Notation et reconnaissance des actions scéniques par ordinateur

International audienceDans ce chapitre, nous abordons la question de la notation de la mise en scène sous l'angle de la théorie de la notation de Nelson Goodman, qui fixe des contraintes syntaxiques et sémantiques beaucoup plus strictes qu'il n'est de coutume dans le domaine des études théâtrales. Ceci nous amène à proposer un schéma de notation restreint à un petit nombre d'actions scéniques reconnaissables visuellement, pouvant faire l'objet d'une transcription automatique par ordinateur à partir d'enregistrements vidéo. Nous terminons ce chapitre en décrivant deux projets de recherche en cours visant à démontrer expérimentalement la possibilité d'une telle transcription et son utilité pour analyser et documenter le travail des répétitions théâtrales

A Computational Framework for Vertical Video Editing

International audienceVertical video editing is the process of digitally editing the image within the frame as opposed to horizontal video editing, which arranges the shots along a timeline. Vertical editing can be a time-consuming and error-prone process when using manual key-framing and simple interpolation. In this paper, we present a general framework for automatically computing a variety of cinematically plausible shots from a single input video suitable to the special case of live performances. Drawing on working practices in traditional cinematography, the system acts as a virtual camera assistant to the film editor, who can call novel shots in the edit room with a combination of high-level instructions and manually selected keyframes

Techniques de mise en scène pour le jeu vidéo et l'animation

Eurographics State of the Art Report (STAR).International audienceOver the last forty years, researchers in computer graphics have proposed a large variety of theoretical models and computer implementations of a virtual film director, capable of creating movies from minimal input such as a screenplay or storyboard. The underlying film directing techniques are also in high demand to assist and automate the generation of movies in computer games and animation. The goal of this survey is to characterize the spectrum of applications that require film directing, to present a historical and up-to-date summary of research in algorithmic film directing, and to identify promising avenues and hot topics for future research.Depuis quarante ans, les chercheurs en informatique graphique ont proposé une grande variété de modèles théoriques et d'implémentations de réalisateurs virtuels, capables de créer des films automatiquement à partir de scénarios ou de storyboards. Les techniques de mise en scène sous-jacentes peuvent également être très utiles pour assister et automatiser la création de films dans le jeu vidéo et l'animation. Le but de cet état de l'art est de caractériser le spectre des applications qui peuvent bénéficier des techniques de mise en scène, de donner un compte rendu historique de la recherche en mise en scène algorithmique, et d'identifier les tendances et perspectives du domaine

Captation vidéo et analyse génétique du théâtre : l'informatique au service de la recherche théâtrale.

International audienceMy contribution presents two ongoing research project at INRIA on the theme of video analysis of theatre performances. The first project, Scenoptique investigates novel techniques for recording and analyzing ultra-high definition, allowing to reframe and edit the recordings into interactive movies. The second project, Spectacle En Ligne(s), is targeted on the creation and diffusion of an original data set of integral video recordings of theatre and opera rehearsals. The data set is naturally suited to researchers interested in the creation process and the genetic analysis of dramatic art and mise en scene. To support research in this area, the project proposes novel tools for recording, annotating, publishing and sharing the data. The project thus introduces dedicated annotation and indexing schemes suitable for both for online and offline use. The project also investigates how such data sets can be presented to the general public on the theatre web sites and social networks, and collaboratively enriched by personal annotations , comments and studies. The data sets and associated tools will be presented and distributed to interested researchers from all relevant fields in France and internationally as they become available. In such experimental work, high quality video recordings make it possible to track the audio-visual shape of the genetic evolution of the performance, which becomes an object of scientific study as well as an object of aesthestic appreciation.Ma communication porte sur deux projets de recherche en cours sur la captation vidéo de spectacles de théâtre et leur exploitation informatique. Le projet Scénoptique est une investigation des nouvelles techniques de captation en ultra haute définition qui permettent le recadrage et le montage en post-production. Le projet Spectacle En Ligne(s) poursuit l'objectif de constituer pour les chercheurs, les enseignants et le public un corpus original de captations de répétitions de théâtre et d'opéra afin d'aborder un champ de recherche encore peu exploré faute de corpus adapté : celui de l'analyse génétique des oeuvres. Les captations matérialisent la forme visuelle et sonore de l'évolution génétique du spectacle, qui devient un objet d'étude scientifique en même temps qu'un objet d'appréciation esthétique. Ce type de recherche nécessite une méthodologie de captation, un dispositif audiovisuel industriel à bas coût et des méthodes d'indexation adaptées à la constitution d'un corpus audiovisuel très interopérable, ouvert à des publications scientifiques, pédagogiques et grand public dans un contexte contributif où le public amateur aspire à de nouvelles situations de confrontation aux oeuvres

Characterization of Audiovisual Dramatic Attitudes

International audienceIn this work we explore the capability of audiovisual parameters (such as voice frequency, rhythm, head motion or facial expressions) to discriminate among different dramatic attitudes. We extract the audiovisual parameters from an acted corpus of attitudes and structure them as frame, syllable, and sentence-level features. Using Linear Discriminant Analysis classifiers, we show that sentence-level features present a higher discriminating rate among the attitudes and are less dependent on the speaker than frame and sylable features. We also compare the classification results with the perceptual evaluation tests, showing that voice frequency is correlated to the perceptual results for all attitudes, while other features, such as head motion, contribute differently, depending both on the attitude and the speaker

The Line of Action: an Intuitive Interface for Expressive Character Posing

International audienceThe line of action is a conceptual tool often used by cartoonists and illustrators to help make their figures more consistent and more dramatic. We often see the expression of characters--may it be the dynamism of a super hero, or the elegance of a fashion model--well captured and amplified by a single aesthetic line. Usually this line is laid down in early stages of the drawing and used to describe the body's principal shape. By focusing on this simple abstraction, the person drawing can quickly adjust and refine the overall pose of his or her character from a given viewpoint. In this paper, we propose a mathematical definition of the line of action (LOA), which allows us to automatically align a 3D virtual character to a user specified LOA by solving an optimization problem. We generalize this framework to other types of lines found in the drawing literature, such as secondary lines used to place arms. Finally, we show a wide range of poses and animations that were rapidly created using our system

La simulation du travail théâtral et sa " notation " informatique

International audienceNous proposons d'aborder les conditions d'une simulation numérique du travail théâtral à travers la présentation des enjeux d'un projet de recherche en cours de construction, intitulé THéâtre sur mAquette virtueLle Interactive Augmentée (THALIA). Cette démarche de simulation implique un contrôle informatique, dont nous évaluerons la nature à la lumière des problématiques de la notation. L'impulsion de la recherche est née de la poursuite du développement des outils d'assistance à la création utilisés par le metteur en scène et ses collaborateurs, dont notamment la maquette de rendu scénographique, les conduites des régies contrôlant les matériaux scéniques et divers documents complémentaires empiriquement formalisés

Stereoscopic Previz in the Blender Game Engine

International audienceWe describe a novel technique for simulating a cinema projection room with arbitrary dimensions in a realtimegame engine, while controling the camera interaxial and convergence parameters with a gamepad controller. Our technique has been implemented in the Blender Game Engine and tested during the shooting of a short movie. Qualitative experimental results show that our technique overcomes the limitations of previous work in stereoscopic previz and can usefully complement traditional storyboards during pre-production of stereoscopic 3-D movies

Vector Graphics Complexes

International audienceBasic topological modeling, such as the ability to have several faces share a common edge, has been largely absent from vector graphics. We introduce the vector graphics complex (VGC) as a simple data structure to support fundamental topological modeling operations for vector graphics illustrations. The VGC can represent any arbitrary non-manifold topology as an immersion in the plane, unlike planar maps which can only represent embeddings. This allows for the direct representation of incidence relationships between objects and can therefore more faithfully capture the intended semantics of many illustrations, while at the same time keeping the geometric flexibility of stacking-based systems. We describe and implement a set of topological editing operations for the VGC, including glue, unglue, cut, and uncut. Our system maintains a global stacking order for all faces, edges, and vertices without requiring that components of an object reside together on a single layer. This allows for the coordinated editing of shared vertices and edges even for objects that have components distributed across multiple layers. We introduce VGC-specific methods that are tailored towards quickly achieving desired stacking orders for faces, edges, and vertices

Dynamic Stereoscopic Previz

International audienceThe pre-production stage in a film workflow is important to save time during production. To be useful in stereoscopic 3-D movie-making, storyboards and previz tools need to be adapted in at least two ways. First, it should be possible to specify the desired depth values with suitable and intuitive user interfaces. Second, it should be possible to preview the stereoscopic movie with a suitable screen size. In this paper, we describe a novel technique for simulating a cinema projection room with arbitrary dimensions in a real-time game engine, while controling the camera interaxial and convergence parameters with a gamepad controller. Our technique has been implemented in the Blender Game Engine and tested during the shooting of a short movie. Qualitative experimental results show that our technique overcomes the limitations of previous work in stereoscopic previz and can usefully complement traditional storyboards during pre-production of stereoscopic 3-D movies