COMPUTER ANIMATION 3 KEYFRAME ANIMATION, RIGGING, SKINNING AND CHARACTER ANIMATION. Rémi Ronfard, Animation, M2R MOSIG

Transcription

1 COMPUTER ANIMATION 3 KEYFRAME ANIMATION, RIGGING, SKINNING AND CHARACTER ANIMATION Rémi Ronfard, Animation, M2R MOSIG

2 2 Outline Principles of animation Keyframe interpolation Rigging, skinning and walking

3 PRINCIPLES OF CHARACTER ANIMATION ~1930, Studios Disney The Illusion of Life

4 4 1 Squash & Stretch

5 1 Squash & stretch

6 6 2 Timing

7 2 Timing

8 8 3 Anticipation

9 Anticipation example

10 4 Staging 10 «Present the idea so that it is unmistakably clear»

11 11 5 Straight-ahead & pose to pose action

12 12 6 Follow-through et Overlapping

13 13 7 Slow in & Slow out

14 14 8 Arcs

15 15 9 Exaggeration

16 16 10 Secondary actions

17 11 Appeal

18 12 Personality

19 Interpolation of translation

20 Hermite polynomials

21 Catmull-Rom splines

22 Timing curves

23 Bezier curves, B-splines and NURBS Bezier: Piece-wise polynomials with tangent continuity B-splines: control points, arcs and curves NURBS: piece-wise rational curves, i.e. projective splines in projective coordinates

24 Three-dimensional interpolation

25 Interpolation of rotations Cannot interpolate matrices Compute R = R T 1 R 2 Compute axis and angle Interpolate angles

26 Quaternion interpolation

27 Quaternion interpolation

28 Spherical interpolation SLERP : Interpolation on the sphere of unit quaternions LERP : Linear interpolation then normalization US patent by Budge (2007): Fast approximation to the spherical linear interpolation function

29 Equivalence between Euler angles and quaternions

30 Rigid motion interpolation Screw Theory : we can represent any movement of a solid body by a single operation which combines both the rotation and the translation.! As Plucker coordinates.! As Dual Quaternions.! Using Motor Theory based on Clifford Algebra.

31 Slow-in and slow-out

32 Camera interpolation 3 translations (dollies) 3 rotations : pan left/ right, up/do Field of view is controlled by zoom = focal length

33 Camera interpolation Screen motion is the composition of camera and actor motion Coordinate camera and actor s movements

34 Rigging and skinning How do we apply kinematics and dynamics to character animation?! Skeleton/armature and kinematics! Skin and flesh: skinning, smooth skinning, muscles, fat, wrinkles! Clothing : particle systems, finite elements

35 Animation and interpolation Keyframe animation How to interpolate motion between keyframes

36 Articulated motion

37 Articulated motion

38 Articulated and rigid motion Motion of body part is rigid! In the parent s frame! In the word frame Rigid motion can be represented as a 3 x 4 matrix

39 Skinning We have a structure of bones, organized as a kinematic tree Problem : how do we animation the «skin» of characters given the motion of their bones? Rigid skinning : each body part is modeled as a rigid body! P(v i )= T f P 0 (v i ) where T is the bone transformation

40 Smooth skinning Also known as «Skeleton Subspace Deformation» Skin vertices move as a result of several body part motions! P(v i )= (sum_f w if T f )P 0 (v i )! Normalized weights : sum_f w if = 1)! CVertex weights can be computed automatically! For example w if = 1/d 2 if Or weights can be drawn by «painting» the skin

41 Interpolation of matrices Transformation matrix T f = [SR t] with 12 parameters Non independent 3 translations, 3 rotations, 3 re-scalings Better to control them separately Automatic weight computation Wang et Philips, Multi-weight enveloping: least-squares approximation techniques for skin animation, SCA 2002

42 Bone Heat Weighting!!!!!! Automatic Rigging and Animation of 3D Characters Ilya Baran and Jovan Popovic, SIGGRAPH 2007.

43 Examples

44 Quaternion interpolation!!!!! Skinning with Dual Quaternions Ladislav Kavan, Steven Collins, Jiri Zara, Carol O'Sullivan. Symposium on Interactive 3D Graphics and Games, 2007.

45 Cage deformations Build a cage around bones (armatures)

46 Case study : animation of walking

47 Walking cycle

48 Finite State Machine

49 Contact The walk usually starts with the feet at the extended position where the feet are furthest apart. This is the point where the character s weight shifts to the forward foot.

50 Recoil As the weight of the body is transferred to the forward foot, the knee bends to absorb the shock. This is called the recoil position, and is the lowest point in the walk.

51 Passing This is halfway through the first step. As the character moves forward, the knee straightens out and lifts the body it s highest point. This is called the passing position because this is where the free foot passes the supporting leg.

52 High point As the character moves forward, the weight-bearing foot lifts off the ground at the heel, transmitting the force at the ball of the foot. This is where the body starts to fall forward. The free foot swings forward like a pendulum to catch the ground.

53 Contact The free leg makes contact. This is exactly half the cycle. The second half is an exact mirror of the first. If it differs, the character may appear to limp.

54 Foot placement and synchronisation

55 From footprints to animation

56 From footprints to animation

57 From footprints to animation

58 Control

59 Walking style Physics Aesthetics Expressivity Goal-driven High-level control

60 Combined direct and inverse kinematics Principle: using available data on human walk correct constraint violations using inverse kinematics Advantage: data may model a realistic gait

61 Controling and editing the walk cycle Coach-trainee metaphor Can also be used to learn walking styles

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71 71 Conclusion Principles of animation Keyframe interpolation Rigging, skinning and walking Next: readings in computer animation