computer animation€¦ · • coin-operated “flip-book” animation • picture cards attached...
TRANSCRIPT
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Computer Animation
Connelly Barnes
CS 4810: Graphics
Acknowledgment: slides by Jason Lawrence, Misha Kazhdan, Allison Klein, Tom Funkhouser, Adam Finkelstein and David Dobkin
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Overview• Some early animation historyohttp://en.wikipedia.org/wiki/
History_of_animation#Animation_before_film
• Computer animation
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Thaumatrope• Why does animation work?
• Persistence of vision
• 1824 John Ayerton invents the thaumatrope
• Or, 1828 Paul Roget invents the thaumatrope
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Thaumatrope• Why does animation work?
• Persistence of vision
• 1824 John Ayerton invents the thaumatrope
• Or, 1828 Paul Roget invents the thaumatrope
![Page 5: Computer Animation€¦ · • Coin-operated “flip-book” animation • Picture cards attached to a drum • Popular at sea-side resorts, etc. Animation History • Animation](https://reader033.vdocuments.mx/reader033/viewer/2022060610/6061530e2605942a9247f2d8/html5/thumbnails/5.jpg)
Phenakistoscope • Invented independently by 2 people in 1832
• Disc mounted on spindle
• Viewed through slots with images facing mirror
• Turning disc animates images
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Phenakistoscope • Invented independently by 2 people in 1832
• Disc mounted on spindle
• Viewed through slots with images facing mirror
• Turning disc animates images
![Page 7: Computer Animation€¦ · • Coin-operated “flip-book” animation • Picture cards attached to a drum • Popular at sea-side resorts, etc. Animation History • Animation](https://reader033.vdocuments.mx/reader033/viewer/2022060610/6061530e2605942a9247f2d8/html5/thumbnails/7.jpg)
Phenakistoscope • Invented independently by 2 people in 1832
• Disc mounted on spindle
• Turning disc animates images
• Viewed through slots with images facing mirror
![Page 8: Computer Animation€¦ · • Coin-operated “flip-book” animation • Picture cards attached to a drum • Popular at sea-side resorts, etc. Animation History • Animation](https://reader033.vdocuments.mx/reader033/viewer/2022060610/6061530e2605942a9247f2d8/html5/thumbnails/8.jpg)
Zoetrope (1834)• Images arranged on paper band inside a drum
• Slits cut in the upper half of the drum
• Opposite side viewed as drum rapidly spun
• Praxinoscope is a variation on this
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Zoetrope (1834)• Images arranged on paper band inside a drum
• Slits cut in the upper half of the drum
• Opposite side viewed as drum rapidly spun
• Praxinoscope is a variation on this
![Page 10: Computer Animation€¦ · • Coin-operated “flip-book” animation • Picture cards attached to a drum • Popular at sea-side resorts, etc. Animation History • Animation](https://reader033.vdocuments.mx/reader033/viewer/2022060610/6061530e2605942a9247f2d8/html5/thumbnails/10.jpg)
Mutoscope (1895)• Coin-operated “flip-book” animation
• Picture cards attached to a drum
• Popular at sea-side resorts, etc.
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Animation History• Animation and technology have always gone
together!
• Animation popular even before movies
• Movies were big step forward!
• "Humorous Phases of Funny Faces" (1906)
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Key Developments• Plot
• Creation of animation studios
• Getting rid of “rubber-hose” bodies
• Inking on cels
“Gertie the Dinosaur” Windsor McCay (1914)
“Felix the Cat” Pat Sullivan (1919)
“Steamboat Willie” Walt Disney (1928)
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Key Developments• Max Fleischer invents rotoscoping (1921)
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Key Developments• Max Fleischer invents rotoscoping (1921)
http://commons.wikimedia.org/wiki/File:The_Horse_in_Motion-anim.gif
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Fleischer’s Rotoscope
15
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Key Developments• Max Fleischer invents rotoscoping (1921)
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Key Developments• “Flowers and Trees” (1932) uses color!
• “Snow White” (aka “Disney’s Folly”) released 1937
“Flowers and Trees” Walt Disney
“Snow White” Walt Disney
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Animation Uses• Entertainment
• Education
• Propaganda
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Overview• Some early animation historyohttp://en.wikipedia.org/wiki/
History_of_animation#Animation_before_film
• Computer animation
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Computer Animation• What is animation?oMake objects change over time
according to scripted actions
• What is simulation?oPredict how objects change over time
according to physical laws
University of Illinois
Pixar
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3-D and 2-D animation
Homer 3-D Homer 2-D
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Outline• Principles of animation
• Keyframe animation
• Articulated figures
Angel Plate 1
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Principles of Traditional Animation• Squash and Stretch• Timing• Anticipation• Staging• Follow Through and Overlapping Action• Straight Ahead Action and Pose-to-Pose Action• Slow In and Out• Arcs• Exaggeration• Secondary action• Appeal
http://www.anticipation.info/texte/lasseter/principles.html
Luxo Junior Short Film
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Principles of Traditional AnimationSquash and Stretch• Defining the rigidity and mass of an object by
distorting its shape during an action.
http://www.anticipation.info/texte/lasseter/principles.html
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Principles of Traditional AnimationTiming• Spacing actions to define the weight and size of
objects and the personality of characters.oHeavier objects accelerate sloweroLethargic characters move sloweroEtc.
http://www.anticipation.info/texte/lasseter/principles.html
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Principles of Traditional AnimationAnticipation• The preparation for an action.oMuscle contraction prior to extensionoBending over to lift a heavy objectoLuxo’s dad responds to Luxo Jr. off screen before Luxo Jr.
appears.
http://www.anticipation.info/texte/lasseter/principles.html
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Principles of Traditional AnimationStaging• Presenting an idea so that it is unmistakably clear.oKeeping the viewer’s attention focused on a specific part
of the scene.oLuxo Jr. moves faster than his dad, and so we focus on
him.
http://www.anticipation.info/texte/lasseter/principles.html
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Principles of Traditional AnimationFollow Through and Overlapping Action• The termination of an action and establishing its
relationship to the next action.oLoose clothing will “drag” and continue moving after the
character has stopped moving.oThe way in which an object slows down indicates its
weight/mood.
http://www.anticipation.info/texte/lasseter/principles.html
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Principles of Traditional AnimationStraight Ahead Action and Pose-to-Pose Action• The two contrasting approaches to the creation of
movement.oStraight Ahead Action:
»Action is drawn from the first frame through to the last one.
»Wild, scrambling actions where spontaneity is important.
oPose-to-Pose Action:»Poses are pre-conceived and animator fills in the in-betweens.
»Good acting, where the poses and timing are all important. http://www.anticipation.info/texte/lasseter/principles.html
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Principles of Traditional AnimationSlow In and Out• The spacing of in-between frames to achieve subtlety
of timing and movements.
http://www.anticipation.info/texte/lasseter/principles.html
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Principles of Traditional AnimationArcs• The visual path of action for natural movement.oMake animation much smoother and less stiff than a
straight line for the path of action
http://www.anticipation.info/texte/lasseter/principles.html
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Principles of Traditional AnimationExaggeration• Accentuating the essence of an idea via the design
and the action.
http://www.anticipation.info/texte/lasseter/principles.html
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Principles of Traditional AnimationSecondary Action• The Action of an object resulting from another action.oThe rippling of Luxo Jr.’s cord as he bounces around the
scene.
http://www.anticipation.info/texte/lasseter/principles.html
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Principles of Traditional AnimationAppeal• Creating a design or an action that the audience
enjoys watching.oCharm oPleasing design oSimplicity oCommunicationoMagnetismoEtc.
http://www.anticipation.info/texte/lasseter/principles.html
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Keyframe Animation• Define character poses at specific time steps
called “keyframes”
Lasseter `87
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Keyframe Animation• Interpolate variables describing keyframes to
determine poses for character “in-between”
Lasseter `87
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Keyframe Animation• Inbetweening:oLinear interpolation - usually not enough continuity
H&B Figure 16.16
Linear interpolation
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Keyframe Animation• Inbetweening:oCubic spline interpolation - maybe good enough
»May not follow physical laws
Lasseter `87
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Keyframe Animation• Inbetweening:oCubic spline interpolation - maybe good enough
»May not follow physical laws
Lasseter `87
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Keyframe Animation• Inbetweening:oKinematics or dynamics
Rose et al. `96
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Outline• Principles of animation
• Keyframe animation
• Articulated figures
Angel Plate 1
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Articulated Figures• Character poses described by set of rigid bodies
connected by “joints”
Angel Figures 8.8 & 8.9
Base
Arm
Hand
Scene Graph
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Articulated Figures
Rose et al. `96
• Well-suited for humanoid characters
Root
LHip
LKnee
LAnkle
RHip
RKnee
RAnkle
Chest
LCollar
LShld
LElbow
LWrist
RCollar
RShld
RElbow
RWrist
Neck
Head
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Articulated Figures• InbetweeningoInterpolate angles, not positions, between keyframes
Watt & Watt Good arm Bad arm
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Example: Walk Cycle• Articulated figure:
Watt & Watt
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Example: Walk Cycle• Hip joint orientation:
Watt & Watt
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Example: Walk Cycle• Knee joint orientation:
Watt & Watt
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Example: Walk Cycle• Ankle joint orientation:
Watt & Watt
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Example: Walk Cycle
https://www.youtube.com/watch?v=k86w0zlzY54
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Outline• Principles of animation
• Keyframe animation
• Articulated figures
Angel Plate 1
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Kinematics and Dynamics• KinematicsoConsiders only motionoDetermined by positions, velocities, accelerations
• DynamicsoConsiders underlying forcesoCompute motion from initial conditions and physics
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Example: 2-Link Structure• Two links connected by rotational joints
Θ1
Θ2
X = (x,y)
l2
l1
(0,0)
“End-Effector”
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Forward Kinematics• Animator specifies joint angles: Θ1 and Θ2
• Computer finds positions of end-effector: X
Θ1
Θ2
X = (x,y)
l2
l1
(0,0)
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Forward Kinematics• Joint motions can be specified by spline curves
Θ1
Θ2
X = (x,y)
l2
l1
(0,0)
Θ2
Θ1
t
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Forward Kinematics• Joint motions can be specified by initial conditions
and velocities
Θ1
Θ2
X = (x,y)
l2
l1
(0,0)
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Example: 2-Link Structure• What if animator knows position of “end-effector”
Θ1
Θ2
X = (x,y)l2
l1
(0,0)
“End-Effector”
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Inverse Kinematics• Animator specifies end-effector positions: X
• Computer finds joint angles: Θ1 and Θ2:
Θ1
Θ2
X = (x,y)l2
l1
(0,0)
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Inverse Kinematics• End-effector postions can be specified by splines
Θ1
Θ2
X = (x,y)
l2
l1
(0,0)
y
x
t
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Inverse Kinematics• Problem for more complex structuresoSystem of equations is usually under-definedoMultiple solutions
Θ1
Θ2
l2
l1
(0,0)
X = (x,y)
l3
Θ3
Three unknowns: Θ1, Θ2 , Θ3 Two equations: x, y
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Inverse Kinematics• Solution for more complex structures:oFind best solution (e.g., minimize energy in motion)oNon-linear optimization
Θ1
Θ2
l2
l1
(0,0)
X = (x,y)
l3
Θ3
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Summary of Kinematics• Forward kinematicsoSpecify conditions (joint angles)oCompute positions of end-effectors
• Inverse kinematicso“Goal-directed” motionoSpecify goal positions of end effectorsoCompute conditions required to achieve goals
Inverse kinematics provides easier specification for many animation tasks, but it is computationally more difficult
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Overview• KinematicsoConsiders only motionoDetermined by positions, velocities, accelerations
• DynamicsoConsiders underlying forcesoCompute motion from initial conditions and physics
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Dynamics• Simulation of physics insures realism of motion
Lasseter `87
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Spacetime Constraints• Animator specifies constraints:oWhat the character’s physical structure is
»e.g., articulated figureoWhat the character has to do
»e.g., jump from here to there within time toWhat other physical structures are present
»e.g., floor to push off and landoHow the motion should be performed
»e.g., minimize energy
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Spacetime Constraints• Computer finds the “best” physical motion satisfying
constraints
• Example: particle with jet propulsionox(t) is position of particle at time tof(t) is the directional force of jet propulsion at time toParticle’s equation of motion is:
oSuppose we want to move from a to b within t0 to t1 with minimum jet fuel:
Minimize subject to x(t0)=a and x(t1)=bWitkin & Kass `88
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Spacetime Constraints• Discretize time steps:
Minimize subject to x0=a and x1=bWitkin & Kass `88
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Spacetime Constraints• Solve with
iterative optimization methods
Witkin & Kass `88
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Spacetime Constraints• Advantages:oFree animator from having to specify details of physically
realistic motion with spline curvesoEasy to vary motions due to new parameters
and/or new constraints
• Challenges:oSpecifying constraints and objective functionsoAvoiding local minima during optimization
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Spacetime Constraints• Adapting motion:
Witkin & Kass `88
Heavier Base
Original Jump
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Spacetime Constraints• Adapting motion:
Witkin & Kass `88
Hurdle
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Spacetime Constraints• Adapting motion:
Witkin & Kass `88
Ski Jump
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Dynamics• Other physical simulations:oRigid bodiesoSoft bodiesoClothoLiquidsoGasesoetc.
Hot Gases (Foster & Metaxas `97)
Cloth (Baraff & Witkin `98)
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Summary• Principles of animation
• Keyframe animation
• Articulated figures