Logistics Test e-mail Animation Pipeline, Principles, Tools - - PDF document

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Logistics Test e-mail Animation Pipeline, Principles, Tools - - PDF document

Logistics Test e-mail Animation Pipeline, Principles, Tools Anyone not get it? Test file in myCourses Anyone have problems Announcement Projects Animator KAREN AQUA at RIT Any questions? Tuesday, March 18 th


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SLIDE 1

Animation Pipeline, Principles, Tools

Logistics

  • Test e-mail

– Anyone not get it?

  • Test file in myCourses

– Anyone have problems

Announcement

  • Animator KAREN AQUA at RIT

– Tuesday, March 18th (tomorrow) – 6-9 pm – Carlson Auditorium (76-1125)

Projects

  • Any questions?

– Proposals due next Monday – Susan Lakin (photography) here today to talk about some ideas. – Marla Schweppe will be here Wednesday

  • Performance art and graphics
  • Motion capture

Plan for today

  • Susan Lakin
  • Animation pipeline

– Summary thoughts from last week’s videos

  • The first of our motivational films
  • Principles of Animation.

Animation pipeline

  • Review of what we saw on video last week.
  • Tools to help you in the process.
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SLIDE 2

Animation Production

Story Model Lighting Shading Animation Camera Layout Voice Foley Postprocess

Animation Production

Story

Animation Pipeline

  • Story

– The story drives the process – Storyboard – rough drawings that tell the story – Tools for you

  • Paper
  • Pencil
  • Napkins
  • Palm of hands
  • Etc.

Animation Production

Story Model Shading Layout

Animation Pipeline

  • Setting the stage

– Models –characters objects in story – Tools for you

  • Modelers (in order of $$$)

– Emacs / vi – Milkshape 3D – Rhino 3D – 3D Studio Max – Maya – Laser Modelers

Animation pipeline

  • Setting the stage

– Layout – staging / blocking – Tips for you

  • Test using low-quality models
  • Test using wireframe or basic shading
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SLIDE 3

Animation Pipeline

  • Setting the stage

– Shading – defines look of your model. – Tools for you

  • OpenGL / DirectX defaults

– Gouraud, Phong Shading.

  • Renderman

– BMRT – Aqsis – prman

  • Dare I say…

– Cg (real time)

Animation Production

Story Model Shading Animation Layout

Animation Pipeline

  • Animation

– aka Motion Control – This is the crux of what you will be doing – Degrees of Freedom problem

  • Your job is to make the number of degrees of

freedom manageable to an animator

  • Animator decides what is managable and what

parameters should be under his/her control.

Animation Pipeline

  • Animation

– Tools for you

  • Programming environment: C, C++, jav
  • 3D API: OpenGL / DirectX / java3D

Remember This?

an·i·ma·tion (n)

a motion picture made from a series of drawings simulating motion by means of slight progressive changes in the drawings

Animation Pipeline

  • Animation

– A note about timing

  • Film Frame Rate: 24 frames/sec
  • Video Frame Rate: approx. 30 frames / sec.
  • Realtime Frame Rate: variable

– MUST CONSIDER WHEN doing realistic animation.

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SLIDE 4

Animation Production

Story Model Lighting Shading Animation Layout

Animation Pipeline

  • Lighting

– Set up virtual lighting to achieve visual goals. – Tools for you

  • See shading & animation

Animation Production

Story Model Lighting Shading Animation Camera Layout

Animation Pipeline

  • Camera

– Render frames and assemble – Tools for you – Rendering

  • Renderman
  • POV-Ray
  • Maya/3DSM
  • Radiance
  • OpenGL/DirectX – real time

Animation Pipeline

  • Camera

– Render frames and assemble – Tools for you – Assembly

  • OpenGL/DirectX – real time
  • Non-real time

– Adobe Premiere ($$$) – VideoWave III ($$$) – AVI Creator / Netpbm

Animation Production

Story Model Lighting Shading Animation Camera Layout Voice Foley Postprocess

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SLIDE 5

Animation Pipeline

  • If you wish to add sound

– Voice drives animation (lip sync) – Animation drive sound effects (foley) – Background music. – Tools for you:

  • Foley – see Perry Cook’s page (Princeton)
  • OpenAL / DirectSound
  • VAS – Spatialized Sound

Animation Pipeline

  • If you wish to add sound

– Tools for you – Assembly

  • OpenAL/DirectSound – real time
  • Non-real time

– Also allows for titles, transitions, editing, etc, » Adobe Premiere ($$$) » VideoWave III ($$$) » Window Movie Maker

Animation Pipeline

  • Questions?
  • Break.

Motivational Film

  • The Adventures of Andre and Wally B.

– Lucasfilm (eventually became Pixar) – First Computer Animated Film by John Lassiter.

Motivational Film

  • Luxo, Jr.

– Pixar (1986)

Motivational Film

  • Luxo, Jr.

– The one that really started it all

  • Character far more important than effects
  • Showed that believable, sympathetic characters can

be created via computer

  • They don’t even have to be human
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SLIDE 6

Animation

“There is no particular mystery in animation…it’s really very simple, and like anything that is simple, It is about the hardest thing in the world to do”

  • - Bill Tytla, Disney Animator, 1937

Animation

  • Programming animation

– Creating tools for animators

  • Good to know the principles by which

animators work

Principles of Animation

  • Developed for traditional animation by Disney.
  • Applied to computer animation by John Lassiter

– Squash & Stretch – Timing – Anticipation – Staging – Follow Through and Overlapping Action – Straight ahead action and Pose-to-pose action

Principles of Animation

  • Developed for traditional animation by Disney:

– Slow in and Slow Out – Arcs – Exaggeration – Secondary Action – Appeal

  • We’ll go through each one in turn.

Principles of Animation

  • Web Sites (links on course site)

– Ralph A. De Stefano (EVL – Univ Of Ill). – SIGGRAPH – Lassiter paper online – Kim Roddy (Naval Postgrad School)

  • 1. Squash & Stretch
  • “The most important principle”
  • Most objects in the world are not rigid.
  • For example, silly putty

– never changes volume or mass

  • The amount of squash & stretch gives

indication of rigidity of an object

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SLIDE 7
  • 1. Squash & Stretch
  • Object need not deform in order to squash

and stretch

  • 2. Timing
  • “More than any other principle, timing

defines the weight of an object”

Which ball is heavier?

  • 2. Timing
  • Timing can also indicate an emotional state

– Start Frame: a head looking over the right shoulder – End Frame: a head looking over the left shoulder

  • No in-betweens - the character has been hit by a strong force and its

head almost snapped off

  • One in-betweens - the character has been hit by something substantial,

.e.g., frying pan

  • Two in-betweens - the character has a nervous twitch
  • Three in-betweens - the character is dodging a flying object
  • Four in-betweens - the character is giving a crisp order
  • Six in-betweens - the character sees something inviting
  • Nine in-betweens - the character is thinking about something
  • Ten in-betweens - the character is stretching a sore muscle
  • 3. Anticipation
  • “Anticipation is often used to explain what

the following action is going to be”

  • There are two main uses of anticipation:
  • 1. Prepare for a movement
  • 2. To draw the viewers attention to

something. Example: opening of Luxo Jr.

  • 3. Anticipation
  • What is Wally going to do next
  • 4. Staging
  • “Staging is the presentation of an idea so it

is completely and unmistakably clear”

– An important objective of staging is to lead the viewers eye to where the action will occur so that they do not miss anything. – Example: Luxo Jr…Jr is always focus when Dad & Jr on stage

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SLIDE 8
  • 4. Staging
  • Staging in silhouette

Andre’s itch is on side, If on belly, action would be in front of body and might be missed

  • 4. Staging
  • Luxo Jr. was staged to the side for clarity
  • 4. Staging
  • Busy vs Still.

– Link

  • 5. Follow Through and Overlapping Action
  • “Follow through is the termination of an
  • action. Actions very rarely come to a sudden and

complete stop, but are generally carried past their termination point.”

  • The motion in most animation can be broken

down in to three sections:

– 1. Anticipation of an Action – the setup for an action

  • 2. The Action – the actual action
  • 3. The Follow Through- the movement at the end of a

motion

  • 5. Follow Through and Overlapping Action
  • Overlapping Action

– “An action should never be brought to a complete stop before starting another action, and the second action should overlap the first.”

  • 6. Straight ahead action and Pose-to-pose action
  • The two main approaches to hand drawn

animation.

– Straight ahead action

  • “the animator works straight ahead from his first drawing in

the scene.”

– Pose-to-pose (keyframing)

  • the animator plans his actions, figures out just what drawings

will be needed to animate the business, makes the drawings concentrating on the poses, ... and then draws the inbetweens.”

  • Link
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SLIDE 9
  • 6. Straight ahead action and Pose-to-pose action
  • Most animator defined computer animation

is keyframed.

  • Keyframing implies Interpolation
  • Next several lectures will be on key framing
  • 7. Slow In and Slow Out
  • Refers to the spacing of the inbetween

frames at maximum positions.

  • Example:

– a bouncing ball moves faster as it approaches or leaves the ground and slower as it approaches leaves its maximum position

  • 7. Slow In and Slow Out
  • Keyframing / Interpolation have no basis in

physics.

  • 8. Arcs
  • “The visual path of action from one extreme

to another is always described by an arc.”

  • Splines for interpolation
  • 9. Exaggeration
  • The key to proper use of exaggeration lies in

exploring the essence of the action or idea, understanding the reason for it, so that the audience will also understand it.

  • Choose carefully what you wish to exaggerate.

– If only one thing is exaggerated then it may stand out too much. – If everything is exaggerated, then the entire scene may appear too unrealistic.

  • 10. Secondary Action
  • This is an action that directly results from

another action.

– Examples:

  • Facial expression on a character.
  • Wiley Coyote
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SLIDE 10
  • 10. Secondary Action
  • Luxo Jr example

– Electrical Cord

  • 11. Appeal
  • Make the animation something that the

audience wants to see

– Appeal != cute

  • Darth Vader has appeal even though he is evil.

– The characters should be real – Where the live action actor has charisma the animated character has appeal.

Principles of Animation – Wrap Up

  • Animation is an art.

– Tools will be built for artists

  • Physical laws apply just as much in an

animated world as they do in the real world. Although animators can get away with not understanding the math

– Know when to use math and when not to.

Principles of Animation – Wrap Up

  • In character animation, all actions and

movements of a character are the result

  • f its thought processes.

– "The thinking animation character becomes a character."

  • Creating an effective character involves all
  • f the principles.

– Also true: ignoring one or more principles will result in unconvincing characters

Principles of Animation

  • Questions?

Next Time

  • Defining orientation and transformations.
  • Keep thinking of Project Ideas.
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SLIDE 11

Remember

  • Class Web Site:

– http://www.cs.rit.edu/~jmg/animation

  • Any questions?