Animation Vladimir Savchenko

PrefacePreface What is animation? What is animation?  Animation is the rapid display of a sequence of images of 2-D artwork or model positions in order to create an illusion of movement. It is an optical illusion of motion due to the phenomenon of persistence of vision. An optical illusion - the information gathered by the eye is processed by the brain to give, on the face of it, a percept that does not tally with a physical measurement of the stimulus source. An optical illusion - the information gathered by the eye is processed by the brain to give, on the face of it, a percept that does not tally with a physical measurement of the stimulus source. Motion means a continuous change in the position of a body relative to a reference point, as measured by a particular observer in a particular frame of reference. Motion means a continuous change in the position of a body relative to a reference point, as measured by a particular observer in a particular frame of reference.

PrefacePreface What is animation? What is animation? According to the theory of persistence of vision, the perceptual processes of the retina of the human eye retains an image for a brief moment. Persistence of vision is said to account for the illusion of motion which results when a series of film images are displayed in quick succession, rather than the perception of the individual frames in the series. According to the theory of persistence of vision, the perceptual processes of the retina of the human eye retains an image for a brief moment. Persistence of vision is said to account for the illusion of motion which results when a series of film images are displayed in quick succession, rather than the perception of the individual frames in the series. Observation is the observing of phenomena, actions, or events Observation is the observing of phenomena, actions, or events In physics, observation refers to a provided set of axes from which an observer can measure the position and motion of all points in a system, as well as the orientation of objects in it. In physics, observation refers to a provided set of axes from which an observer can measure the position and motion of all points in a system, as well as the orientation of objects in it.

PrefacePreface  Animation techniques Traditional animation Traditional animation - Also called cel animation, the frames of a traditionally animated movie are hand-drawn. Walt Disney developed a number of principles Computer graphics animators have adapted them to 3D

PrefacePreface  Animation techniques Computer animation Computer animation  Computer animation encompasses a variety of techniques, the unifying idea being that the animation is created digitally on a computer.

PrefacePreface 2D animation Figures are created and/or edited on the computer using 2D bitmap graphics or created and edited using 2D vector graphics. This includes automated computerized versions of traditional animation techniques such as of tweening, morphing, onion skinning and interpolated rotoscoping. Figures are created and/or edited on the computer using 2D bitmap graphics or created and edited using 2D vector graphics. This includes automated computerized versions of traditional animation techniques such as of tweening, morphing, onion skinning and interpolated rotoscoping. Tweening, short for in-betweening, is the process of generating intermediate frames between two images to give the appearance that the first image evolves smoothly into the second image. Tweening, short for in-betweening, is the process of generating intermediate frames between two images to give the appearance that the first image evolves smoothly into the second image.

PrefacePreface 2D animation Morphing is a special effect in animations that changes (or morphs) one image into another through a seamless transition. Morphing is a special effect in animations that changes (or morphs) one image into another through a seamless transition. Onion skinning is a 2D computer graphics term for a technique used in creating animated cartoons and editing movies to see several frames at once. Onion skinning is a 2D computer graphics term for a technique used in creating animated cartoons and editing movies to see several frames at once. Interpolation is a method of constructing new data points from a discrete set of known data points. Interpolation is a method of constructing new data points from a discrete set of known data points.

PrefacePreface 3D animation Figures are created in the computer using,for example, polygons. To allow these meshes to move they are given a digital armature (sculpture). This process is called rigging. Various other techniques can be applied, such as mathematical functions (gravity), simulated fur or hair, effects such as fire and water and the use of motion capture to name but a few. Figures are created in the computer using,for example, polygons. To allow these meshes to move they are given a digital armature (sculpture). This process is called rigging. Various other techniques can be applied, such as mathematical functions (gravity), simulated fur or hair, effects such as fire and water and the use of motion capture to name but a few. The armature is analogous to the major skeleton and has essentially the same purpose: to hold the body erect. The armature is analogous to the major skeleton and has essentially the same purpose: to hold the body erect.

PrefacePreface Animation principles 1. Squash and stretch 2. Staging 3. Timing 4. Anticipation 5. Follow through 6. Overlapping action 7. Secondary action 8. Straight-ahead vs. pose-to-pose vs. blocking 9. Slow in, slow out 10. Exaggeration 11. Appeal

PrefacePreface Animation principles Squash and stretch Squash: flatten an object or character by pressure or by its own power Stretch: used to increase the sense of speed and emphasize the squash by contrast Note: keep volume constant

PrefacePreface Animation principles Staging Present the idea so it is unmistakably clear Audience can only see one thing at a time Useful guide: stage actions in silhouette In dialogue, character faces ¾ towards the camera, not right at each other

PrefacePreface Animation principles Timing Timing affects weight: – Light object move quickly – Heavier objects move more slowly Timing can completely change the meaning of an action

PrefacePreface Animation principles Anticipation An action breaks down into: – Anticipation – Action – Reaction Anatomical motivation: a muscle must extend before it can contract Prepares audience for action so they know what to expect Directs audience ’ s attention Amount of anticipation can affect perception of speed and weight

PrefacePreface Animation principle Secondary action An action that emphasizes the main point, but is secondary to it.

PrefacePreface Animation principles Straight-ahead vs. pose-to-pose vs. blocking Straight ahead: proceed from frame to frame without planning where you want to be in ten frames. Can be wild, spontaneous. Pose-to-pose: Define keyframes and “ inbetweens ”. Blocking: computer graphics animators adaptation: – Start key – framing at the top of the hierarchy – Refine level by level – Keyframes for different parts need not happen at the same time.

PrefacePreface Animation principles Slow in, slow out An extreme pose can be emphasized by slowing down as you get to it (and as you leave it)

PrefacePreface Animation principles Exaggeration - Get to the heart of the idea and emphasize it so the audience can see it.

PrefacePreface Animation principles Appeal The character must interest the viewer. It doesn ’ t have to be cute and cuddly. Design, simplicity, behavior all affect appeal. Note: avoid perfect symmetries Example: Luxo, Jr. is made to appear childlike

Examples. Animation by space mapping technique Examples. Animation by space mapping technique  The space mapping technique is applied in 3D space and can serve for computing of surface transformations according to the user demands The left image shows the “Lion-dog” model (courtesy of Yutaka Ohtake and A Belyev of Max-Planck-Institut für Informatik) (24930 vertices, polygons), whose surface was generated from range data The left image shows the “Lion-dog” model (courtesy of Yutaka Ohtake and A Belyev of Max-Planck-Institut für Informatik) (24930 vertices, polygons), whose surface was generated from range data The right image shows plausible deformations after applying space deformations by two 3D points (the time required to calculate deformations is about seconds) The right image shows plausible deformations after applying space deformations by two 3D points (the time required to calculate deformations is about seconds)

Examples. Facial Animation Examples. Facial Animation emotions1[1].avi (7000 triangles, 100 frames per sec) emotions1[1].avi (7000 triangles, 100 frames per sec)emotions1[1].avi elasticbox1[1].avi elasticbox1[1].avielasticbox1[1].avi

Volume visualization and animation Volume visualization and animation Temporal transformation or metamorphosis can be useful in different applications, for instance, artistic animation or recognition tasks. arhnew.avi Temporal transformation or metamorphosis can be useful in different applications, for instance, artistic animation or recognition tasks. arhnew.aviarhnew.avi Figures illustrate shapes constructed by the linear interpolation of two (volume) shapes with using a linear blending function which specify the relative contribution of each shape on the resulting blended shape. Figures illustrate shapes constructed by the linear interpolation of two (volume) shapes with using a linear blending function which specify the relative contribution of each shape on the resulting blended shape.

Character animation Character animation NekoAnimation\Neko.html NekoAnimation\Neko.html NekoAnimation\Neko.html

Character animation Character animation fontanim.mov fontanim.mov fontanim.mov

Key-frame animation Key-frame animation Artificial fish Artificial fish fish4.avi fish4.avi fish4.avi

Particle physically based animation Particle physically based animation NekoAnimation\Cometaimage2.html NekoAnimation\Cometaimage2.html NekoAnimation\Cometaimage2.html