Principles of traditional animation applied to 3D computer animation
01 Aug 1987-Vol. 21, Iss: 4, pp 35-44
TL;DR: The basic principles of traditional 2D hand drawn animation and their application to 3D computer animation are described and how these principles evolved is described.
Abstract: This paper describes the basic principles of traditional 2D hand drawn animation and their application to 3D computer animation. After describing how these principles evolved, the individual principles are detailed, addressing their meanings in 2D hand drawn animation and their application to 3D computer animation. This should demonstrate the importance of these principles to quality 3D computer animation.
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TL;DR: The idea of believability has long been studied and explored in literatttre, theater, film, radio drama, and other media and traditional character animators are among those artists who have sought to create believable characters.
Abstract: Joseph Bates here is a notioti in the Arts of \"believable character.\" It does not mean an honest or reliable character, btit otie that provides the illtision of life, thtis permitting the atidience's stispension of disbelief The idea of believability has long been studied and explored in literatttre, theater, film, radio drama, and other media. Traditional character animators are among those artists who have sought to create believable characters, and the Disney animators of the 1930s made great strides toward this goal. The first page of the enormous classic reference work on Disney animaticjn [12] begins with these words:
1,202 citations
Cites background from "Principles of traditional animation..."
...If this is true, then the results of artistic inquiry, especially the insights into character animation such as those expressed in The Illusion of Life(Thomas and Johnston, 1981) and elsewhere (Jones, 1989; Lasseter, 1987), may provide key information for building computational models of believable interactive characters....
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01 May 1995
TL;DR: This paper explores a user interface technique which augments an immersive head tracked display with a hand-held miniature copy of the virtual environment and calls this interface technique the Worlds in Miniature (WIM) metaphor, which can use the WIM as a tool for manipulating objects in thevirtual environment.
Abstract: This paper explores a user interface technique which augments an immersive head tracked display with a hand-held miniature copy of the virtual environment We call this interface technique the Worlds in Miniature (WIM) metaphor By establishing a direct relationship between life-size objects in the virtual world and miniature objects in the WIM, we can use the WIM as a tool for manipulating objects in the virtual environment In addition to describing object manipulation, this paper explores ways in which Worlds in Miniature can act as a single unifying metaphor for such application independent interaction techniques as object selection, navigation, path planning, and visualization The WIM metaphor naturally offers multiple points of view and multiple scales at which the user can operate, all without requiring explicit modes or commands Informal user observation indicates that users adapt to the Worlds in Miniature metaphor quickly and that physical props are helpful in manipulating the WIM and other objects in the environment
929 citations
01 Jun 1988
TL;DR: This work presents as examples a Luxo lamp performing a variety of coordinated motions that conform to such principles of traditional animation as anticipation, squash-and-stretch, follow-through, and timing.
Abstract: Spacetime constraints are a new method for creating character animation. The animator specifies what the character has to do, for instance, "jump from here to there, clearing a hurdle in between;" how the motion should be performed, for instance "don't waste energy," or "come down hard enough to splatter whatever you land on;" the character's physical structure---the geometry, mass, connectivity, etc. of the parts; and the physical resources' available to the character to accomplish the motion, for instance the character's muscles, a floor to push off from, etc. The requirements contained in this description, together with Newton's laws, comprise a problem of constrained optimization. The solution to this problem is a physically valid motion satisfying the "what" constraints and optimizing the "how" criteria. We present as examples a Luxo lamp performing a variety of coordinated motions. These realistic motions conform to such principles of traditional animation as anticipation, squash-and-stretch, follow-through, and timing.
856 citations
Cites background from "Principles of traditional animation..."
...John Lasseter spelled this out clearly in his presentation to Siggraph ’87 [9]....
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TL;DR: This paper presents the most significant contributions of the past decade, which produce such impressive and perceivably realistic animations and simulations: finite element/difference/volume methods, mass‐spring systems, mesh‐free methods, coupled particle systems and reduced deformable models‐based on modal analysis.
Abstract: Physically based deformable models have been widely embraced by the Computer Graphics community. Many problems outlined in a previous survey by Gibson and Mirtich [ GM97] have been addressed, thereby making these models interesting and useful for both offline and real-time applications, such as motion pictures and video games. In this paper, we present the most significant contributions of the past decade, which produce such impressive and perceivably realistic animations and simulations: finite element/difference/volume methods, mass-spring systems, meshfree methods, coupled particle systems and reduced deformable models based on modal analysis. For completeness, we also make a connection to the simulation of other continua, such as fluids, gases and melting objects. Since time integration is inherent to all simulated phenomena, the general notion of time discretization is treated separately, while specifics are left to the respective models. Finally, we discuss areas of application, such as elastoplastic deformation and fracture, cloth and hair animation, virtual surgery simulation, interactive entertainment and fluid/smoke animation, and also suggest areas for future research.
636 citations
Book•
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15 Oct 2000
TL;DR: By solving the equations numerically, this work is able to create realistic animations involving the interaction of deformable models with various applied forces, ambient media, and impenetrable obstacles in a simulated physical world.
Abstract: We develop physically-based models of deformable curves, surfaces, and solids for use in computer graphics. Our deformable models are governed by the mechanical laws of continuous bodies whose shapes can change over time. These laws, expressed in the form of dynamic differential equations, unify the description of shape and motion. By solving the equations numerically we are able to create realistic animations involving the interaction of deformable models with various applied forces, ambient media, and impenetrable obstacles in a simulated physical world. We develop deformable models capable of perfectly elastic behavior and more general inelastic behavior, including viscoelasticity, plasticity, and fracture.
627 citations
Cites background from "Principles of traditional animation..."
...Creating natural-looking motions kinematically requires expertise (Lassiter 1987)....
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References
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TL;DR: This article derived explicit solutions to problems involving Tchebycheffian spline functions using a reproducing kernel Hilbert space which depends on the smoothness criterion, but not on the form of the data, to solve explicitly Hermite-Birkhoff interpolation and smoothing problems.
1,365 citations
Additional excerpts
...According to the representer theorem (Kimeldorf & Wahba, 1971), we can find a mapping that minimizes the regularized risk in the following form for given patterns xi and target values yi = f (xi): f (x) = m ∑ i=1 αik(xi,x)....
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01 Jan 1984
TL;DR: Motion blur and depth of field calculations can be integrated with the visible surface calculations, avoiding the problems found in previous methods.
Abstract: Ray tracing is one of the most elegant techniques in computer graphics. Many phenomena that are difficult or impossible with other techniques are simple with ray tracing, including shadows, reflections, and refracted light. Ray directions, however, have been determined precisely, and this has limited the capabilities of ray tracing. By distributing the directions of the rays according to the analytic function they sample, ray tracing can incorporate fuzzy phenomena. This provides correct and easy solutions to some previously unsolved or partially solved problems, including motion blur, depth of field, penumbras, translucency, and fuzzy reflections. Motion blur and depth of field calculations can be integrated with the visible surface calculations, avoiding the problems found in previous methods.
843 citations
"Principles of traditional animation..." refers background in this paper
...(figure 4b) Accurate motion blur is the most realistic solution to this problem of strobing, [8, 9 ] but when motion blur is not available, squash and stretch is an alternative: the object should be stretched enough so that its positions do overlap from frame to frame (or nearly so), and the eye will smooth the action out again....
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Book•
01 Dec 1988
TL;DR: In this article, it was shown that aliasing artifacts are not an inherent part of point sampling, but a consequence of using regularly spaced samples, and that frequencies above the Nyquist limit do not alias, but instead appear as noise of the correct average intensity.
Abstract: Ray tracing, ray casting, and other forms of point sampling are important techniques in computer graphics, but their usefulness has been undermined by aliasing artifacts. In this paper it is shown that these artifacts are not an inherent part of point sampling, but a consequence of using regularly spaced samples. If the samples occur at appropriate nonuniformly spaced locations, frequencies above the Nyquist limit do not alias, but instead appear as noise of the correct average intensity. This noise is much less objectionable to our visual system than aliasing. In ray tracing, the rays can be stochastically distributed to perform a Monte Carlo evaluation of integrals in the rendering equation. This is called distributed ray tracing and can be used to simulate motion blur, depth of field, penumbrae, gloss, and translucency.
832 citations
Book•
01 Dec 1988
TL;DR: In this paper, the directions of the rays are distributed according to the analytic function they sample, which can incorporate fuzzy phenomena, such as penumbras, translucency, and fuzzy reflections.
Abstract: Ray tracing is one of the most elegant techniques in computer graphics. Many phenomena that are difficult or impossible with other techniques are simple with ray tracing, including shadows, reflections, and refracted light. Ray directions, however, have been determined precisely, and this has limited the capabilities of ray tracing. By distributing the directions of the rays according to the analytic function they sample, ray tracing can incorporate fuzzy phenomena. This provides correct and easy solutions to some previously unsolved or partially solved problems, including motion blur, depth of field, penumbras, translucency, and fuzzy reflections. Motion blur and depth of field calculations can be integrated with the visible surface calculations, avoiding the problems found in previous methods.
769 citations
TL;DR: It is shown that aliasing artifacts are not an inherent part of point sampling, but a consequence of using regularly spaced samples, and frequencies above the Nyquist limit do not alias, but instead appear as noise of the correct average intensity.
Abstract: Ray tracing, ray casting, and other forms of point sampling are important techniques in computer graphics, but their usefulness has been undermined by aliasing artifacts. In this paper it is shown that these artifacts are not an inherent part of point sampling, but a consequence of using regularly spaced samples. If the samples occur at appropriate nonuniformly spaced locations, frequencies above the Nyquist limit do not alias, but instead appear as noise of the correct average intensity. This noise is much less objectionable to our visual system than aliasing. In ray tracing, the rays can be stochastically distributed to perform a Monte Carlo evaluation of integrals in the rendering equation. This is called distributed ray tracing and can be used to simulate motion blur, depth of field, penumbrae, gloss, and translucency.
673 citations
"Principles of traditional animation..." refers background in this paper
...(figure 4b) Accurate motion blur is the most realistic solution to this problem of strobing, [ 8 ,9] but when motion blur is not available, squash and stretch is an alternative: the object should be stretched enough so that its positions do overlap from frame to frame (or nearly so), and the eye will smooth the action out again....
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