Reviewing Principles and Elements of Animation for Motion Capture-based Walk, Run and Jump

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1 2010 Seventh International Conference on Computer Graphics, Imaging and Visualization Reviewing Principles and Elements of Animation for Motion Capture-based Walk, Run and Jump Jong Sze Joon Faculty of Creative Multimedia, Multimedia University Cyberjaya, Selangor, Malaysia Abstract This study aims to study the detail of human motion by experimenting and extracting the subjects core motions for analysis based on Principles of animation and Elements of animation. Sampling various subjects of physical differences, this study attempts to acquire various motion parameters based on certain predefined actions. In addition, this study also applies enhanced motion editing techniques to retarget and constraint the captured data. This study concentrates on the level of details of motions of various subjects with differences in physical attributes. We outline how different physique produces different behavioural patterns based upon mass and proportion. This study considers motion to identify the differences in each subject s physical attributes by sampling subjects of physical differences. Keywords: human motion, actor physique, motion capture, motion editing, core motion. 1.0 Introduction Today, more people are looking into the application of Mocap in the local filmmaking industry. The animation industry in Malaysia showed a rapid growth in the past few years. Even the Western continents frequently relocate their productions to be executed in Malaysia. However, our current state in local production of MoCap technology is still limited in the factors of resources, knowledge, and technology as well as the lack of experience and reference in the individuals of Malaysians. Therefore, it is difficult to develop a local content of motioncapture based animation without any guideline and references. The aim of the research is to review the principles and elements of animation to study the detail of human motion with differences in actor physique. The research concentrates on the application of Mocap to study variances in motion patterns based on physical variables of the subject. This includes looking into the nuances that often defines the level of realism in animation. This research focuses on the development of methods for analysing and manipulating motion capture data to study realistic motion based on actor physique. Behavioural and emotional influence to the motion data is not part of the research study, even though behavioural patterns indirectly affects the motion pattern. The research only experiment on analysing the level of details of captured data, reference to mass and proportion, to compare the differences between the subjects. The sample size of the experiment is limited to four subjects with differences in physique. The analysis is only performed on core motion data, which is extracted from an entire motion sequence. The research identifies the distinctive motion patterns based on differences in physical attributes of actors. Motion characteristics subject to mass and proportion defines the pattern of individual subjects. When adapting data to virtual characters, the animation will look more realistic in the sense that proper weight allocation manages the movements of the character. Certain adaptation conditions lack the feasibility to control the target object accurately due to the difference in proportion of the virtual character in comparison to the actor. Therefore, motion-editing /10 $ IEEE DOI /CGIV

2 techniques are frequently applied to fix these complications. 2.0 Animation guides and applications Animated character motion is based on certain principles and elements. These sets of guidelines are commonly practiced among all animators. The prominent twelve Principles of Animation by animators Thomas and Johnston (1981) [1] serve as a fundamental guideline to most of animators, traditional cell animators, computer animators, or even Mocap animators. The Mocap animators, however, use these principles at different occasions throughout the animation process and in different ways than the other animators. A Mocap animator should consider the methods of application upon certain principles within the animation process. There are three distinct points within the process, the preparation stage, the capture session itself, and the post processing stage. With reference to Lasseter (1987) [2], Menache (2000) [3] and Liverman (2004) [4], the application of the principles to the respective stages is classified in the following sub-chapters Mocap and the Principles of Animation The twelve Principles of Animation in the context of Mocap as described below: i. Squash and stretch The character goes through extreme shape changes but maintains its volume. This is the first principle that cannot be achieved by a performer. Some people have attempted to add this property to captured motion data either by hand or procedurally, but the results have not been promising. ii. Timing The performance, whether animated or acted, has to have the right timing to convey the necessary perception. iii. Anticipation It is an indication of an action to come. This is typical of cartoon characters and not necessarily of human performance, but in some cases it is consistent with realistic actions, such as bending the knees before jumping. A good performer can show anticipation to a certain degree, but is limited by the law of physics. iv. Staging A principle of filmmaking in general, the layout of the scene and positioning of the camera and characters are equally important in animation and live-action performance. v. Follow-through and overlapping action Follow-through is the opposite of anticipation. The reaction happens after the action, such as bending the knees as one reaches the floor after a high jump. Again, a live performer can accomplish physically feasible follow-through. Overlapping action is inherent to live performance, but in animation, it is easier to start an action after another one is finished, resulting in either paused or rigid motion. vi. Straight-ahead action and pose-to-pose action These are two animation methods. Straight-ahead action calls for the animation of a scene on a frameby-frame basis, whereas pose-to-pose action entails the creation of key poses scattered over time periods. The frames in between these key poses are created later. In computer animation, most of the characters motions are created using a variation of the pose-topose action method, creating key poses for different parts instead of posing the whole character at a particular frame. This is done by creating keyframes and letting the software produce the in-between frames by some kind of interpolation defined by the animator. This method is easier to manage because there is less data to deal with. Motion Capture is completely straight-ahead action; as such, it generates keyframes at every frame. This makes it very difficult to modify. Pose-to-pose action can be achieved through Motion Capture by selecting significant keyframes, deleting the rest, and allowing the computer to do the in-between as before. vii. Ease-in and ease-out It is very rare for an object to become active without a period of acceleration, or to become static without a stage of deceleration. Ease-in and ease-out are principles based on real-world physics, so they can easily be achieved by capturing the motion of a live performance. viii. Arcs Most actions are not linear. When animating, we almost never want to use linear interpolation between keyframes. This is another principle aimed at emulating realistic movement, which can be represented as a set of different types of arcs. When using keyframe animation, these curves are usually smooth between keyframes. With motion data, however, they are coarse and noisy, representing the natural nuances of realistic motion. ix. Secondary motion When animating, we first create the primary motion of the character, which is usually the motion of limbs and face. We then create the motion of other parts or objects that react to the primary motion, such as hair 56

3 and clothing. Secondary motion represents a lot of extra work with keyframe animation, whereas with Mocap it is a part of the performance. One has to be able to collect it, however, which may not be captured by an Optical system if markers are added to the clothes, but an electromagnetic tracker or electromechanical suit would not be able to collect that kind of data easily. x. Exaggeration The principle of exaggeration implies approaching or crossing the boundaries of physical reality in order to enhance or dramatise the character s performance. We must decide if capturing a live performance would be acceptable, or even feasible, for the level of exaggeration needed. motion flow differs with different subjects as each subject s motion pattern varies in peed and velocity. ii. Action Reaction Newton s relativity theory states that every action has an exact and opposite reaction. This element is derived from anticipation. The jump motion serves as a good example here. Before the jump, the subject anticipates by bending his knee and body. Then he thrust forward and up to execute the jump motion. When the feet impact with the ground, the subject bends his knee and body again pass the point of impact, to slow down the forward momentum. Once the action is completed, the subject returns to the ready stance as shown in Figure 1. xi. Appeal The audience must find the characters interesting and appealing. This principle applies for both live action and animation. xii. Personality Two identical characters can appear totally different by conveying different personalities. This is a principle of acting in general that should be applied to animation. When using Mocap, this is the number one reason to use a talented performer, as opposed to just anybody who can move Elements of Animation According to Ratner (2003) [5], the twelve Principles of Animation as described in established a basis for a number of animation elements. These are offshoots that build upon the foundation set up by the twelve principles. The Elements of Animation in the context of Mocap are as below. These elements serve as a guide to analyse the motion data. As the three captured motions differ from one another, not all the elements are assigned directly to study each of the core motion. The jump motion, in particular is not in the form of a continuous loop, thus the analysis is somewhat different from the walk and run. The elements will be explained in detailed in the following section in juxtaposition with the Motion Capture data sets. i. Pacing and impact This element can be related to musical tempo. Pacing can interpret timing where as impact can relate to collision. The floor serves as a collision for each step within the motion path of the walk, run and jump. The collision soon follows with resolution. The Figure 1: The trajectory of arcs within the motion path shows the anticipation and follow-through principle. iii. Rhythm and Line of Action A character s Line of Action can better be described in the image below. Figure 2: Illustration of a character in pose to signify line of action. 57

4 The Line of Action is essential in the sense that it outlines the dynamic proportion of the character pose. It defines the strength of the pose. Secondary actions in the arms and legs can also be visualised as lines of motion. Rhythm and counterpoint are composed of repetitive and opposing lines that tense and relax during key moments. iv. Paths of Action The principles of squash and stretch as well as arcs are key components for showing paths of action. Based on close observation of the motion path from the experimental subjects, the lighter subjects shows more bounciness compared to the heavier one, as shown in Figure 3. vi. Accents Accents can be regarded as drastic expressions of body actions depending on a situation. Accents can also signal a radical change in the timing of the action. In addition, the element also bears other relationship to describe effects of weight and recoil or even squash and stretch. Regardless, this element will not be part of the analysis for this research. vii. Cycles Cycles can be classified as a repetition in action within a series of motion that forms a pattern of behaviour. Walk and run motions are the most eminent examples to show cycles. Though similar in action, the dynamics that drive the movement of joints are based on different physics. The jump motion in this experiment can be considered to a looping motion rather than a cycle. viii. Postures This mainly portrays appeal. Postures and gestures will not be regarded as factors to be analysed for this research. Figure 3: The motion path shows the different frequency patterns of different subjects. v. Spatial Relationship Spatial Relationship is closely related to the timing in terms of the spacing of key-frames that eventually creates ease-in, ease-out and overlapping actions. This element does not really apply to Mocap animation as every frame is keyed. The natural, realistic biomechanical motion differs from one subject to another. This element will not be part of the analysis. Figure 4 portrays the velocity curve to guide the spatial relationship of keyframe animation. Figure 4: The animation graph represents the motion s value in distance over duration. ix. The Take The take can be considered as a freeze frame of an anticipated action. A good example can be related to a surprise or shock. Exaggeration can be applied to a take as well. This is purely emotional based and will not be analysed for this research. x. Emotions This element will not be considered as part of the experiment to analyse motion parameters. xi. Balance / Imbalance Symmetrical balance is an equal distribution of weight between both legs. The line of gravity or balance would start between the feet and end at the head. Asymmetrical balance refers to an unequal distribution of weight. Instead of having the same amount of mass resting on both feet, only one foot supports the body. The line of gravity or balance would start at the supporting foot and proceed straight up. During a run motion, the upper body is leaning forward, resulting in a forward centre of gravity. The speed of the run motion will balance the subject from falling forward. In a walk motion, the centre of gravity is aligned to the vertical axis of the body, thus a regular balance is maintained. The leg movement of the run is to support the balance of the subject s continuous motion whereas the leg movements of the walk are to thrust the subject forward in motion. 58

5 xii. Weight, Mass and Gravity Timing is an important principle for showing weight, mass and gravity. When the subject takes a step forward, the recoil action takes longer with a heavy subject than it does with a light subject. This will result with a slight jerkiness at the knee area as shown in Figure 5. Animation (Menache, 2000). These principles have served as guidelines and traditional animators have practiced it for countless years. In this research, the principles and elements are clustered into certain phases to synchronise with the usage of Mocap. References [1] Thomas, F., and Johnston, O. (1981). Disney animation: The illusion of life. USA: Abbeville Publisher. [2] Lasseter, J. (1987). Principles of traditional animation applied to 3D computer animation. Proceedings of the 14 th Annual Conference on Computer Graphics and Interactions Techniques, 21, Figure 5: Comparing the motion path of the knee jerk. 3.0 Summary Many researchers have developed various methods to acquire motion data and analyse motion patterns based on physical and psychological approaches. These researchers have developed formulation-based algorithms to measure motion data sets. The study show that even though human motion analysis is based on kinematics structure, a certain level of dynamic forces influences the nature of individual motions. Other distinctive influences that caused variances in the nuances of movements are discreetly related to behaviours and emotions. As human motion differs in every action and execution, motion data can be stored in a digital form for repetitive studies. This enables limitless playback to further research the core motion of a sequence of actions. Rotational values in time and space can be mapped to a 3D skeleton, thus enabling a motion path to be generated based on the articulation of the joints. Most of the motion data requires a certain amount of tweaking to enable a proper classification framework for analysis. This requires the data to be altered in a certain way. The frequently used techniques are motion warping, motion blending, displacement curves, motion signal processing, and motion retargeting. Most of these techniques require modification to the motion graph and motion path. After acquiring analytical data through the measurement process, the sample information is classified through a referencing stage. One of the best references to classify motion in animation is to relate it to the Principles of Animation and the Elements of [3] Menache, A. (2000). The motion capture session. Understanding motion capture for computer animation and video games (pp.96-97). San Fransisco, CA: Morgan Kaufmann Publishers (Academic Press). [4] Liverman, M., (2004). An introduction to motion capture. The animator s motion capture guide, organising, managing and editing (pp ). Hingham, Massachusetts: Charles River Media, Inc. [5] Ratner, P. (2003). Human animation principles. 3D human modeling and animation (pp ). Hoboken, New Jersey: John Wiley and Sons, Inc. 59

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