High resolution animated scenes from stills

Current techniques for generating animated scenes involve either videos (whose resolution is limited) or a single image (which requires a significant amount of user interaction). In this paper, we describe a system that allows the user to quickly and easily produce a compelling-looking animation from a small collection of high resolution stills. Our system has two unique features. First, it applies an automatic partial temporal order recovery algorithm to the stills in order to approximate the original scene dynamics. The output sequence is subsequently extracted using a second-order Markov Chain model. Second, a region with large motion variation can be automatically decomposed into semiautonomous regions such that their temporal orderings are softly constrained. This is to ensure motion smoothness throughout the original region. The final animation is obtained by frame interpolation and feathering. Our system also provides a simple-to-use interface to help the user to fine-tune the motion of the animated scene. Using our system, an animated scene can be generated in minutes. We show results for a variety of scenes.     

A sketch-based interface to modify and reproduce motion sequences

We present a sketch-based user interface, which was designed to help novices to create 3D character animations by multi-pass sketching, avoiding the ambiguities usually present in sketch input. Our system also contains sketch-based editing and reproducing tools, which allow paths and motions to be partially updated rather than wholly redrawn; and graphical block interface permits motion sequences to be organized and reconfigured easily. A user evaluation with participants of different skill levels suggest that novices using this sketch interface can produce animations almost as quickly as users who are experienced in 3D animation.     

Points‐based user interface for character posing

We present a points‐based user interface for character posing. In our method, users insert a number of three‐dimensional (3D) points in a virtual environment. The system performs a linear search of a motion capture database for the best matched pose and then places the pose immediately in the virtual environment to be overlapped with the input points. For a fast and precise distance computation between the input points and the example poses from the database, we developed a closed‐form solution of the 3D points registration problem. To demonstrate the easiness and usability of our approach, we built a motion database including various kinds of human motion and conducted a user study of character posing tasks with non‐expert users. Copyright © 2016 John Wiley & Sons, Ltd.     

Human motion retrieval from hand-drawn sketch

The rapid growth of motion capture data increases the importance of motion retrieval. The majority of the existing motion retrieval approaches are based on a labor-intensive step in which the user browses and selects a desired query motion clip from the large motion clip database. In this work, a novel sketching interface for defining the query is presented. This simple approach allows users to define the required motion by sketching several motion strokes over a drawn character, which requires less effort and extends the users’ expressiveness. To support the real-time interface, a specialized encoding of the motions and the hand-drawn query is required. Here, we introduce a novel hierarchical encoding scheme based on a set of orthonormal spherical harmonic (SH) basis functions, which provides a compact representation, and avoids the CPU/processing intensive stage of temporal alignment used by previous solutions. Experimental results show that the proposed approach can well retrieve the motions, and is capable of retrieve logically and numerically similar motions, which is superior to previous approaches. The user study shows that the proposed system can be a useful tool to input motion query if the users are familiar with it. Finally, an application of generating a 3D animation from a hand-drawn comics strip is demonstrated.     

Interactive Computer Animation of Hand Gestures using Status Estimation with Multiple Regression Analysis

This paper presents a method of interactively generating natural hand gesture animation using reduced dimensionality from multiple captured data sequences of finger motions conducting specific tasks. This method is achieved by introducing an estimation with multiple regression analysis. Even when the skeletal structure of the user who inputs the motion is different from that of the shape model in the computer, the motion that a user imagines is generated. Experimental results obtained from the interface applied to virtual object manipulation showed that the proposed method generates animation naturally, just as users would expect. This method enables us to make input devices that require minimal user training and computer calibration, and helps to make the user interface intuitive and easy to use.     

Dynamic Comics for Hierarchical Abstraction of 3D Animation Data

Image storyboards of films and videos are useful for quick browsing and automatic video processing. A common approach for producing image storyboards is to display a set of selected key‐frames in temporal order, which has been widely used for 2D video data. However, such an approach cannot be applied for 3D animation data because different information is revealed by changing parameters such as the viewing angle and the duration of the animation. Also, the interests of the viewer may be different from person to person. As a result, it is difficult to draw a single image that perfectly abstracts the entire 3D animation data. In this paper, we propose a system that allows users to interactively browse an animation and produce a comic sequence out of it. Each snapshot in the comic optimally visualizes a duration of the original animation, taking into account the geometry and motion of the characters and objects in the scene. This is achieved by a novel algorithm that automatically produces a hierarchy of snapshots from the input animation. Our user interface allows users to arrange the snapshots according to the complexity of the movements by the characters and objects, the duration of the animation and the page area to visualize the comic sequence. Our system is useful for quickly browsing through a large amount of animation data and semi‐automatically synthesizing a storyboard from a long sequence of animation.     

手机动画空间布局规划的设计与实现

手机3D 动画自动生成系统是要实现从用户发送信息给服务器,经过信息抽取、情节规划、场景规划等一系列的处理,最终生成与短信内容相关的视频动画并发送给接收方这一过程。其中场景规划模块是在情节定性规划的基础上确定情节的各个细节,并将其量化到三维动画场景文件中。在动画情节规划的基础上,对动画场景规划模块中的三维场景空间布局问题进行研究,将三维场景可用空间根据物体的语义信息进行布局,基于语义网技术设计和实现三维场景的布局知识库,最终实现了三维物体的合理摆放,系统不仅保证了物体的无遮挡、无碰撞摆放,也实现了同一物体添加多个的情况,使物体的摆放具有多样性同时也体现了物体的语义信息。     

A framework for interactive responsive animation

The availability of high‐performance 3D workstations has increased the range of application for interactive real‐time animation. In these applications the user can directly interact with the objects in the animation and direct the evolution of their motion, rather than simply watching a pre‐computed animation sequence. Interactive real‐time animation has fast‐growing applications in virtual reality, scientific visualization, medical training and distant learning. Traditional approaches to computer animation have been based on the animator having complete control over all aspects of the motion. In interactive animation the user can interact with any of the objects, which changes the current motion path or behaviour in real time. The objects in the animation must be capable of reacting to the user's actions and not simply replay a canned motion sequence. This paper presents a framework for interactive animation that allows the animator to specify the reactions of objects to events generated by other objects and the user. This framework is based on the concept of relations that describe how an object reacts to the influence of a dynamic environment. Each relation specifies one motion primitive triggered by either its enabling condition or the state of the environment. A collection of the relations is structured through several hierarchical layers to produce responsive behaviours and their variations. This framework is illustrated by several room‐based dancing examples that are modelled by relations. Copyright © 2000 John Wiley & Sons, Ltd.     

Smart Motion Synthesis

Creating long motion sequences is a time‐consuming task even when motion capture equipment or motion editing tools are used. In this paper, we propose a system for creating a long motion sequence by combining elementary motion clips. The user is asked to first input motions on a timeline. The system then automatically generates a continuous and natural motion. Our system employs four motion synthesis methods: motion transition, motion connection, motion adaptation, and motion composition. Based on the constraints between the feet of the animated character and the ground, and the timing of the input motions, the appropriate method is determined for each pair of overlapped or sequential motions. As the user changes the arrangement of the motion clips, the system interactively changes the output motion. Alternatively, the user can make the system execute an input motion as soon as possible so that it follows the previous motion smoothly. Using our system, users can make use of existing motion clips. Because the entire process is automatic, even novices can easily use our system. A prototype system demonstrates the effectiveness of our approach.     

Interactive Construction and Animation of Layered Elastically Deformable Characters

An interactive system is described for creating and animating deformable 3D characters. By using a hybrid layered model of kinematic and physics-based components together with an immersive 3D direct manipulation interface, it is possible to quickly construct characters that deform naturally when animated and whose behavior can be controlled interactively using intuitive parameters. In this layered construction technique, called the elastic surface layer model, a simulated elastically deformable skin surface is wrapped around a kinematic articulated figure. Unlike previous layered models, the skin is free to slide along the underlying surface layers constrained by geometric constraints which push the surface out and spring forces which pull the surface in to the underlying layers. By tuning the parameters of the physics-based model, a variety of surface shapes and behaviors can be obtained such as more realistic-looking skin deformation at the joints, skin sliding over muscles, and dynamic effects such as squash-and-stretch and follow-through. Since the elastic model derives all of its input forces from the underlying articulated figure, the animator may specify all of the physical properties of the character once, during the initial character design process, after which a complete animation sequence can be created using a traditional skeleton animation technique. Character construction and animation are done using a 3D user interface based on two-handed manipulation registered with head-tracked stereo viewing. In our configuration, a six degree-of-freedom head-tracker and CrystalEyes shutter glasses are used to display stereo images on a workstation monitor that dynamically follow the user head motion. 3D virtual objects can be made to appear at a fixed location in physical space which the user may view from different angles by moving his head. To construct 3D animated characters, the user interacts with the simulated environment using both hands simultaneously: the left hand, controlling a Spaceball, is used for 3D navigation and object movement, while the right hand, holding a 3D mouse, is used to manipulate through a virtual tool metaphor the objects appearing in front of the screen. Hand-eye coordination is made possible by registering virtual space to physical space, allowing a variety of complex 3D tasks necessary for constructing 3D animated characters to be performed more easily and more rapidly than is possible using traditional interactive techniques.     

Skeleton-based control of fluid animation

We present a skeleton-based control method for fluid animation. Our method is designed to provide an easy and intuitive control approach while producing visually plausible fluid behavior. In our method, users are allowed to control animated fluid with skeleton keyframes. Expected results are then obtained by driving fluid towards a sequence of targets specified in these keyframes. In order to solve for an optimal driving solution, we propose a keyframe matching model based on the transportation principle. Moreover, to ensure that the fluid actors move as rigid bodies while preserving liquid properties during animation, we introduce an approach of driving solid-like liquid motion. Finally, we embed the skeleton-based control method into the standard fluid animation, and apply it to control fluid actors?? motion as well as liquid shape deformation. Experimental results show that our method can generate natural-looking interesting fluid behavior with little additional cost.     

基于多自主智能体的群体动画创作

群体动画一直是计算机动画界一个具有挑战性的研究方向，提出了一个基于多自主智能体的群体动画创作框架：群体中的各角色作为自主智能体，能感知环境信息，产生意图，规划行为，最后通过运动系统产生运动来完成行为和实现意图，与传统的角色运动生成机理不同，首先采用运动捕获系统建立基本运动库，然后通过运动编辑技术对基本运动进行处理以最终得到角色运动，应用本技术，动画师只需“拍摄”角色群体的运动就能创作群体动画，极大地提高了制作效率。     

Simplifying Character Skins with Analytic Error Metrics

Traditionally, levels of detail (LOD) for animated characters are computed from a single pose. Later techniques refined this approach by considering a set of sample poses and evaluating a more representative error metric. A recent approach to the character animation problem, animation space, (AS) provides a framework for measuring error analytically. The work presented here uses the animation-space framework to derive two new techniques to improve the quality of LOD approximations.
First, we use an animation-space distance metric within a progressive mesh-based LOD scheme, giving results that are reasonable across a range of poses, without requiring that the pose space be sampled.
Second, we simplify individual vertices by reducing the number of bones that influence them, using a constrained least-squares optimization. This influence simplification is combined with the progressive mesh to form a single stream of simplifications. Influence simplification reduces the geometric error by up to an order of magnitude, and allows models to be simplified further than is possible with only a progressive mesh.
Quantitative (geometric error metrics) and qualititative (user perceptual) experiments confirm that these new extensions provide significant improvements in quality over traditional, naïve simplification; and while there is naturally some impact on the speed of the off-line simplification process, it is not prohibitive.     

Character animation creation using hand-drawn sketches

To create a character animation, a 3D character model is often needed. However, since humanlike characters are not rigid bodies, to deform the character model to fit each animation frame is tedious work. Therefore, we propose an easy-to-use method for creating a set of consistent 3D character models from some hand-drawn sketches while keeping the projected silhouettes and features of the created models consistent with the input sketches. Since the character models possess vertexwise correspondences, they can be used for frame-consistent texture mapping or for making character animations. In our system, the user only needs to annotate the correspondence of the features among the input-vector-based sketches; the remaining processes are all performed automatically.     

A Dynamic Gesture Language and Graphical Feedback for Interaction in a 3D User Interface

In user interfaces of modern systems, users get the impression of directly interacting with application objects. In 3D based user interfaces, novel input devices, like hand and force input devices, are being introduced. They aim at providing natural ways of interaction. The use of a hand input device allows the recognition of static poses and dynamic gestures performed by a user's hand. This paper describes the use of a hand input device for interacting with a 3D graphical application. A dynamic gesture language, which allows users to teach some hand gestures, is presented. Furthermore, a user interface integrating the recognition of these gestures and providing feedback for them, is introduced. Particular attention has been spent on implementing a tool for easy specification of dynamic gestures, and on strategies for providing graphical feedback to users' interactions. To demonstrate that the introduced 3D user interface features, and the way the system presents graphical feedback, are not restricted to a hand input device, a force input device has also been integrated into the user interface.