Abstract: The uncanny valley (UV) effect is a negative affective reaction to human-looking artificial entities. It hinders comfortable, trust-based interactions with android robots and virtual characters. De...

Abstract: The purpose is to provide a more reliable human-computer interaction (HCI) guarantee for animation works under virtual reality (VR) technology. Inspired by artificial intelligence (AI) technology and based on the convolutional neural network—support vector machine (CNN-SVM), the differences between animation works under VR technology and traditional animation works are analyzed through a comprehensive analysis of VR technology. The CNN-SVM gesture recognition algorithm using the error correction strategy is designed based on HCI recognition. To have better recognition performance, the advantages of depth image and color image are combined, and the collected information is preprocessed including the relations between the times of image training iterations and the accuracy of different methods in the direction of the test set. After experiments, the maximum accuracy of the preprocessed image can reach 0.86 showing the necessity of image preprocessing. The recognition accuracy of the optimized CNN-SVM is compared with other algorithm models. Experiments show that the accuracy of the optimized CNN-SVM has an upward trend compared with the previous CNN-SVM, and the accuracy reaches 0.97. It proves that the designed algorithm can provide good technical support for VR animation, so that VR animation works can interact well with the audience. It is of great significance for the development of VR animation and the improvement of people’s artistic life quality.

Abstract: Animation is an excellent method to associate with the audience in a fun and innovative manner. In recent span, animation has been employed in various fields to enhance knowledge, marketing, advertisement, and age groups from infants to adults. The present communication expounds the systematic review on the impact created by animation on the viewer's visual attention. For this review, a database such as Google Scholar, ScienceDirect, Taylor & Francis, and IEEE Xplore were pursued for publications on the impact of animation on viewer's visual attention from January 2015 to December 2021. The search results showcased 175 titles with 114 full articles, out of which 35 were related to viewers' visual attention towards animation. These reviewed studies comprised of physical outcome (n = 9), psychological outcome (n = 15), and cognitive outcome (n = 11) from which the attention-related factors, physical effects, and cognitive effects of animation were assessed. The animation has influenced the viewer's visual attention through the integration of the different stimuli and the highly organized presentation. Furthermore, the animation has also aided the viewer in attaining greater conceptual understanding, thereby facilitating their cognitive response. As a result, the animation was found to be helpful in enhancing learning skills, food marketing, and teaching strategy. Furthermore, the drawbacks and future recommendations of the studies were elaborated. In addition, challenges and open issues faced during the studies were discussed. Finally, the priority areas in animation identified for promising future directions to visualize large pool data, provide smart communication, and design 3D modeling structures were highlighted.

Abstract: We propose CLIP-Actor, a text-driven motion recommendation and neural mesh stylization system for human mesh animation. CLIP-Actor animates a 3D human mesh to conform to a text prompt by recommending a motion sequence and optimizing mesh style attributes. We build a text-driven human motion recommendation system by leveraging a large-scale human motion dataset with language labels. Given a natural language prompt, CLIP-Actor suggests a text-conforming human motion in a coarse-to-fine manner. Then, our novel zero-shot neural style optimization detailizes and texturizes the recommended mesh sequence to conform to the prompt in a temporally-consistent and pose-agnostic manner. This is distinctive in that prior work fails to generate plausible results when the pose of an artist-designed mesh does not conform to the text from the beginning. We further propose the spatio-temporal view augmentation and mask-weighted embedding attention, which stabilize the optimization process by leveraging multi-frame human motion and rejecting poorly rendered views. We demonstrate that CLIP-Actor produces plausible and human-recognizable style 3D human mesh in motion with detailed geometry and texture solely from a natural language prompt.

Abstract: ABSTRACT

Abstract: The advent of the Internet era has endowed artistic creation with new forms and connotations, and more and more digital media technologies have entered the stage of artistic creation and exhibition. At the same time, Internet technology has also provided more abundant artistic resources and art forms for digital media art for reference. With the development of animation control technology, various character animations present three-dimensional visual effects. Digital media art has emerged as a new concept in the field of multimedia applications and the integration and development of various technologies such as intelligent technology, network technology, media technology, and art design. This makes the art present a three-dimensional beauty with the support of modern high-tech technology. This paper mainly discusses the application of animation control technology in digital media art under the support of Internet technology. This paper also studies the artistic effect of digital media art under animation control technology. Through experimental research, this paper shows that the application of animation control technology in digital media art can improve the vividness of animation characters and promote the integration of digital media technology and culture and art. The fidelity to its simulated reality reaches 98.99%, and the actual effect achieved in the process of digital media art design work is completed, thereby realizing a large number of character animation scenes.

Abstract: This paper starts with the external visual performance of animation characters, discusses the design style of three-dimensional animation characters, and integrates with traditional art, and makes a new research and attempt from the combination of art and technology, so that nonprofessionals can easily design three-dimensional animation characters. Aiming at the problem of low recognition level of behavior control data points in traditional 3D virtual animation model method, a method of role modeling and behavior control in 3D virtual animation design is designed. Based on the physical engine, a dynamic model of the character skeleton is established, and the joint motion trajectory is simulated to complete the real-time rendering of the effect. Combined with the case analysis, it is discussed from the aspects of animation character modeling, user experience, and so on. Experimental results show that, compared with traditional methods, the data points collected by the proposed method in the process of character behavior control are more dense, the animation effect is more realistic, and it is highly effective and superior.

Abstract: PurposeThe purpose of this paper is to develop the teaching strategies of alternating peer teaching and progressive project-oriented learning, and apply them to the curriculum design of digital animation game production, and conduct teaching experimental research.Design/methodology/approachThis research method under the teaching strategies of alternating peer teaching and progressive project-oriented learning, to the design of digital animation game and use teaching experiment animation game production tool was Game Maker animation game production software to develop the study. The production of learning history data was used in-game projects, to verify the digital animation game design effectiveness was used SPSS statistics method, and was to compare the learning effectiveness of the different teaching modes.FindingsThrough experimental design, learners can acquire the knowledge and skills of digital animation game production under the guidance of progressive project-oriented teaching strategies. In terms of the cognition and skills of animation game production, learners have acquired the skills of taking them in animation game design to be able to independently produce and design digital animation games. The research results can be used as a reference for future research on digital animation game teaching and curriculum development.Originality/valueThis study proposed a new approach to develop the teaching strategies of alternating peer teaching and progressive project-oriented learning, to design digital animation games. The research results show that effective teaching strategies guide successful learning, it can be used as a reference for future research on digital animation game teaching and curriculum development.

Abstract: We present a new implicit warping framework for image animation using sets of source images through the transfer of the motion of a driving video. A single cross- modal attention layer is used to find correspondences between the source images and the driving image, choose the most appropriate features from different source images, and warp the selected features. This is in contrast to the existing methods that use explicit flow-based warping, which is designed for animation using a single source and does not extend well to multiple sources. The pick-and-choose capability of our framework helps it achieve state-of-the-art results on multiple datasets for image animation using both single and multiple source images. The project website is available at https://deepimagination.cc/implicit warping/

Abstract: 3D animation stereo space design is to process and analyze the collected target image information on the computer and finally obtain a 3D model that can represent the corresponding structure. As a branch of computer vision, 3D animation stereo space design is an important part of realizing the key technology of environment perception. What humans see in the three-dimensional world is a two-dimensional picture. Combined with the visual mechanism and the prior information of the object, it can realize the perception of the environment and promote the convenience of life and production. Games, movies, virtual humans, and any product that uses 3D technology require 3D engine support. The 3D engine encapsulates hardware operations and graphics algorithms and can manage a large number of texture and model resources to construct complex 3D scenes. In order to facilitate the research related to virtual human, in this paper, through the research and study of graphics-related mathematical knowledge and related technologies of engine architecture, an intelligent virtual animation generation engine based on DirectX12 is realized, and three-dimensional characters are controlled through related components, and the function of each module is tested and guaranteed. Test cases were designed to test the various functions of the engine and finally showed that the design goals in the demand analysis have been completed, and a lightweight three-dimensional animation three-dimensional space model has been realized.

Abstract: We present a novel Animation CelebHeads dataset (AnimeCeleb) to address an animation head reenactment. Different from previous animation head datasets, we utilize a 3D animation models as the controllable image samplers, which can provide a large amount of head images with their corresponding detailed pose annotations. To facilitate a data creation process, we build a semi-automatic pipeline leveraging an open 3D computer graphics software with a developed annotation system. After training with the AnimeCeleb, recent head reenactment models produce high-quality animation head reenactment results, which are not achievable with existing datasets. Furthermore, motivated by metaverse application, we propose a novel pose mapping method and architecture to tackle a cross-domain head reenactment task. During inference, a user can easily transfer one’s motion to an arbitrary animation head. Experiments demonstrate an usefulness of the AnimeCeleb to train animation head reenactment models, and the superiority of our cross-domain head reenactment model compared to state-of-the-art methods. Our dataset and code are available at .

Abstract: Among novel capture and visualization technologies, light field has made significant progress in the current decade, bringing closer its emergence in everyday use cases. Unlike many other forms of 3D displays and devices, light field visualization does not depend on any viewing equipment. Regarding its potential use cases, light field is applicable to both cinematic and interactive contents. Such contents often rely on camera animation, which is a frequent tool for the creation and presentation of 2D contents. However, while common 3D camera animation is often rather straightforward, light field visualization has certain constraints that must be considered before implementing any variation of such techniques. In this paper, we introduce our work on camera animation for light field visualization. Different types of conventional camera animation were applied to light field contents, which produced an interactive simulation. The simulation was visualized and assessed on a real light field display, the results of which are presented and discussed in this paper. Additionally, we tested different forms of realistic physical camera motion in our study, and based on our findings, we propose multiple metrics for the quality evaluation of light field visualization in the investigated context and for the assessment of plausibility.

Abstract: The style-based generator architectures (e.g. StyleGAN v1, v2) largely promote the controllability and explainability of Generative Adversarial Networks (GANs). Many researchers have applied the pretrained style-based generators to image manipulation and video editing by exploring the correlation between linear interpolation in the latent space and semantic transformation in the synthesized image manifold. However, most previous studies focused on manipulating separate discrete attributes, which is insufficient to animate a still image to generate videos with complex and diverse poses and expressions. In this work, we devise a dual distillation strategy (D2Animator) for generating animated high-resolution face videos conditioned on identities and poses from different images. Specifically, we first introduce a Clustering-based Distiller (CluDistiller) to distill diverse interpolation directions in the latent space, and synthesize identity-consistent faces with various poses and expressions, such as blinking, frowning, looking up/down, etc. Then we propose an Augmentation-based Distiller (AugDistiller) that learns to encode arbitrary face deformation into a combination of interpolation directions via training on augmentation samples synthesized by CluDistiller. Through assembling the two distillation methods, D2Animator can generate high-resolution face animation videos without training on video sequences. Extensive experiments on self-driving, cross-identity and sequence-driving tasks demonstrate the superiority of the proposed D2Animator over existing StyleGAN manipulation and face animation methods in both generation quality and animation fidelity.

Abstract: In this paper, we propose a novel technical approach for animation design in the Unity3D game engine using the scriptable finite automaton called Animaton that specifies the transitions between positions, rotations, and animation clips for each animated virtual character. In our animation design interface, the animation designer can write easy-to-use C-like scripts to define the animation logic, drag and drop each state label in the virtual scene, and then can use different input strings to simulate different animation sequences. We conduct a series of numerical experiments to demonstrate how is our proposed approach applied to the animation design process and how potentially it can improve the animation design efficiency.

Abstract: In today's world, almost every domain has certain and mandatory requirements to understand at least one of the programming languages which is defined as a way of interaction with a computer to resolve real world problems or more specifically for the implementation of algorithms. Language programming is a course with strong theory and practice. In view of the fact that C language beginners in colleges and universities generally report that it is difficult to learn well due to various reasons. Therefore, in this paper, we have discussed the development and teaching of interactive virtual animation of C language programs. The proposed approach relies on a typical recursive algorithm case to analyze the teaching strategy of virtual algorithm animation brought into the classroom, the application in the algorithm teaching of C language and the teaching strategy in improving students' understanding of abstract knowledge using computer C language program interactive virtual animation development and implementation of the teaching system is the research content. According to the basic flow of the interactive virtual algorithm of the C language program, a reasonable system structure design is carried out.

Abstract: We present two experiments to assess the relative impact of different levels of body animation fidelity on plausibility illusion (Psi). The first experiment presents a virtual character that is not controlled by the user ( n=13), while the second experiment presents a user-controlled virtual avatar ( n=24, all male). Psi concerns how realistic and coherent the events in a virtual environment look and feel and is part of Slater's proposition of two orthogonal components of presence in virtual reality (VR). In the experiments, the face, hands, upper and lower bodies of the character or self-avatar were manipulated to present different degrees of animation fidelity, such as no animation, procedural animation, and motion captured animation. Participants started the experiment experiencing the best animation configuration. Then, animation features were reduced to limit the amount of captured information made available to the system. Participants had to move from this basic animation configuration towards a more complete one, and declare when the avatar animation realism felt equivalent to the initial and most complete configuration, which could happen before all animation features were maxed out. Participants in the self-avatar experiment were also asked to rate how each animation feature affected their sense of control of the virtual body. We found that a virtual body with upper and lower body animated using eight tracked rigid bodies and inverse kinematics (IK) was often perceived as equivalent to a professional capture pipeline relying on 53 markers. Compared to what standard VR kits in the market are offering, i.e., a tracked headset and two hand controllers, we found that foot tracking, followed by mouth animation and finger tracking, were the features that added the most to the sense of control of a self-representing avatar. In addition, these features were often among the first to be improved in both experiments.

Abstract: With the increasing pressure of modern young people, they begin to look for various ways to relax. Among them, game animation makes them immersive and has a low experience cost, which is one of the best ways to relax. Therefore, animation games have been welcomed by more and more young people. However, virtual reality technology and 3D technology have played a huge role in the production of game animation. Therefore, this paper aimed to study how virtual reality technology and 3D technology were applied in game animation production and put forward their advantages. This paper also proposed a method based on virtual reality technology and 3D technology and analyzed the production of game animation. The experimental results of this paper showed that in the survey results of the popularity of the A game, only 56 experiencers thought its effect was good, accounting for 18%. There were 145 experiencers who disliked the A game because they thought the A game was very boring and the game scene was very simple. In the survey results of the popularity of the B game, 222 experiencers liked this game, accounting for 71.6%, and 43 experiencers did not like the B game because they thought the 3D effect of the B game would make them dizzy and uncomfortable. It can be seen that the integration of virtual reality technology and 3D technology into game animation production is more popular, so the research in this paper is meaningful.

Abstract: Existing correspondence datasets for two-dimensional (2D) cartoon suffer from simple frame composition and monotonic movements, making them insufficient to simulate real animations. In this work, we present a new 2D animation visual correspondence dataset, AnimeRun, by converting open source three-dimensional (3D) movies to full scenes in 2D style, including simultaneous moving background and interactions of multiple subjects. Our analyses show that the proposed dataset not only resembles real anime more in image composition, but also possesses richer and more complex motion patterns compared to existing datasets. With this dataset, we establish a comprehensive benchmark by evaluating several existing optical flow and segment matching methods, and analyze shortcomings of these methods on animation data. Data, code and other supplementary materials are available at https://lisiyao21.github.io/projects/AnimeRun.

Abstract: In order to improve the autonomy and intelligence of group animation behavior, this paper proposes a particle swarm optimization algorithm for automatic control of group animation behavior. After the user inputs the group animation behavior construction target, the individual path is planned according to the fixed behavior rules, and the particle swarm optimization algorithm and the improved artificial fish swarm optimization algorithm are used to select the optimal action for the individual in the group animation according to the top-down control process. The experimental results show that after the PSO converges to the global optimal solution, the evolution times of the PSO converge to the global optimal solution again when the surrounding environment changes 10 times. The population diversity of particle swarm optimization algorithm is obviously better than those of the other two algorithms in the process of automatically controlling the movement of individuals to the circle and to the stand in the crowd animation. Compared with the original algorithm AFSA, the improved artificial fish swarm algorithm proposed in this paper is easier to obtain the global optimal value, and the optimization speed is also improved. In conclusion, the example analysis verifies that the algorithm can effectively realize the automatic control of group animation behavior and has high convergence speed and high autonomy.

Abstract: Based on the whole process of computer-aided technology, a 3D animation data processing development platform based on artificial intelligence is designed and implemented. A random forest model for animation data processing and development is designed to mine the experience that can guide animation generation from the accumulated animation data. Based on the design goal and implementation principle of animation data processing and development platform, the attributes and categories of random forest model are abstracted. After standardizing a large number of historical data, the training sample set is obtained, and the random forest model is obtained after training. The parameters of the random forest model are continuously optimized by experiments, so that the learning model can better guide the dynamic animation data processing and development platform to generate animation to the satisfaction of users. The designed three-dimensional animation data processing and development platform interacts with the animation generation module, users, and system administrators. It can continuously receive the sample data of the animation generation module, automatically expand the number of training samples, analyze the status of the sample database, and put forward suggestions to the system administrator to update the learning model, so as to realize the initiative of learning. The experimental results show that the designed 3D animation data processing and development platform is effective and feasible.

Abstract: In order to generate 3D virtual human animation with smoother actions and richer and more vivid expressions, this article proposes a system based on dual cameras to synchronously capture human facial expressions and human posture, so as to better generate 3D virtual human animation. Firstly, the 2D features of the image are extracted through facial expression, and the benchmark is provided for the standard 3D coordinate values. At the same time, the 3D pose fusion is realized by using the pose measurement algorithm for human motion capture. Through the test, it is found that the two fusion algorithms can meet the requirements of the static accuracy of 0.5° and the dynamic accuracy of 0°, and the three-dimensional model of a virtual human body has a good effect in data-driven animation. The experiments show that the system can better capture facial expressions and human posture synchronously, and the frame rate in the experimental test can reach 20 fps, which can generate more natural and realistic 3D virtual human animation in real time.

Abstract: Science and technology are developing rapidly in the twenty-first century. With the development of information technology, computers play a great role in people’s life. At present, with people’s increasing love for animation, exquisite and realistic animation has become people’s pursuit goal. Generally speaking, the most impressive thing in animation is the animation character expression. Nowadays, with the rapid development of science, it is necessary to develop a computer technology that can be used in animation expression control technology. The facial division is just met by computer technology. It is very important for the animation to create an animation expression consistent with the character’s face. The character face has diversity and uniqueness, which plays an important role in animation expression control. There are many factors in the character’s face area that affect animation expression control. The coordinated movement of multiple facial organs shows various emotional states through the changes in muscle movements in various areas of the face, such as eye muscles, facial muscles, and oral muscles. It has strong integrity and particularity and has relatively high technical requirements. Generally, the expression control technology can transform and deform a specific area of the face. Based on the division of the face area, the computer technology is used to calculate the different expression features of the face for recognition, showing a more exquisite and realistic animation expression. Under this background, this paper divides the facial region and introduces the physiological structure of the face and the relationship and influence between facial expression and animation expression control. Several algorithms used in facial structure feature point extraction are compared experimentally. After experimental comparison, it is found that the improved algorithm is much more efficient than the original algorithm in the process of extracting facial feature points, can remove redundancy, greatly reduce the amount of operation data, and lay a good foundation for the follow-up animation expression control technology.

Abstract: This paper presents an audio-to-animation synthesis method for violin performance. This new approach provides a fine-grained violin performance animation using information on playing procedure consisting of played string, finger number, position, and bow direction. We demonstrate that our method is capable of synthesizing natural violin performance animation with fine fingering and bowing through extensive evaluation.

Abstract: In order to make the expression and action of animated virtual characters more realistic, this paper proposes a virtual character expression and action system based on 3D animation. The system hardware module is used to complete the collection and processing of image data and human bone data. Then, the positioning of human skeleton points and the mapping relationship between joint points and moving skeleton points are constructed, and finally the virtual character model is constructed. On this basis, this paper completes the correspondence of feature points through facial feature point mapping and completes the face model alignment by aligning the video face with the 3D animation virtual face. The Laplace coordinate recovery model is used to reconstruct the facial expression action, complete the simulation of 3D animation virtual character expression action and realize the design of the virtual character expression action system based on 3D animation. The experimental results show that in the aspect of expression movement, the system in this paper has a better effect than the real-time motion capture technology system and the 2D animation expression movement system with a 95.40% simulation degree. The fidelity of skin texture processing in this system is 97.60%. Conclusion. The designed system can effectively simulate the facial expression in the character image and integrate it into the three-dimensional animation to make the virtual character more vivid. After rendering and skin texture processing on the Unity3D platform of the system, the authenticity of the virtual character is enhanced.

Abstract: With the rapid development of motion analysis and editing technology, more and more animation technologies based on real human motion analysis are widely used in games, medicine, film and television, sports, and other fields. The role of this technology in the teaching system of sports dance arrangement cannot be ignored. This paper studies the application of intelligent algorithm in injury analysis of sports dance choreography and puts forward a smooth and natural motion editing method which is more in line with the characteristics of human motion. The square spherical surface intelligent algorithm is used to naturally transition the rotation posture of each frame of human joint, and the action modification of computer-aided dance choreography system is more in line with the real action of human body. Simulation results show that interframe data can be used for the same type of dance. Different types of dance arrangement can adopt the method of inserting a new framework between the two dance movements, so as to finally meet the needs of sports dance coaches and students to observe their own dance movements in an all-round way, so as to facilitate the arrangement and modification of sports dance movement design. It provides a certain reference for the application and development of virtual technology in the field of sports and greatly improves the current situation of sports dance teaching equipment. Through animation simulation technology, we can effectively avoid the injury caused by dangerous movements, provide a way of observation and improvement for coaches’ dance teaching, and effectively improve the training effect. Compared with traditional dance choreography methods, the intelligent algorithm in this study can make the animation display of sports dance more coherent and realistic and effectively solve the needs of current events observation and modification in sports dance choreography. It can produce complex movements with simple movements and help teachers arrange and teach sports dance. Avoid the accidental injury caused by the limitation of time and space in traditional teaching and realize the modernization and intelligence of physical education teaching.