Sketch-based skeleton-driven 2D animation and motion capture.

This research is concerned with the development of a set of novel sketch-based skeleton-driven 2D animation techniques, which allow the user to produce realistic 2D character animation efficiently. The technique consists of three parts: sketch-based skeleton-driven 2D animation production, 2D motion capture and a cartoon animation filter. For 2D animation production, the traditional way is drawing the key-frames by experienced animators manually. It is a laborious and time-consuming process. With the proposed techniques, the user only inputs one image ofa character and sketches a skeleton for each subsequent key-frame. The system then deforms the character according to the sketches and produces animation automatically. To perform 2D shape deformation, a variable-length needle model is developed, which divides the deformation into two stages: skeleton driven deformation and nonlinear deformation in joint areas. This approach preserves the local geometric features and global area during animation. Compared with existing 2D shape deformation algorithms, it reduces the computation complexity while still yielding plausible deformation results. To capture the motion of a character from exiting 2D image sequences, a 2D motion capture technique is presented. Since this technique is skeleton-driven, the motion of a 2D character is captured by tracking the joint positions. Using both geometric and visual features, this problem can be solved by ptimization, which prevents self-occlusion and feature disappearance. After tracking, the motion data are retargeted to a new character using the deformation algorithm proposed in the first part. This facilitates the reuse of the characteristics of motion contained in existing moving images, making the process of cartoon generation easy for artists and novices alike. Subsequent to the 2D animation production and motion capture,"Cartoon Animation Filter" is implemented and applied. Following the animation principles, this filter processes two types of cartoon input: a single frame of a cartoon character and motion capture data from an image sequence. It adds anticipation and follow-through to the motion with related squash and stretch effect

Gerakan Dasar Felidae Dalam Animasi 2 Dimensi

Abstract – Animation literally means live / move. Supported by a variety of features and the existing methods make the animators are required to be able to work faster than ever before. Inverse kinematic methods is a method allowing the animator can create model of the movement more quickly because without requiring a lot of different images of a character for each frame. “A Felidae Basic Movements In 2 Dimensional Animation” is a study that aims to generate a model of the movement library of felidae animals in 2-dimensional animation that can be applied to to other felidae animal characters automatically and determine the degree of freedom of the joints on the felidae animal characters in a 2 dimensional animation. Limitation of the study variable is the method used is the method of inverse kinematics, felidae animals used are cheetahs, lions and cats, measuring the degree of joints done on a cat as a felidae animal model and a model of the movement created with Toon Boom Studio software. The method of analysis in this research is using research and development.Results of this research is data angle of freedom (degree of freedom) felidae animal joints to be implemented in 2 dimensional animation and walking and running model of the movement library of felidae animals (cheetahs, lions and cats) in a 2 dimensional animation that can be applied to the other felidae animal characters (cheetahs, lions and cats) automatically.The conclusion of the study is inverse kinematic methods can be applied in the manufacture of walking and running model of the movement felidae animals, felidae animal model of the movement libraries that have been made can be applied to other animal characters Felidae automatically.Keyword: Felidae, Inverse Kinematic, Degree of Freedom, Animation, Toon Boom  Abstrak – Animasi secara harfiah berarti hidup/bergerak. Didukung oleh berbagai fitur dan metode yang ada membuat para animator diharuskan untuk bisa bekerja lebih cepat dari sebelumnya. Metode inverse kinematik merupakan metode memungkinkan animator bisa membuat model gerakan lebih cepat karena tanpa harus memerlukan banyak gambar yang berbeda-beda dari sebuah karakter untuk setiap frame.“Gerakan Dasar Felidae dalam Animasi 2 Dimensi” merupakan penelitian yang bertujuan untuk menghasilkan library model gerakan hewan felidae dalam animasi 2 dimensi yang bisa diterapkan pada karakter hewan felidae lainnya secara otomatis dan mengetahui derajat kebebasan sendi-sendi pada karakter hewan felidae dalam animasi 2 dimensi. Batasan variabel penelitian adalah metode yang digunakan yaitu metode inverse kinematik, hewan felidae yang dipakai yaitu cheetah, singa dan kucing, pengukuran derajat sendi dilakukan pada kucing sebagai model dari hewan felidae dan model gerakan dibuat dengan software Toon Boom Studio. Metode analisis dalam penelitian ini adalah metode research and development.Hasil dari penelitian ini adalah data sudut kebebasan (degree of freedom) sendi hewan felidae untuk diterapkan dalam animasi 2 dimensi dan library model gerakan berjalan dan berlari hewan felidae (cheetah, singa, dan kucing) dalam animasi 2 dimensi yang bisa diterapkan pada karakter hewan felidae (cheetah, singa, dan kucing) lainnya secara otomatis.Kesimpulan dari penelitian ini adalah metode inverse kinematik dapat diterapkan dalam pembuatan model gerakan berjalan dan berlari hewan felidae, library model gerakan hewan felidae yang sudah dibuat dapat diterapkan pada karakter hewan felidae yang lainnya secara otomatis.Kata kunci: Felidae, Inverse Kinematik, Degree of Freedom, Animasi, Toon Boo

Markerless 3D human pose tracking through multiple cameras and AI: Enabling high accuracy, robustness, and real-time performance

Tracking 3D human motion in real-time is crucial for numerous applications across many fields. Traditional approaches involve attaching artificial fiducial objects or sensors to the body, limiting their usability and comfort-of-use and consequently narrowing their application fields. Recent advances in Artificial Intelligence (AI) have allowed for markerless solutions. However, most of these methods operate in 2D, while those providing 3D solutions compromise accuracy and real-time performance. To address this challenge and unlock the potential of visual pose estimation methods in real-world scenarios, we propose a markerless framework that combines multi-camera views and 2D AI-based pose estimation methods to track 3D human motion. Our approach integrates a Weighted Least Square (WLS) algorithm that computes 3D human motion from multiple 2D pose estimations provided by an AI-driven method. The method is integrated within the Open-VICO framework allowing simulation and real-world execution. Several experiments have been conducted, which have shown high accuracy and real-time performance, demonstrating the high level of readiness for real-world applications and the potential to revolutionize human motion capture.Comment: 19 pages, 7 figure

Implementasi 2D Skeletal Based Animation Engine Menggunakan Opengl

Dalam pembuatan animasi 2D, terdapat beberapa teknik yang cukup populer salah satunya adalah teknik skeletal-based animation. Teknik skeletal-based animation merupakan teknik animasi, dimana animator hanya membutuhkan potongan bagian dari karakter, kemudian disesuaikan letaknya sesuai dengan kerangka maya, teknik ini sama dengan teknik animasi pada 3D. Namun dalam perkembangannya, teknologi seperti motion capture maupun 3D laser scanner dalam pembuatan animasi 3D belum digunakan dalam pembuatan animasi 2D, terutama dengan teknik skeletal-based animation. Dan untuk menghasilkan animasi 2D dibutuhkan 50 hingga 300 animator untuk menggambar ribuan karakter dalam pose yang berbeda dengan menggunakan tangan, hal tersebut menyebabkan proses pembuatan animasi 2D menjadi melelahkan karena sebagian prosesnya dilakukan secara manual serta memakan waktu. Penilitian ini berfokus kepada implementasi 2D skeletal-based animation engine menggunakan OpenGL. Animation engine yang diimplementasikan menggunakan API OpenGL karena OpenGL merupakan API yang khusus digunakan untuk pengolahan grafis, baik 2D maupun 3D. Serta menggunakan sensor Kinect yang merupakan salah satu teknologi motion capture yang tidak memerlukan marker. Hasil dari penelitian menunjukkan hasil valid pada pengujian fungsionalitas untuk komponen AnimateFrame serta playImportKeyframe, hal ini menunjukkan bahwa animation engine berhasil diimplementasikan dengan menggunakan API OpenGL serta sensor Kinect dan dapat menghasilkan animasi dengan teknik skeletal-based animation

単眼画像入力型ビューベース3Dモデル検索に関する研究

Tohoku University北村喜文課

Drawing from motion capture : developing visual languages of animation

The work presented in this thesis aims to explore novel approaches of combining motion capture with drawing and 3D animation. As the art form of animation matures, possibilities of hybrid techniques become more feasible, and crosses between traditional and digital media provide new opportunities for artistic expression. 3D computer animation is used for its keyframing and rendering advancements, that result in complex pipelines where different areas of technical and artistic specialists contribute to the end result. Motion capture is mostly used for realistic animation, more often than not for live-action filmmaking, as a visual effect. Realistic animated films depend on retargeting techniques, designed to preserve actors performances with a high degree of accuracy. In this thesis, we investigate alternative production methods that do not depend on retargeting, and provide animators with greater options for experimentation and expressivity. As motion capture data is a great source for naturalistic movements, we aim to combine it with interactive methods such as digital sculpting and 3D drawing. As drawing is predominately used in preproduction, in both the case of realistic animation and visual effects, we embed it instead to alternative production methods, where artists can benefit from improvisation and expression, while emerging in a three-dimensional environment. Additionally, we apply these alternative methods for the visual development of animation, where they become relevant for the creation of specific visual languages that can be used to articulate concrete ideas for storytelling in animation