COMP 304 PC Illustrations II.

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a progression of pictures demonstrated in quick grouping can seem to move smoothly ... Porky Pig, Daffy Duck, Bugs Bunny, Woody Woodpecker, Mighty Mouse, Tom & Jerry ...
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COMP 304 Computer Graphics II LECTURE 8 MOTION CONTROL – FORWARD KINEMATICS Dr. Mehmet Gokturk Asst. Prof., Gebze Institute of Technology

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Some Timeline  The Illusion of Motion 1824, Peter Mark Roget," Persistence of Vision with Regard to Moving Objects " a progression of pictures appeared in quick grouping can seem to move smoothly (i.e. a flip book or film projector) © M. Gokturk

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© M. Gokturk

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Timeline  Movies (1895) time of motion picture camera and projector starts experimentors find they can stop the wrench and restart it again to acquire enhancements (1914) Gertie, Windsor McCay (daily paper sketch artist) first well known movement (1928) Steamboat Willie, Disney an early toon w/sound kid\'s shows appear to be conceivable as stimulation (1933) King Kong, Willis O\'Brien (1930\'s & 40\'s) Golden time of kid\'s shows Betty Boop, Popeye, Porky Pig, Daffy Duck, Bugs Bunny, Woody Woodpecker, Mighty Mouse, Tom & Jerry (1937) Snow White, Disney energized highlight film expense is $1.5M © M. Gokturk

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Timeline  Movies (cont) (1982) Tron, MAGI motion picture with a PC representation premise (1984) Last Starfighter PC illustrations was utilized interchangably with genuine models of the spaceship (1993) Jurassic Park PC design is utilized to make living animals that are intended to seem sensible (1995) Toy Story, Pixar full-length highlight film done totally with 3D PC activity (2000) CyberWorld 3D, IMAX 3D IMAX full-length highlight film including characters from well known 3D motion pictures, for example, ANTZ and The Simpsons\' Homer © M. Gokturk

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Conventional Animation Techniques Drawing on film Multiple drawings Rotoscoping (venture film of genuine performing artists onto drawing paper) Stop movement activity Acetate cels, different plane cells © M. Gokturk

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Conventional Animation Process Storyboard Key edges drawn Straight ahead versus stance to-stance Intermediate casings filled in (inbetweening) Trial film is made (called a pencil test) Pencil test outlines exchanged to cels © M. Gokturk

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Conventional Animation Process © M. Gokturk

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Role of the Computer In-betweening masterful case: Hunger , Peter Foldes 1974 Disney\'s CAPS framework filtered craftsman drawings are perused in "cels" are shaded online (wide shading palette, definite shading coordinating) compositing is done online (foundation, 2D drawings, 3D activity) 3D impacts can be made with 2D drawings (e.g. Excellence and the Beast) utilized as a part of each film since Beauty & Beast 3D graphical universes can explore all the more effectively with on-screen character position, camera position can perform more mind boggling camera moves trade work to make drawings with work to assemble and enliven 3D world © M. Gokturk

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3D Animation 3D activity is like stop movement liveliness King Kong (1932) Gordon (1972) © M. Gokturk

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3D Animation Stop movement liveliness (Nightmare Before Christmas) 3D keyframing (Luxo Jr.) Performance activity and movement catch (Donkey Kong Country) Which must be done straight-ahead and which can be vivified posture topose? © M. Gokturk

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Keyframing Key edges mark vital visual moves (extremes of activity) Inbetweening is formation of middle of the road outlines between the key casings Can without much of a stretch be ascertained by PC © M. Gokturk

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Temporal Sampling Film recording takes tests of a picture at altered time interims 24 outlines for each second for film 30 outlines for each second for video human eye "sees" constant movement Sometimes, less keyframes are required to portray the movement, particularly for "pencil tests" or unpleasant choreography (e.g., Lost World) © M. Gokturk

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Smooth Motion  Passive Physics No inside vitality source and move just when an outer power follows up on them. Perused for use when: physical laws encoded beginning conditions indicated Pools of water, garments, hair, leaves © M. Gokturk

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Smooth Motion  Passive Physics Clothing (Geri\'s Game) Water (Antz) "Inflexible" body material science (slamming space units in Phantom Menace) Geri\'s Game, Pixar Animation Studios © M. Gokturk See illustrations

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Smooth Motion  Active Physics User indicates keyframes (begin, end, center) User determines requirements (e.g. laws of material science) System hunt down least vitality movement to perform objectives A. Witkin and M. Kass, "Spacetime Constraints", SIGGRAPH \'88. © M. Gokturk

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Smooth Motion  Active Physics and Simulation Control an enlivened character as we would control a robot conduct is reenacted a "control system" sends appropriate signs to the character\'s "muscles" after some time Mark Raibert\'s leg lab at MIT http ://© M. Gokturk

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Noise Motion We by and large don\'t need movement to be excessively smooth The eye grabs symmetries and smooth bends and translates them as simulated or fake By including clamor, we can add surface to smooth movement K. Perlin, "An Image Synthesizer", Computer Graphics, 19(3), July 1985. Perlin, Improv framework (K. Perlin and A. Goldberg, SIGGRAPH \'96). Applets:© M. Gokturk

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Noise Motion catch (characteristic clamor!) © M. Gokturk

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Camera Path Following A basic sort of activity  everything stays static with the exception of the camera (walk throughs or flybys). The camera  pretty much as some other article similarly as introduction and situating is concerned. The client needs to build a way through space for the eyewitness to take after alongside introduction data. Way = key casing situating + addition of the inbetween outlines. © M. Gokturk

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Camera Path Following  approaches to manage the perspective course (1) The focal point of interest can be held consistent while spectator position is interjected along a bend View Direction  Vector between the eyewitness position (POS) and the focal point of interest (COI) This is helpful when the onlooker is flying over a situation reviewing a particular area, for example, a building. © M. Gokturk

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Camera Path Following  approaches to manage the perspective bearing (2) A way for the focal point of interest can be developed, say from a progression of structures in a situation. Frequently, the artist will need the focal point important to stay concentrated on one working for a couple outlines before it goes to the following building. © M. Gokturk

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Camera Path Following  approaches to manage the perspective course (3) Alternatively, the focal point of interest can be controlled by different focuses along the spectator way. For instance, onlooker position for the following edge can be utilized to decide the perspective bearing for the present casing. Some of the time this is excessively jerky. Some nth casing past the present edge can be utilized to deliver a smoother view course. © M. Gokturk

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Camera Path Following  approaches to manage the perspective course (4) The focal point of interest can likewise be connected to objects in the activity. © M. Gokturk

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Path taking after Have position and introduction interjection for key encircling now Combining them , get general movements of unbending articles Add scaling, get extending/squashing Path taking after: Have keys just for position how to change introduction "actually" Same procedures for camera movement © M. Gokturk

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Orientation along a way It\'s regular to change introduction as things move Example: looking while strolling Look in the course one strolls Tedious to indicate introductions en route Want to get straightforwardly from the way © M. Gokturk

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Frenet outline (Moving edge) At every point on the bend: Get Tangent vector Get vector all in all ebb and flow heading In the plane of digression and shape Vector orthogonal to the two Math: Everything is standardized then © M. Gokturk

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© M. Gokturk

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© M. Gokturk

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Frenet outline Curvature can be zero along augmented parts Example: straight line Solution: introduce limit outlines Differ just by revolution around the straight line Zero bend at a point: Possible flip (ex. camera flips topsy turvy) Discontinuities in shape: Sudden changes of article introduction These impacts are NOT average © M. Gokturk

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Alternatives Tangent vector is alright for items Poor decision for cameras For cameras: Look at the "focal point of interest" Fixed COI: Always take a gander at specific point Separate way for COI Can quicken this point independently utilizing additional key positions © M. Gokturk

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Alternatives COI (focal point of interest) goes before the camera COI(s)=P(s+ds) At the end, along the last digression vector Choose a few ds, normal Smoothes movement Trade-off: jerky movement versus excessively static perspective bearing "Up" vector: In the plane of perspective vector and worldwide UP vector Extra counterbalance from this course Full key confining © M. Gokturk

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© M. Gokturk

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u = P\'(u) x P\'\'(u) w = P\'(u) P\'\'(u) v = w x u Path Following Frenet Frame © M. Gokturk

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Curvature coherence =0 © M. Gokturk

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Look ahead © M. Gokturk

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Define "take a gander at" vector © M. Gokturk

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Define "up" vector © M. Gokturk

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© M. Gokturk

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© M. Gokturk

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© M. Gokturk

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© M. Gokturk

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Kinematics X Dynamics © M. Gokturk

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Kinematics © M. Gokturk

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Kinematics Keyframing requires that the client supply the key edges For explained figures, we require an approach to characterize the key edges There are two approaches to represent a verbalized character – forward and backwards Kinematics is the investigation of movement without respect to the strengths that cause the movement Kinematics © M. Gokturk

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© M. Gokt

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