Abstract: The rich signals we extract from facial expressions imposes high expectations for the science and art of facial animation. While the advent of high-resolution performance capture has greatly improved realism, the utility of procedural animation warrants a prominent place in facial animation workflow. We present a system that, given an input audio soundtrack and speech transcript, automatically generates expressive lip-synchronized facial animation that is amenable to further artistic refinement, and that is comparable with both performance capture and professional animator output. Because of the diversity of ways we produce sound, the mapping from phonemes to visual depictions as visemes is many-valued. We draw from psycholinguistics to capture this variation using two visually distinct anatomical actions: Jaw and Lip, wheresound is primarily controlled by jaw articulation and lower-face muscles, respectively. We describe the construction of a transferable template jali 3D facial rig, built upon the popular facial muscle action unit representation facs. We show that acoustic properties in a speech signal map naturally to the dynamic degree of jaw and lip in visual speech. We provide an array of compelling animation clips, compare against performance capture and existing procedural animation, and report on a brief user study.

Abstract: Sophisticated three-dimensional animation and video compositing software enables the creation of complex multimedia instructional movies. However, if the design of such presentations does not take ...

Abstract: Since the 1980s, various techniques have been used in the field of medicine for the post-processing of medical imaging data from computed tomography (CT) and magnetic resonance (MR). They include multiplanar reformations (MPR), maximum intensity projection (MIP) and Volume Rendering (VR). This paper presents the prototype of a new means of post-processing radiological examinations such as CT and MR, a technique that, for the first time, provides photorealistic visualizations of the human body. This new procedure was inspired by the quality of images achieved by animation software such as programs used in the entertainment industry, particularly to produce animated films. Thus, the name: Cinematic Rendering. It is already foreseeable that this new method of depiction will quickly be incorporated into the set of instruments employed in socalled virtual anatomy (teaching anatomy through the use of radiological depictions of the human body via X-ray, CT and MR in addition to the use of computer animation programs designed especially for human anatomy). Its potential for medical applications will have to be evaluated by future scientific investigations.

Abstract: Shape analysis methods have in the past few years become very popular, both for theoretical exploration as well as from an application point of view. Originally developed for planar curves, these methods have been expanded to higher dimensional curves, surfaces, activities, character motions and many other objects.   In this paper, we develop a framework for shape analysis of curves in Lie groups for problems of computer animations. In particular, we will use these methods to find cyclic approximations of non-cyclic character animations and interpolate between existing animations to generate new ones.

Abstract: In the project discussed in this article, 30 11-year olds made an animated film in the machinima style, influenced by both film and game culture, and using a 3-D animation software tool, Moviestorm. The processes and products of the project will be analysed using a social semiotic/multimodal approach, exploring the social interests behind the integration of visual design, music, voice acting, story-writing, and animation which characterise the project. The outcomes suggest a need to move beyond established thinking and practice in media literacy practice and research in three ways. Firstly, we need to develop moving image education to recognise new genres and cultures. Secondly, we need to recognise that such productions are intensely multimodal, involving music, drama, story-writing, and visual design. Thirdly, such projects demand connected pedagogy across media, literacy, music, drama, computer science, and art.

Abstract: In this paper we present a new paradigm for the generation and retargeting of facial animation. Like a vast majority of the approaches that have adressed these topics, our formalism is built on blendshapes. However, where prior works have generally encoded facial geometry using a low dimensional basis of these blendshapes, we propose to encode facial dynamics by looking at blendshapes as a basis of forces rather than a basis of shapes. We develop this idea into a dynamic model that naturally combines the blendshapes paradigm with physics-based techniques for the simulation of deforming meshes. Because it escapes the linear span of the shape basis through time-integration and physics-inspired simulation, this approach has a wider expressive range than previous blendshape-based methods. Its inherent physically-based formulation also enables the simulation of more advanced physical interactions, such as collision responses on lip contacts.

Abstract: Despite the maturity in solutions for animating expressive virtual characters, innovations realizing the creative intent of story writers have yet to make the same strides. The key challenge is to provide an accessible, yet expressive interface for story authoring that enables the rapid prototyping, iteration, and deployment of narrative concepts. We present CANVAS, a computer-assisted visual authoring tool for synthesizing multi-character animations from sparsely-specified narrative events. In a process akin to storyboarding, authors lay out the key plot points in a story, and our system automatically fills in the missing details to synthesize a 3D animation that meets author constraints. CANVAS can be used by artists and directors to pre-visualize storyboards in an iterative fashion, and casual users may provide arbitrarily sparse specifications and harness automation to rapidly generate diverse narratives. CANVAS provides an accessible interface for rapidly authoring and pre-visualizing complex narratives. Automation reduces the authoring effort further without undermining creative control or interfering with the storytelling process.

Abstract: Performance capture systems are used to acquire high-quality animated 3D surfaces, usually in form of a dense 3D triangle mesh. Extracting a more compact yet faithful representation is often desirable, but existing solutions for animated sequences are surface based, which leads to a limited approximation power in the case of extreme simplification. We introduce animated sphere-meshes, which are meshes indexing a set of animated spheres. Our solution is the first to output an animated volumetric structure to approximate animated 3D surfaces and optimizes for the sphere approximation, connectivity, and temporal coherence. As a result, our algorithm produces a multiresolution structure from which a level of simplification can be selected in real time, preserving a faithful approximation of the input, even at the coarsest levels. We demonstrate the use of animated sphere-meshes for low-cost approximate collision detection. Additionally, we propose a skinning decomposition, which automatically rigs the input mesh to the chosen level of detail. The resulting set of weights are smooth, compress the animation, and enable easy edits.

Abstract: This paper proposes a new algorithm to produce globally coordinated crowds in an environment with multiple paths and obstacles. Simple greedy crowd control methods easily lead to congestion at bottlenecks within scenes, as the characters do not cooperate with one another. In computer animation, this problem degrades crowd quality especially when ordered behaviour is needed, such as soldiers marching towards a castle. Similarly, in applications such as real-time strategy games, this often causes player frustration, as the crowd will not move as efficiently as it should. Also, planning of building would usually require visualization of ordered evacuation to maximize the flow. Planning such globally coordinated crowd movement is usually labour intensive. Here, we propose a simple solution that is easy to use and efficient in computation. First, we compute the harmonic field of the environment, taking into account the starting points, goals and obstacles. Based on the field, we represent the topology of the environment using a Reeb Graph, and calculate the maximum capacity for each path in the graph. With the harmonic field and the Reeb Graph, path planning of crowd can be performed using a lightweight algorithm, such that any blocking of one another's paths is minimized. Comparing to previous methods, our system can synthesize globally coordinated crowd with smooth and efficient movement. It also enables control of the crowd with high-level parameters such as the degree of cooperation and congestion. Finally, the method is scalable to thousands of characters with minimal impact to computation time. It is best applied in interactive crowd synthesis systems such as animation designs and real-time strategy games.

Abstract: The development of motion capturing devices poses new challenges in the exploitation of human-motion data for various application fields, such as computer animation, visual surveillance, sports, or physical medicine. Recently, a number of approaches dealing with motion data have been proposed, suggesting characteristic motion features to be extracted and compared on the basis of similarity. Unfortunately, almost each approach defines its own set of motion features and comparison methods; thus, it is hard to fairly decide which similarity model is the most suitable for a given kind of human-motion retrieval application. To cope with this problem, we propose the human motion model evaluator, which is a generic framework for assessing candidate similarity models with respect to the purpose of the target application. The application purpose is specified by a user in form of a representative sample of categorized motion data. Respecting such categorization, the similarity models are assessed from the effectiveness and efficiency points of view using a set of space-complexity, information-retrieval, and performance measures. The usability of the framework is demonstrated by case studies of three practical examples of retrieval applications focusing on recognition of actions, detection of similar events, and identification of subjects. Copyright © 2015 John Wiley & Sons, Ltd.

Abstract: We present ChronoFab, a 3D modeling tool to craft motion sculptures, tangible representations of 3D animated models, visualizing an object's motion with static, transient, ephemeral visuals that are left behind. Our tool casts 3D modeling as a dynamic art-form by employing 3D animation and dynamic simulation for the modeling of motion sculptures. Our work is inspired by the rich history of stylized motion depiction techniques in existing 3D motion sculptures and 2D comic art. Based on a survey of such techniques, we present an interface that enables users to rapidly explore and craft a variety of static 3D motion depiction techniques, including motion lines, multiple stroboscopic stamps, sweeps and particle systems, using a 3D animated object as input. In a set of professional and non-professional usage sessions, ChronoFab was found to be a superior tool for the authoring of motion sculptures, compared to traditional 3D modeling workflows, reducing task completion times by 79%.

Abstract: Character animation based on motion capture provides intrinsically plausible results, but lacks the flexibility of procedural methods. Motion editing methods partially address this limitation by adapting the animation to small deformations of the environment. We extend one such method, the so-called relationship descriptors, to tackle the issue of motion editing under large environment deformations. Large deformations often result in joint limits violation, loss of balance, or collisions. Our method handles these situations by automatically detecting and re-positioning invalidated contacts. The new contact configurations are chosen to preserve the mechanical properties of the original contacts in order to provide plausible support phases. When it is not possible to find an equivalent contact, a procedural animation is generated and blended with the original motion. Thanks to an optimization scheme, the resulting motions are continuous and preserve the style of the reference motions. The method is fully interactive and enables the motion to be adapted on-line even in case of large changes of the environment. We demonstrate our method on several challenging scenarios, proving its immediate application to 3D animation softwares and video games.

Abstract: The desire to reconstruct 3-D face models with expressions from 2-D face images fosters increasing interest in addressing the problem of face modeling. This task is important and challenging in the field of computer animation. Facial contours and wrinkles are essential to generate a face with a certain expression; however, these details are generally ignored or are not seriously considered in previous studies on face model reconstruction. Thus, we employ coupled radius basis function networks to derive an intermediate 3-D face model from a single 2-D face image. To optimize the 3-D face model further through landmarks, a coupled dictionary that is related to 3-D face models and their corresponding 3-D landmarks is learned from the given training set through local coordinate coding. Another coupled dictionary is then constructed to bridge the 2-D and 3-D landmarks for the transfer of vertices on the face model. As a result, the final 3-D face can be generated with the appropriate expression. In the testing phase, the 2-D input faces are converted into 3-D models that display different expressions. Experimental results indicate that the proposed approach to facial expression synthesis can obtain model details more effectively than previous methods can.

Abstract: Skinning is an indispensable component of the content creation pipeline for character animation in the context of feature films, video games, and in the special effects industry. Skinning techniques define the deformation of the character skin for every animation frame according to the current state of skeletal joints. In this state of the art report, we focus on the existing research in the areas of skeleton-based deformation, volume preserving techniques and physically based skinning methods. We also summarize the recent research in deformable and soft bodies simulations for articulated characters, and discuss various geometric and examples-based approaches.

Abstract: We propose an interactive sculpting system for seamlessly editing pre-computed animations of liquid, without the need for any resimulation. The input is a sequence of meshes without correspondences representing the liquid surface over time. Our method enables the efficient selection of consistent space-time parts of this animation, such as moving waves or droplets, which we call space-time features. Once selected, a feature can be copied, edited, or duplicated and then pasted back anywhere in space and time in the same or in another liquid animation sequence. Our method circumvents tedious user interactions by automatically computing the spatial and temporal ranges of the selected feature. We also provide space-time shape editing tools for non-uniform scaling, rotation, trajectory changes, and temporal editing to locally speed up or slow down motion. Using our tools, the user can edit and progressively refine any input simulation result, possibly using a library of pre-computed space-time features extracted from other animations. In contrast to the trial-and-error loop usually required to edit animation results through the tuning of indirect simulation parameters, our method gives the user full control over the edited space-time behaviors.

Abstract: Vision scientists are increasingly relying on the point-light technique as a way to investigate the perception of human motion. Unfortunately, the lack of standardized stimulus sets has so far limited the use of this technique for studying social interaction. Here, we describe a new tool to study the interaction between two agents starting from point-light displays: the Communicative Interaction Database - 5AFC format (CID-5). The CID-5 consists of 14 communicative and seven non-communicative individual actions performed by two agents. Stimuli were constructed by combining motion capture techniques and 3-D animation software to provide precise control over the computer-generated actions. For each action stimulus, we provide coordinate files and movie files depicting the action as seen from four different perspectives. Furthermore, the archive contains a text file with a list of five alternative action descriptions to construct forced-choice paradigms. In order to validate the CID-5 format, we provide normative data collected to assess action identification within a 5AFC tasks. The CID-5 archive is freely downloadable from http://bsb-lab.org/research/ and from the supplementary materials of this article.

Abstract: The invention discloses a method of viewing a 3D digital building by using virtual reality goggles. The method comprises the following steps: 1, 3D modeling software is used for making a 3D model, and a scene is built; 2, two cameras of two eyepieces of the virtual reality goggles are rendered; 3, the virtual reality goggles and a 3D engine synthesize resources; 4, several position switching 3D animation objects are set in the 3D engine, and coordinates of a switching object are set; 5, an animation object is played, a counter is set, and when the maximal value is achieved, an initial value is returned; and 6, a return key action is acquired, switching of a building roof or specified space is carried out; a left mouse key is acquired, the animation is played or the action is stopped; and a right mouse key is acquired, a computer power-off action is realized. The method of the invention can enable a user to be in a building sales office, the user can feel in an already-built or to-be-built real estate development project to view conditions of the overall building, the sense of reality and the sense of interest are strong, and experience is more profound.

Abstract: Learning to use computer animation to allow students to learn in a dynamic and interactive. Many of the benefits derived from the use of computer media as a learning tool. Adobe Flash is a standard application program used to create animation vector and bitmap which is amazing for the purposes of making a web site that is interactive and dynamic. This application is implemented as a medium of learning. The message conveyed through the media, in the form of content or teaching materials that must be accepted by the students, by using one or a combination of several of their sensory organs. Even better, when all of the sensing devices owned able to receive the message content being delivered. This paper is a study piustaka and try to express that creativity is needed in this case the animation tools in the process of teaching belaar be more easily understood by students. Keywords: adobe flash, learning.

Abstract: This paper presents an ongoing effort toward an online collaborative framework allowing Deaf individuals to author intelligible signs using a dedicated 3D animation authoring interface. The results that are presented mainly focus on the design of a dedicated user interface assisted by novel input devices. This design cannot only benefit the Deaf but also the linguists studying sign language by providing them with a novel kind of study material. This material would consist of a symbolic representation of intelligible sign language animations together with a fine-grained log of the user's edit actions. Two user studies demonstrate how Leap Motion and Kinect-like devices can be used together for recording and authoring hand trajectories as well as facial animation.

Abstract: Animations are a widely used design element in mobile user interfaces; however, it is unclear how these uses of animation support or challenge prior research. Therefore, I examine the current animation guidelines published by Microsoft, Apple, and Google, and then compare these guidelines to seven design principles proposed by previous studies (solidity, exaggeration, reinforcement, attachment, reluctance, smoothness, anticipation). I then examine the animation types (e.g., rotation and fading) used by a specific mobile application. By comparing current practices to previous research, I argue that decades-old design principles can be used to understand and clarify the frequent injunction to design animation that is "realistic" and/or "lively." I also call attention to emerging terms and concepts that are not covered by prior research, providing possible threads for future study.

Abstract: With the maturity of a variety of 3D modeling software and animation software as well as the emergence of various virtual reality equipment, Virtual reality technology has received more attention and application. In this paper, the author uses 3Ds Max and Esri CityEngine to generate 3D modeling and animation. These models are imported into Unity 3D to simulate the escape scene. The result of the simulation can be displayed and interacted by virtual reality head wear equipment named Oculus Rift DK2. The simulation provides users with direct feelings and experience about the proposed escape system.

Abstract: Motion capture (MOCAP) is an important technique that is widely used in many areas such as computer animation, film industry, physical training and so on. Even with professional MOCAP system, the missing marker problems always occur. Motion refinement is an essential preprocessing step for MOCAP data based applications. Although many existing approaches for motion refinement have been developed, it is still a challenging task due to the complexity and diversity of human motion. A data driven based motion refinement method is proposed in this paper, which modifies the traditional sparse coding process for special task of motion recovery from missing parts. Meanwhile, the objective function is derived by taking both statistical and kinematical property of motion data into account. Poselet model and moving window grouping are applied in the proposed method to achieve a fine-grained feature representation, which preserves the embedded spatial-temporal kinematic information. 5 motion dictionaries are learnt for each kind of poselet from training data in parallel. The motion refine problem is finally solved as an e1-minimization problem. Compared with several state-of-art motion refine methods, the experimental result shows that our approach outperforms the competitors.

Abstract: Human motion capture techniques (MOCAP) are widely applied in many areas such as computer vision, computer animation, digital effect and virtual reality. Even with professional MOCAP system, the acquired motion data still always contains noise and outliers, which highlights the need for the essential motion refinement methods. In recent years, many approaches for motion refinement have been developed, including signal processing based methods, sparse coding based methods and low-rank matrix completion based methods. However, motion refinement is still a challenging task due to the complexity and diversity of human motion. In this paper, we propose a data-driven-based human motion refinement approach by exploiting the structural sparsity and spatio-temporal information embedded in motion data. First of all, a human partial model is applied to replace the entire pose model for a better feature representation to exploit the abundant local body posture. Then, a dictionary learning which is for special task of motion refinement is designed and applied in parallel. Meanwhile, the objective function is derived by taking the statistical and locality property of motion data into account. Compared with several state-of-art motion refine methods, the experimental result demonstrates that our approach outperforms the competitors.

Abstract: With the explosion of 3D character animation across contemporary screen media, more people, disciplines and technologies are now engaging with its production. Explicit representations of computer animation processes help facilitate engagement at a high level, however fail to convey the depth of specialised creative techniques, technical processes and discipline language that is prevalent during the act of animating. This paper introduces the ‘Mk I production model’, a conceptual process which through its novel use of the software engineering methodology ‘agent-oriented modelling’, conveys such specialised attributes within an explicit process for producing 3D character animation. To gather insights into how this model is used and perceived by animators within a production environment, it was entrenched within a large undergraduate student animation project named ‘Gunter's Fables’, where it was positioned as the principal device to inform animators of the production process and their expected activ...

Abstract: We developed a body-part motion synthesis system (BMSS) that allows users to create short choreographies by synthesizing body-part motions and to simulate them in 3D animation. This system automatically provides various short choreographies. First, users select a base motion and body-part categories. Then the system automatically selects and synthesizes body-part motions to the base motion. The system randomly determined the synthesis timings of the selected motions. Users can use the composed sequences as references for dance creation, learning, and training. We experimentally evaluated our system's effectiveness for supporting dance creation with four professional choreographers of contemporary dance. From our experiment results, we basically verified the usability of BMSS for choreographic creation.

Abstract: At the digital age, Motion Graphics becomes an indispensable important component in the dynamic media. As a crosssubject research direction, Motion Graphic design is the combination of graphic design and animation. From the perspective of information transmission, this paper studies the performance and unique narrative of motion graphic design. Keywords—motion graphics; information transmission; animation; design

Abstract: An electronic message is transformed into moving images uttering the content of the electronic message. Methods of the present invention may be implemented on devices such as smart phones to enable users to compose text and select an animation character which may include cartoons, persons, animals, or avatars. The recipient is presented with an animation or video of the animation character with a voice that speaks the words of the text. The user may further select and include a catch-phrase associated with the character. The user may further select a background music identifier and a background music associated with the background music identifier is played back while the animated text is being presented. The user may further select a type of animation and the animation character will be animated according to the type of animation.