introduction to 3d computer animation
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Introduction to 3D Computer Animation. Dr. Midori Kitagawa University of Texas at Dallas Arts and Technology Program. Outline. History: Pioneers of animation Principles of animation Types of 3D computer animation Future. 1. History: Pioneers of animation. - PowerPoint PPT PresentationTRANSCRIPT
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Introduction to 3D Computer Animation
Dr. Midori KitagawaUniversity of Texas at Dallas
Arts and Technology Program
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1. History: Pioneers of animation2. Principles of animation3. Types of 3D computer animation4. Future
Outline
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J. Stuart Blackton (1875-1941)Winsor McCay (1867-1934)John Bray (1874-1978)Max Fleischer (1883-1972)Walt Disney (1901-1966)
1. History: Pioneers of animation
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Father of animation
In 1896 as a reporter/artist for the New York Evening World newspaper, Blackton interviewed Thomas Edison
Became a "rapid-drawing cartoonist" for a series of Edison shorts.
J. Stuart Blackton (1875-1941)
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Combined stop motion, puppetry, and live action
Enchanted Drawing, 1900
Humorous Phases of Fanny Faces, 1906
J. Stuart Blackton (1875-1941)
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Father of character animation
Already well known for his newspaper cartoons “Little Nemo”, 1905-1914
Winsor McCay (1867-1934)
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Gave believability and personality to his hand-drawn characters
Gertie the Dinosaur, 1914
Winsor McCay (1867-1934)
Sinking of Lusitania, 1916
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Founder of the animation industry
Reporter for the Detroit Evening News, 1901-
In 1914 Bray’s partner Earl Hurd patented the use of clear cels over background
Hurd and Bray formed the Hurd and Bray Patent Company in 1914
John Randolph Bray (1874-1978)
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Turned artistic work into an assembly-line production
With additional patents obtained by Bray, the company monopolized the animation process
The patents expired in 1932
Much of what Bray claimed to have invented have been credited to McCay and others.
John Randolph Bray (1874-1978)
Colonel Heeza Liar’s, 1913
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Inventor of the rotoscope
A cartoonist and photographer for the Brooklyn Daily Eagle
Art director for the magazine Popular Science
Worked at Bray’s studio
Max Fleischer (1883-1972)
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Rotoscope
Traces the movement of live actors, frame by frame
Max Fleischer (1883-1972)
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Produced the first animation with a synchronized sound track in 1924
Fleischer studio produced Betty Boop, Popeye, and Superman cartoon series
Affected by the Hays Code in 1934
Max Fleischer (1883-1972)
Tantalizing Fly, 1919
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Inventor of the family entertainment
Film producer, director, screen writer, voice actor, animator, entrepreneur
Greatly influenced 20th century American culture
Walt Disney (1901-1966)
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Father of Mickey MouseSteamboat Willie
(1928) was not the first Mickey Mouse cartoon produced or released
Not the first sound cartoon either
The first sound cartoon that achieved wide commercial success
Walt Disney (1901-1966)
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“Disney’s memory belongs to the public; Max’s to those who remember him by choice.” (Heraldson, 1975)
History: Pioneers of animation
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Created by animators at the Walt Disney Studios in the early 1930’s
Helped to transform animation from a novelty into an art form
Still todayGuide production and creative discussionsTrain young animators better and fasterApplicable to 2D/3D computer animation as
well as traditional hand-drawn animation
2. Principles of animation
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From Illusion of Life: Disney Animation
by Ollie Johnson and Frank ThomasSquash and stretchAnticipationStagingStraight ahead
action and pose to pose
Follow through and overlapping action
Slow-in and slow-outArcsSecondary actionTimingExaggerationSolid drawingAppeal
Principles of animation
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Principles of animationSquash and stretchFollow throughTimingSlow-in and slow-outSecondary actionArcs
AnticipationStaging
Physics Aesthetics
Presentation of action
Production methodsStraight ahead action
and pose to pose
ExaggerationSolid drawingOverlapping actionAppeal
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Physics
Squash and stretchFollow throughTimingSecondary actionSlow in and slow outArcs
Principles of animation
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While many real world objects, e.g. a rock, have little or no flexibility most organic objects, e.g. a human body, have some flexibility in their shapes
When an object moves, its movement indicates the rigidity of the object
Squash and stretch
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No matter how squashed or stretched out an object gets, its volume should remain constant
Squash and stretch
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Termination of actionNothing stops at onceWhen the main body of a character stops all
other parts continue to catch up it, such as arms, long hair, clothing, floppy ears, and a long tail
Follow through
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Follow through
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Timing, i.e., the speed of an action, gives meaning to movement, both physical and emotional meaning
Timing affects the perception of mass of an object
Timing
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Timing gives meaning to movement
A character looks first over the right shoulder and then over the left shoulder. Varying the number of inbetweens can imply:
0: hit by a strong force and its head almost snapped off1: hit by something substantial, .e.g., frying pan2: has a nervous twitch3: dodging a flying object4: giving a crisp order6: sees something inviting9: thinking about something10: stretching a sore muscle
Timing
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Timing affects the perception of mass of an object
The slower the object moves the heavier it looks
Timing
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Spacing of inbetweens at extremesSoften the action and make it more life-like
Slow-in and slow-out
Without slow-out
With slow-out
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Smaller motions that complement the main action, e.g. hair flows as a character turns its head
Increases the complexity and interest in a scene
Secondary action
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All actions, with few exceptions (e.g., motion of a mechanical device), follow an arc or slightly circular path
Especially true of the human figure and the action of animals
Arcs
Arcs give animation a more natural action and better flow
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Aesthetics
ExaggerationAppealOverlapping action
Principles of animation
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A caricature of facial features, expressions, poses, attitudes, and actions
Makes it more realistic and entertainingNot arbitrary distortion of shapes nor making
an action more violent or unrealistic
Exaggeration
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“If a character is sad, make him sadder; if he is bright, make him shine; worried, make him fret; wild, make him frantic.” (Lasseter, 1987)
Exaggeration
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Ability to draw weight, volume, and balanceAesthetic sensibility for forms, textures,
lights, and motions
Solid drawing
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Animated characters must appeal to the audience.
They don't need to be lovely, cute and nice, but they must be interesting, somehow attractive.
Villains as well as heroes and heroines should have appeals
Appeal
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A live performer has charisma; an animated character has appeal
Appeal
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Starting a second action before the first action has completely finished
Keeps the interest of the viewer, since there is no dead time between actions
Overlapping action
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"When a character knows what he is going to do he doesn't have to stop before each individual action and think to do it. He has it planned in advance in his mind." Disney
Overlapping action
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Presentation of action
AnticipationStaging
Principles of animation
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Preparation for an action, e.g., when a character is about to jump, he first crouches to gain momentum and the takes off
Prepares the viewer for the action that will happen
Longer anticipation is needed for faster actions
Anticipation
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Clear presentation of an idea, where the idea can be an action, a personality, an expression, or a mood
An idea should be unmistakably clear to the viewer
Staging
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One idea at a timeA personality should be staged so that it is
recognizable
Staging
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Production methods
Straight aheadPose to pose
Principles of animation
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Starts at the first drawing in a scene and then draws all of the subsequent frames until the end of the scene
Creates very spontaneous and zany looking animation
Used for wild, scrambling action
Straight ahead
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Planned out and charted with key drawings done at intervals throughout the scene
Action, size, volumes, and proportions are controlled than straight ahead
The lead animator will turn keys over to his assistant
Pose to pose
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Another way to look at the principles
Principles of animation
Before action Beginning of action
Middle of action
End of action
Anticipation Slow-in Slow-outStaging Follow
throughSquash and stretch, straight ahead, pose to pose, overlapping action, arcs, secondary action, timing,
exaggeration, solid drawing, appeal
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Essential for 3D computer animation
Principles of animation
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Keyframe animationPixar: Cars (2006), Ratatouille (2007), Wall-E
(2008)PDI/Dreamworks: Shrek (2001, 2004, 2007),
Kanfu-panda (2008)Motion capture animation
Sony: Polar Express (2004), Monster House (2006), Beowulf (2007)
Procedural animation
3. Types of 3D computer animation
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Keyframe is a drawing (image) of a key moment in an animation sequence, where the motion is at its extreme
Inbetweens fill the gaps between keyframes
Keyframe animation
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In traditional animation, skilled animators draw keyframes; less experienced animators draw inbetweens
In 3D computer animations, animators set up parameter values for keyframes; software interpolates parameter values between keyframes for inbetweens
Every motion is created by animators
Keyframe animation
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Different interpolation methods create different timing
Keyframe animation
Linear interpolation
Spline interpolation
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What is motion capture?
Sampling and recording motion of humans, animals, and inanimate objects s 3D data
Data can be applied to 3D computer models
Motion capture animation
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Faster to produce animation than keyframing (if an established production pipeline exists)
Secondary motions and all the subtle motions are captured, providing more realism
Motion capture animation
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Motion is generated by a procedure, a set of rules
Animator specifies rules and initial conditions and runs simulation
Procedural animation
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Provides more realism in natural phenomena than keyframing
Frees animators from generating complex objects and keyframing a large number of objects
Procedural animation
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Used for effect animation for traditional animation and live action films as well as for 3D computer animation
Procedural animation
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A combination of keyframe animation, motion capture and/or procedural animation is often used to produce animations
Types of animation
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Creating believable digital actorsGenerating interactive animation of realistic
high-resolution models in real time
4. Future
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Midori Kitagawa, [email protected]