Crowd Character Complexity on Big Hero 6

Yasser Hamed John Kahwaty Andy Lin Evan Goldberg Lawrence Chai

Walt Disney Animation Studios ∗

Fig 1: Denizen blends between body types Fig 2: Retarget animation for different body sizes Fig 3: Crowd shot in “Big Hero 6”

Abstract

On Disney's Big Hero 6, we needed to create the city of San Fran-sokyo with unparalleled levels of visual complexity. The cityscapehas more buildings and more geometry than any prior Disney film.Inhabiting this city are hundreds of unique characters, each per-forming high caliber of animation individually and as a group.These challenges prompted a major upgrade to our existing crowdpipeline and the development of several new technologies in au-thoring crowd characters, generating crowd animation cycles, andinstancing crowds for rendering.

1 Authoring CharactersCharacter creation needed to be rethought to accommodate the di-verse, vibrant, and living city that is captured in the design of SanFransokyo. Hundreds of characters had to be created with little ef-fort and high quality. The process also needs to be trackable andeasily updatable.

Denizen was created to fill these needs. Its user-friendly interfaceallows both technical and non-technical artists to create charac-ters on-the-fly. Sliders adjust character proportions, and clothingis available from a library of options. Once settings are picked, thepress of a button will generate a full quality model, look, characterrig, cloth rig, and hair rig ready for use by production. This allowsasset creation to be driven by and come straight from Visual Devel-opment artists. In fact, the crew of Big Hero 6 was invited to authorthemselves in Denizen, and many of our production artists' avatarscan be seen in the movie.

With Denizen, we created almost 700 unique characters. Each oneof them is handcrafted by an artist and completely procedural, re-buildable, upgradable, and trackable.

2 Retargeting AnimationFor each of the 700 individual Denizen characters, we then gener-ated 200 unique actions (walks, runs, stands, claps, cheers, transi-tion cycles, etc). When batch processed on our queue, this resultedin 140,000 total animation cycles (700 characters x 200 cycles).

∗{yasser.hamed|john.kahwaty}@disneyanimation.com

{andy.lin|evan.goldberg|lawrence.chai}@disneyanimation.com

The action cycles were first animated on base male and female rigsof average proportion. We then used an automated retargeting pro-cess to properly transfer the 140,000 animations onto crowd char-acters of significantly different proportions.

The retargeting tool is based on Maya's Human IK (HIK), with anumber of in-house functions written on top to adjust for hand-to-hand contact, calculate knee pole vectors, preserve clean foot roll,and resolve body mesh interpenetration. For example, when retar-geting to a character with a fat body type, interpenetration betweenthe arms and upper torso is likely to occur. To automatically re-solve this, we developed a novel interpenetration correction systembased on Pose Space Deformation (PSD). The algorithm calculateswhich arm angles generate significant collision with the body. Asthe arm animation approaches these positions, PSD adjusts the con-trol angles to avoid interpenetration but preserve the proportionallyadjusted animation.

3 Instancing for RenderingOn previous shows, small-scale crowds were keyframed and han-dled by the animation department. Larger-scale crowds were cre-ated by instancing geometry with baked animation cycles or by us-ing third-party packages. On Big Hero 6, we needed a more flexibleworkflow that could scale to meet the demands of the film, as wellas efficiently feed more complex crowds to our new renderer, Hy-perion, used on the film. The crowds' animation data is generatedfrom the retargeted animation cycles augmented with secondaryprocedural animation, in-house scripting tools, and third-party ap-plications, and is saved as particle data for simulation.

To render the crowds, this particle data is read into Aurora, ourinternally-developed instancer. Aurora is typically used to procedu-rally generate different types of geometry (points, meshes, volumes,etc.) at render time. It was modified for Big Hero 6 to allow instanc-ing of character rigs onto particle instances with attributes contain-ing secondary procedural animation. When instancing crowds, Au-rora uses a bind rig along with a set of FK animation data attachedas per-particle attributes which is used to deform the mesh at ren-der time. Additional customization steps could also be taken at thispoint to render different accessories, materials, and hairstyles tofurther vary the look of the characters.

4 ConclusionWith the new crowd system, Big Hero 6 created crowd shots of pre-viously unthinkable size, scale, and quality. Novel tools such asDenizen, retargeting, and Aurora provide great efficiency for han-dling the complexity of authoring, animating and rendering, andcontinue to be used and evolve on upcoming productions.