Abstract: There has been a recent paradigm shift in the computer animation industry with an increasing use of pre-recorded motion for animating virtual characters. A fundamental requirement to using motion capture data is an efficient method for indexing and retrieving motions. In this paper, we propose a flexible, efficient method for searching arbitrarily complex motions in large motion databases. Motions are encoded using keys which represent a wide array of structural, geometric and, dynamic features of human motion. Keys provide a representative search space for indexing motions and users can specify sequences of key values as well as multiple combination of key sequences to search for complex motions. We use a trie-based data structure to provide an efficient mapping from key sequences to motions. The search times (even on a single CPU) are very fast, opening the possibility of using large motion data sets in real-time applications.

Abstract: Computer graphics (or CG) has changed the way we experience the art of moving images. Computer graphics is the difference between Steamboat Willie and Buzz Lightyear, between ping pong and PONG. It began in 1963 when an MIT graduate student named Ivan Sutherland created the first true computer animation program. Instead of presenting a series of numbers, Sutherland's Sketchpad program drew lines that created recognizable images. Sutherland noted: "Since motion can be put into Sketchpad drawings, it might be exciting to try making cartoons." This book, the first full-length history of CG, shows us how Sutherland's seemingly offhand idea grew into a multibillion dollar industry. In Moving Innovation, Tom Sito -- himself an animator and industry insider for more than thirty years -- describes the evolution of CG. The history of traditional cinema technology is a fairly straight path from Lumire to MGM. Writing the history of CG, Sito maps simultaneous accomplishments in multiple locales -- academia, the military-industrial complex, movie special effects, video games, experimental film, corporate research, and commercial animation. His story features a memorable cast of characters -- math nerds, avant-garde artists, cold warriors, hippies, video game enthusiasts, and studio executives: disparate types united by a common vision. Computer animation did not begin just with Pixar; Sito shows us how fifty years of work by this motley crew made movies like Toy Story and Avatar possible.

Abstract: The illusion of understanding hypothesis asserts that, when people are learning with multimedia presentations, the addition of animation can affect metacognitive monitoring such that they perceive the presentation to be easier to understand and develop more optimistic metacomprehension. As a result, learners invest less cognitive effort when learning with animation. This study tested the illusion of understanding hypothesis with a randomized, double-blind, 2 × 2 factorial design using two different types of animation—representational and directive. Representational animation had a negative effect on learning, and directive animation had a positive effect. Both representational and directive animations induced illusion of understanding. Moreover, the animations induced multiple forms of the illusion. Consistent with expertise reversal effect, the animations induced more optimistic metacomprehension in low-proficiency learners but more pessimistic metacomprehension in high-proficiency learners.

Abstract: Human beings are naturally sensitive to subtle cues in facial expressions, especially in areas of the eyes and mouth. Current facial motion capture methods fail to accurately reproduce motions in those areas due to multiple limitations. In this paper, we present a new performance capture method that focuses on the perceptually important contour features on the face. Additionally, the output of our two-step optimization scheme is also easily editable by an animator. To illustrate the strength of our system, we present a retargeting application that incorporates primary contour lines to map a performance with lip-sync from an actor to a creature.

Abstract: We introduce a video-based approach for producing water surface models. Recent advances in this field output high-quality results but require dedicated capturing devices and only work in limited conditions. In contrast, our method achieves a good tradeoff between the visual quality and the production cost: It automatically produces a visually plausible animation using a single viewpoint video as the input. Our approach is based on two discoveries: first, shape from shading (SFS) is adequate to capture the appearance and dynamic behavior of the example water; second, shallow water model can be used to estimate a velocity field that produces complex surface dynamics. We will provide qualitative evaluation of our method and demonstrate its good performance across a wide range of scenes.

Abstract: BACKGROUND The authors present a prospective, randomized, blinded trial comparing the educational efficacy of digital animation versus a textbook in teaching the Ivy loop technique to novice learners. METHODS Medical student volunteers (n = 32) were anonymously videotaped as they fastened dental wire to the teeth of a skull model (preintervention analysis) and then were randomly assigned to one of two study groups. The animation and text groups (n = 16 each) were shown either a digital animation or textbook demonstrating the Ivy loop surgical technique. Volunteers were then videotaped as they performed the technique (postintervention analysis). Volunteers were then shown the educational material provided to the other study group and given a validated educational survey to compare the educational value of both materials. Preintervention and postintervention video recordings were graded using a validated surgical competency scale. Surgical performance grades, time to task completion, and educational survey scores were compared. RESULTS Preintervention analysis performance scores did not significantly differ between the animation and text groups (10.7 [2.8] versus 11.1 [3.9]; p = 0.74), but postintervention analysis demonstrated significantly higher performance scores in the animation group (18.8 [2.9] versus 13.0 [3.5]; p < 0.001). Time to task completion was similar. The educational survey demonstrated significantly higher scores in the animation group. CONCLUSIONS A prospective, randomized, blinded study comparing the educational efficacy of a surgical textbook to digital animation demonstrates that, in novice learners, digital animation is a more effective tool for learning the Ivy loop technique. Test takers found digital animation to be the superior educational medium.

Abstract: A 4D parametric motion graph representation is presented for interactive animation from actor performance capture in a multiple camera studio. The representation is based on a 4D model database of temporally aligned mesh sequence reconstructions for multiple motions. High-level movement controls such as speed and direction are achieved by blending multiple mesh sequences of related motions. A real-time mesh sequence blending approach is introduced, which combines the realistic deformation of previous nonlinear solutions with efficient online computation. Transitions between different parametric motion spaces are evaluated in real time based on surface shape and motion similarity. Four-dimensional parametric motion graphs allow real-time interactive character animation while preserving the natural dynamics of the captured performance.

Abstract: Novel approaches to network visualization and analytics use sophisticated metrics that enable rich interactive network views and node grouping and filtering. A survey of graph layout and simplification methods reveals considerable progress in these new directions. The first Web extra at http://youtu.be/ee8nr9LDHXw is a video segment showing dynamic graph layout results for visualizing evolving Internet connectivity. The global approach meets layout criteria--balanced quality and stability with nodes largely remaining stable, but clusters are compacted. The images are freeze frames of three time steps. The second Web extra at http://youtu.be/oWolTjZMGfo is a video segment showing dynamic graph layout results for visualizing evolving Internet connectivity. The incremental approach uses space efficiently. Motion is slow, smooth, and affine, and so is easy to follow, but quality degrades over time to ensure stable animation.

Abstract: In this paper, we present a new solution for extracting key frames from motion capture data using an optimization algorithm to obtain compact and sparse key frame data that can represent the original dense human body motion capture animation. The use of the genetic algorithm helps determine the optimal solution with global exploration capability while the use of a probabilistic simplex method helps expedite the speed of convergence. By finding the chromosome that maximizes the fitness function, the algorithm provides the optimal number of key frames as well as the low reconstruction error with an ordinary interpolation technique. The reconstruction error is computed between the original motion and the reconstruction one by the weighted differences of joint positions and velocities. The resulting set of key frames is obtained by iterative application of the algorithm with initial populations generated randomly and intelligently. We also present experiments which demonstrate that the method can effectively extract key frames with a high compression ratio and reconstruct all other non key frames with high quality.

Abstract: The purpose of this study was to examine the relative effectiveness of two different learning modes; namely, a computer animation self-directed learning approach and a paper version of the self-directed learning approach, to 5 th -graders' number sense development. Two 5th-grade classes, 30 students each, were selected from a public elementary school in southern Taiwan and randomly assigned to the computer animation experimental group (CAEG) and the paper-version group (PAG). The major finding indicated that students in the CAEG group had better performance on number sense and showed more frequent uses of number sense than students in the PAG group. Implications for the uses of computer animation self-directed learning activities are discussed.

Abstract: Simulating multiple character interaction is challenging because character actions must be carefully coordinated to align their spatial locations and synchronized with each other. We present an algorithm to create a dense crowd of virtual characters interacting with each other. The interaction may involve physical contacts, such as hand shaking, hugging, and carrying a heavy object collaboratively. We address the problem by collecting deformable motion patches, each of which describes an episode of multiple interacting characters, and tiling them spatially and temporally. The tiling of motion patches generates a seamless simulation of virtual characters interacting with each other in a nontrivial manner. Our tiling algorithm uses a combination of stochastic sampling and deterministic search to address the discrete and continuous aspects of the tiling problem. Our tiling algorithm made it possible to automatically generate highly complex animation of multiple interacting characters. We achieve the level of interaction complexity far beyond the current state of the art that animation techniques could generate, in terms of the diversity of human behaviors and the spatial/temporal density of interpersonal interactions.

Abstract: An essential form of communication between the director and the animators early in the animation pipeline is rough cut at the motion (a blocked-in animation) This version of the character's performance allows the director and animators to discuss how the character will play his/her role in each scene However, blocked-in animation is also quite time consuming to construct, with short scenes requiring many hours of preparation between presentations In this paper, we present a puppeteering interface for creating blocked-in motion for characters and various simulation effects more quickly than is possible in a keyframing interface The animator manipulates one of a set of tracked objects in a motion capture system to control a few degrees of freedom of the character on each take We explore the design space for the 3D puppeteering interface with a set of seven professional animators using a “think-aloud” protocol We present a number of animations that they created and compare the time required to create similar animations in our 3D user interface and a commercial keyframing interface

Abstract: Animation has an inherent advantage over static graphics when presenting dynamic content because it provides a more accurate and realistic depiction. Simultaneously, animation has an inherent disadvantage because most animated information is perceptually transient. In this quasi-experimental study, cognitive load theory was used to investigate the extent to which animation’s transience could be ameliorated with the incorporation of a pause/play feature or a tracing feature that lets previous information remain visually available on screen instead of disappearing after a brief display. Continuous animation, animation with pause/play and their equivalent static graphics, each designed with either a trace or no trace, were used to instruct 228 post-secondary technical education students on how an electrical circuit works. All formats were accompanied with the same on-screen text. The pattern of results, especially the interactions, indicated that animation with a pause/play format obtained the highest effici...

Abstract: Computer facial animation is not a new endeavour as it had been introduced since 1970s. However, animating human face still presents interesting challenges because of its familiarity as the face is the part used to recognize individuals.Facial modelling and facial animation are important in developing realistic computer facial animation. Both modelling and animation is dependent to drive the animation.This paper reviews several geometric -based modelling (shape interpolation,parameterization and muscle-based animation)and data-driven animation (image-based techniques speech-driven techniques and performance-driven animation) techniques used in computer graphics and vision for facial animation. The main concept s and problems for each technique are highlighted in the paper.

Abstract: In todays animation films, virtual character animation is a research field developing rapidly in computer graphics, and motion capture is the most significant component, which has brought about revolutionary change for 3D animation production technology. It makes that animation producers are able to drive animation image models directly with the use of actors performance actions and expressions, which has simplified animation manufacturing operation greatly and enhanced quality for animation production.

Abstract: In this paper we present a framework for generating arbitrary human models and animating them realistically given a few intuitive parameters. Shape and pose space deformation (SPSD) is introduced as a technique for modeling subject specific pose induced deformations from whole-body registered 3D scans. By exploiting examples of different people in multiple poses we are able to realistically animate a novel subject by interpolating and extrapolating in a joint shape and pose parameter space. Our results show that we can produce plausible animations of new people and that greater detail is achieved by incorporating subject specific pose deformations. We demonstrate the application of SPSD to produce subject specific animation sequences driven by RGB-Z performance capture.

Abstract: Accepted: 25.01.2013 The purpose of this study is to determine the effect of computer animation technique on academic achievement of students in the 'Solar System and Beyond' unit lectured as part of the Science and Technology course of the seventh grade in primary education. The sample of the study consists of 60 students attending to the 7th grade of primary school under two different classes during the 2011-2012 academic year. While the lectures in the class designated as the experiment group were given with computer animation technique, in the class designated as the control group Powerpoint presentations and videos were utilized along with the traditional teaching methods. According to the findings, it was determined that computer animation technique is more effective than traditional teaching methods in terms of enhancing students' achievement. It was also determined in the study that, the Powerpoint presentations and related videos used together with the traditional teaching methods provided to the control group significantly help the students to increase their academic achievement.

Abstract: Animated characters are frequently used in television programs, movies, and video games, but relatively little is known about how their characteristics affect attention and viewer opinions. We used eyetracking and questionnaires to examine the role of visual complexity and animation style on viewing patterns and ratings of video-recorded and animated movie clips. We created videos of an actress performing and describing a series of actions with blocks. Of the videos, one set included regular HD recordings of the actress. The remaining video sets were animated using motion capture data from that actress for three characters: realistic, cartoon, and robot. Increased facial looking time correlated with unpleasantness ratings for individual characters and clips, determining that animation styles have an effect on both viewing patterns and audience members' subjective opinions of characters. In addition, the method described in this paper can expand future research on character animation.

Abstract: For decades, the notion of the creator’s absolute control over the drawn image has remained a staple of animation discourse, and the advent of computer animation has recently reinvigorated this discussion. The animated science fiction features Metropia (Tarik Saleh, 2009), Metropolis (Rintaro, 2001), and Final Fantasy: The Spirits Within (Hironobu Sakaguchi and Motonori Sakakibara, 2001) engage utopian daydreams and articulate anxieties about the high degree of artistic mastery facilitated by advanced technology. Using these three films as case studies, this text examines computer-animated futuristic urban spaces as architectures of control. It discusses digital bodies as products of animators’ increased mastery over mimetic representations of the human form and explores the ways in which computer animation foregrounds its technological and artistic control over the image as a feat to marvel at. In doing so, this analysis highlights the evolution of the dream of the omnipotent creator into a fantasy of om...

Abstract: Animation, which is basically a form of pictorial presentation, has become the most prominent feature of technology-based learning environments. It refers to simulated motion pictures showing movement of drawn objects. Recently, educational computer animation has turned out to be one of the most elegant tools for presenting multimedia materials for learners, and its significance in helping to understand and remember information has greatly increased since the advent of powerful graphics-oriented computers. In this book chapter we introduce and discuss the history of computer animation, its well-known fundamental principles and some educational applications. It is however still debatable if truly educational computer animations help in learning, as the research on whether animation aids learners' understanding of dynamic phenomena has come up with positive, negative and neutral results. We have tried to provide as much detailed information on computer animation as we could, and we hope that this book chapter will be useful for students who study computer science, computer-assisted education or some other courses connected with contemporary education, as well as researchers who conduct their research in the field of computer animation.

Abstract: NuttyTracks is a symbolic real-time animation system for animating any robotic character using animation tools commonly used by professional animators. Our system brings artists and programmers closer to each other in the quest for creating the illusion of life in robotic characters.

Abstract: This paper presents an interactive desk that augments physical books that are placed upon its surface with multimedia content and interactive applications. Such content is dynamically displayed in augmentation to the currently open page of the book, that is, aligned in realtime with its 2D orientation upon the desk. The rendered applications are controlled by the users with the use of a stylus, both through contact with the book or desk, as well as, through a small vocabulary of gestures performed with the stylus. The evaluation of the accuracy, robustness, and performance of the proposed computer vision modules supporting this interaction are reported through quantitative experiments. In addition, the system usability was validated and the suitability of educational applications was explored through pilot applications, which include music and digital animation on pages, content-based multimedia presentation, context-based online search, as well as, note-taking through handwriting.

Abstract: Two groups of students were shown unnarrated versions of two different particulate-level computer animations of varying complexity depicting the oxidation–reduction reaction of aqueous silver nitrate and solid copper metal; one group saw the more simplified animation first and the more complex animation second while the other group saw these animations in the reverse order. The goal of this study is to determine how viewing one of the animations affects the participants' subsequent explanations of the other animation. Viewing the more complex animation before the more simplified animation did not affect the participants' explanations of the more simplified animation, but did lead to a slight improvement in their abilities to write a balanced chemical equation of the oxidation–reduction reaction. Viewing the more simplified animation before viewing the more complex animation improved the participants' explanations of the more complex animation with respect to the 1:1 ratio of the silver and nitrate ions, the 2:1 reacting ratio of the silver ions and the copper atoms, the electron transfer process, and writing a balanced equation for this reaction. This positive effect was attributed to the fact that the more simplified animation was easier to interpret since it depicted fewer objects on-screen moving around at the same time, and was therefore less confusing or distracting to the participants. Viewing the more simplified animation before the more complex animation negatively impacted their explanations of the source of the blue colour in the aqueous solution. This negative impact was attributed to the fact that the more simplified animation explicitly depicted the colour change and caused participants viewing the more complex animation to expect that animation to also explicitly depict this colour change.

Abstract: We present an integrated camera motion design and path generation system for building volume data animations. Creating animations is an essential task in presenting complex scientific visualizations. Existing visualization systems use an established animation function based on keyframes selected by the user. This approach is limited in providing the optimal in-between views of the data. Alternatively, computer graphics and virtual reality camera motion planning is frequently focused on collision free movement in a virtual walkthrough. For semi-transparent, fuzzy, or blobby volume data the collision free objective becomes insufficient. Here, we provide a set of essential criteria focused on computing camera paths to establish effective animations of volume data. Our dynamic multi-criteria solver coupled with a force-directed routing algorithm enables rapid generation of camera paths. Once users review the resulting animation and evaluate the camera motion, they are able to determine how each criterion impacts path generation. In this paper, we demonstrate how incorporating this animation approach with an interactive volume visualization system reduces the effort in creating context-aware and coherent animations. This frees the user to focus on visualization tasks with the objective of gaining additional insight from the volume data.

Abstract: Artists explore the visual style of animated characters through 2D concept art, since it affords them a nearly unlimited degree of creative freedom. Realizing the desired visual style, however, within the 3D character animation pipeline is often impossible, since artists must work within the technical limitations of the pipeline toolset. In order to expand the range of possible visual styles for digital characters, our research aims to incorporate the expressiveness afforded by 2D concept painting into the computer animation pipeline as a core component of character authoring and animation. While prior 3D painting methods focus on static geometry or simple animations, we develop tools for the more difficult task of character animation. Our system shows how 3D stroke-based paintings can be deformed using standard rigging tools. We also propose a configuration-space keyframing algorithm for authoring stroke effects that depend on scene variables such as character pose or light position. During animation, our system supports stroke-based temporal keyframing for one-off effects. Our primary technical contribution is a novel interpolation scheme for configuration-space keyframing that ensures smooth, controllable results. We demonstrate several characters authored with our system that exhibit painted effects difficult to achieve with traditional animation tools.

Abstract: Use of Low Cost Access Devices (LCADs)based on Android platform is on the rise for educational purposes. There is a growing need for open source educational content in order to tap the advantages of this platform.2D/3D animation is preferred to explain complex visalization concepts. Most of the 3D animation content available for desktops has high-poly models. To use these models on LCADs is challenging, because of their low hardware configuration. Methodologies to port 3D content to LCADs (used in gaming industry) are unsuitable for educational visualizations, as they hamper functionality and mesh topology of the objects. It is desirable to remodel 3D content with an objective to use them for LCADs. In this paper we present one such methodology to create low-poly 3D models using open source 3D tool, Blender. The models created using this methodology show reduction in file sizes, mesh-density and loading time on LCADs.

Abstract: A method for real-time virtual 3D reconstruction of a live scene in an animation system including a processor, a data base, an input device, and an output device is provided, the method comprising steps of receiving 3D positional tracking data for a detected live scene by the processor (101), determining an event by analyzing the 3D positional tracking data by the processor (102), comprising steps of determining event characteristics from the 3D positional tracking data, receiving pre-defined event characteristics, determining an event probability by comparing the event characteristics to the predefined event characteristics, and selecting an event assigned to the event probability, determining a 3D animation data set from a plurality of 3D animation data sets assigned to the selected event and stored in the data base by the processor, and providing the 3D animation data set to the output device (105). Further, an animation system for real-time virtual 3D reconstruction of a live scene and one or more computer-readable media including a computer program for running an animation system for real-time virtual 3D re- construction of a live scene are provided.