has long been known among my people. Some people have even been known to take measures to protect themselves from attacks by Thokolosi by raising their beds on bricks to prevent the spirit attacking them at night. I have always felt that this legend was ripe with possibilities for the animation medium and having loved the idea of Thokolosi, I felt it was a good time to attempt to make a film about it. This was also a way for me to introduce a small piece of my culture to an American audience. The paper explains how I found new ways to do things in order to achieve the look I wanted for the film. For example, the paper examines how I managed to create eyes in such a way that they were as emotive as possible. The film began with much more realistic character designs than the ones used in the film. The paper explores the reasoning behind my decision to change to a cartoon-like style and remodel the characters. The paper outlines the other challenges faced and the solutions used to overcome them

Expressive rendering of animated hair

National audienceHair simulation is one of the crucial elements of a character realism in video games as well as animated movies. It is also one of the most challenging because of its complex nature. A simulation model needs to be able to handle hair fibers or wisp interaction while keeping the desired rendering style. During the past few years intensive work has been done in this field. Most of the authors have tried to render and animate hair as realistically as possible. Impressive results have been obtained and computation times have been reduced. Nevertheless this level of realism is not always desired by the animator. Most animated characters are represented with a hair model only composed of a few hair wisps or clumps in other words the individual hair fibers are not even accounted for. Only little work has been done to animate and render non-photorealistic hair for cel-characters1 . The goal of this work is to design an expressive rendering technique for a realistic animation of hair. This project is a part of an ANR research program for a joint industrial project with two production studios: Neomis Animation and BeeLight, two other INRIA project-teams: Bipop and Evasion and a CNRS lab (Institut Jean Le Rond d'Alembert de l'Université Pierre et Marie Curie). The aim of this project is to provide hair rendering and animating tools for movie making. According to the discussions we had with artists from Neomis studio, it appears that an animator will expect realism of hair motion combined with an expressive rendering technique that is dedicated to animated movies