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Personajes digitales
Personajes digitales
Personajes digitales
Personajes digitales
Personajes digitales
Personajes digitales
Personajes digitales
Personajes digitales
Personajes digitales
Personajes digitales
Personajes digitales
Personajes digitales
Personajes digitales
Personajes digitales
Personajes digitales
Personajes digitales
Personajes digitales
Personajes digitales
Personajes digitales
Personajes digitales
Personajes digitales
Personajes digitales
Personajes digitales
Personajes digitales
Personajes digitales
Personajes digitales
Personajes digitales
Personajes digitales
Personajes digitales
Personajes digitales
Personajes digitales
Personajes digitales
Personajes digitales
Personajes digitales
Personajes digitales
Personajes digitales
Personajes digitales
Personajes digitales
Personajes digitales
Personajes digitales
Personajes digitales
Personajes digitales
Personajes digitales
Personajes digitales
Personajes digitales
Personajes digitales
Personajes digitales
Personajes digitales
Personajes digitales
Personajes digitales
Personajes digitales
Personajes digitales
Personajes digitales
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Personajes digitales

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Digital characters

Digital characters

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  • 1. Personajes digitales Andrés Adolfo Navarro Newball
  • 2. Personajes digitales Articulation and animation of digital creatures is informed by understanding of human and animal anatomy Digital creatures can be realistic, fanciful, animal-based, or any combination thereof
  • 3. Personajes digitales Todas tienen anatomía Sus anatomías, realistas o no, se basan en estructuras anatómicas de organismos existentes. Deben funcionar de acuerdo a las leyes físicas de su propio entorno
  • 4. Personajes digitales Personajes realistas se benefician de los organismos que buscan imitar Personajes nuevos. Pueden ser diseccionados en componentes basadas en organismos reales
  • 5. Personajes digitales  La clave es la estructura anatómica básica  Analogía evolutiva entre las estructuras que dan movimientoYoung Sherlock Holmes, http://www.youtube.com/watch?v=v_FfHA5whXcCaballero del vitral, 1985http://www.youtube.com/watch?v=CT-qV41ovv4
  • 6. Forma Restringida por el ambiente ◦ Terrestre / acuático ◦ Dieta ◦ Velocidad de movimiento Piel ◦ Skin of a biological creature cannot hold its form without the underlying anatomy ◦ The skin of a digital creature exists without need for support from underlying structures.
  • 7. Forma The form of a biological creature is determined by the expression of those underlying structures through the skin. It is important to understand how the form of the digital creature could conceivably be built up from the inside The responsibility for identifying anatomical elements falls primarily to the artists tasked with creating the animation rigging and deformation systems for the creatures. Saphira, Eragon http://www.youtube.com/watch?v=bpkwhr5P0l4
  • 8. Forma Bulge: fat, organ, muscle, cartilage, or bone ◦ If bone: connection point for articulations? ◦ If muscle: relaxed or contracted? Ridges: ◦ Convex curvature of bulges Bulges and ridges communicate the existence of anatomical elements under the skin. Cavities and creases the absence of support for the skin.Areas of great articulation
  • 9. Forma Preferible modelar en una pose neutral
  • 10. Articulación Rigging:  Construir el sistema musculo-esqueletal de un personaje  Tomar un modelo inanimado y transformarlo en un personaje que el animador puede manipular cuadro a cuadro para crear movimiento  Ensamble de una estructura de soporte. Soporte requerido mas para articulación que estructural  Determina numero y posición de puntos de articulación  Luego, se relacionan los puntos de articulación a la piel
  • 11. Articulación Músculos orientan movimiento del sistema esqueletal … Pero los esqueletos limitan los rangos de movimiento Ej: The Atlas-Axis Joint of the Upper Neck Head ◦ Separación del movimiento ―si‖ y ―no‖
  • 12. Articulación En estos ―huesos‖ digitales el movimiento es realizado con translaciones y rotaciones. Pueden ser movidos rotados, escalados en el espacio Pueden conectarse Básicamente constan de un pivote y una longitud. Conectados al end point de su padre. Desconectado de otros objetos, no sirve de mucho
  • 13. ArticulaciónJar Jar Bink’shttp://www.youtube.com/watch?v=5C9JX6VRjn0
  • 14. Articulación Biological accuracy to the number of bones is necessary only if photorealistic representation of an actual skeleton is required The effect of individual bones in a biological system on the articulation and deformations of skin is mitigated by the action of other parts of the system
  • 15. Articulación Accuracy in the location of pivot points, the way the bones behave relative to one another in the deformation of surfaces is more important than the number of bones for digital creatures There are various techniques that can be employed digitally to replicate the volume preserving function of the rib cage and digestive organs, but often the more efficient solution is to simply deviate from the biological placement of the spine joints
  • 16. Sistema de control Manera como la intención se convierte en acción  Key frame  Captura de movimiento  Procedimental
  • 17. Conexión Mantiene las partes del sistema juntas. ◦ Directa: jerarquía padre – hijo  El movimiento del padre orienta la posición del hijo  Estructuras anatómicas mas complejas requieren mayor estudio ◦ No jerárquica:  Permite orientar el movimiento de un hueso gracias a agentes externos  Reduce problemas relacionados con cálculos ◦ Variable:  Relación matemática entre objetos  Crea comportamientos dinámicos
  • 18. Creaturas sin hueso Altamente deformables Los puntos de articulación se mueven constantemente uno respecto al otro Se pone una columna y conexiones variables
  • 19. Movimiento Pueden responder a las siguientes leyes: ◦ Físicas ◦ Estructura / morfología ◦ Funcionalidad de la estructura ◦ EJ:  http://www.youtube.com/watch?v=N64KOQkbyiI  http://www.youtube.com/watch?v=mYHK3wL11eI&feature= related Medio en que se mueve el organismo
  • 20. Movimiento
  • 21. Movimiento Visible motion that appears internally motivated or the result of internally motivated action. However, the initiation of the action for a digital creature is external, puppeted Barriers to motion can also be created but they are computationally expensive if applied as collision detections. More often limitations are programmed into the rig Driving points in digital creatures are locations where several appendages join together. Controlling a driving point moves the origin points of appendages as a group
  • 22. Movimiento Physically driven actions for digital creatures typically exist as layers of motion applied on top of the primary action Forward kinematic systems describe each joint’s position as solely derivative of it’s parent’s action. In a forward kinematic system the rotation of a parent joint drives the position of the child An inverse kinematic system describes each joint’s position relative to the action of the last joint in the chain. In inverse kinematic systems the joints between the root and the end joint must solve their positions using the first and last joints as guides
  • 23. Movimiento Dynamic posing differs significantly from IK and FK techniques. It consists of a non-hierarchical arrangement of articulation points and a dynamic solver that determines how those points relate to one another The typical role for digital muscles is to act as secondary deformers of the skin during motion. Hollow man, 2000 http://www.youtube.com/watch?v=BMHsrGA061o
  • 24. Movimiento Deformación: creation of a digital analog to the effect of bones and muscles moving skin ◦ Enveloping ◦ Skinning
  • 25. Caso 1, el gato con botas El mejor papel de Antonio Banderas a la fecha http://www.youtube.com/watch?v=7Lbum SMoQK8
  • 26. El gato con botas
  • 27. El gato con botas Character setup includes:  joint articulation and limb motion,  facial animation (simulated muscles, jaw movement, skin stretching),  body deformations to represent muscle and skin behavior,  hair and fur motion,  the hierarchy of body part relationships,  special character props such as Puss’ animated hat.
  • 28. El gato con botas Development ◦ Involves designing the technical solutions needed to help realize the Director’s creative vision for the project Design and implementation of the rigging systems Ongoing Support of the animation rigs for Character Animators once Production begins.
  • 29. El gato con botas Puss-In-Boots: One Complicated Cat
  • 30. El gato con botas Ultimately, the rig of Puss-In-Boots involved designing, building, testing, refining, and supporting a complex motion system. For Puss-In-Boots, the motion system was extremely complex and involved a large number of individual components far beyond anything that was constructed for Shrek
  • 31. El gato con botas
  • 32. El gato con botas If, for example, a character needs to be able to achieve certain actions, then a rig must be constructed that enables the character with those capabilities. In this case, what started out as a cat eventually required the ability to also stand up and walk on its two hind legs just like a human. Part of the work involved setting up multiple sets of joints—joints that worked differently depending on the situation he was in (whether he was in cat mode or human mode).
  • 33. El gato con botas Pivote en modo gato Balance: dedos largos pero no tanto
  • 34. El gato con botas The height of the boots on the inside-back of Puss’ legs, maintaining the original height on the outside-front. This way, the boots appear to ride high but do not require lots of necessary collision detection The first model of Puss-In-Boots started out as a real cat (a tabby). But in order to achieve recognizable human facial expressions, his face was slowly pushed towards being more human.
  • 35. El gato con botas
  • 36. El gato con botas Although the feather strands were added by the FX department, the spine of the feather became fully animatable as well To accompany Puss’ boots, Puss also dons a wide, brown leather belt. The belt can be animated so it slides over his body interacting in a believable way with the fur
  • 37. El gato con botas The functions of the Character TD department include: ◦ Ensure character designs are functional and aesthetically match the Director’s vision, ◦ Define character setup standards, ◦ Develop character setup technology, ◦ Implement and integrate the character setup system (motion system, facial animation, body deformations, tight clothing/wrinkles, whiskers/hair setup plus dynamics, character props setup plus dynamics ◦ Set up characters for animation, and ◦ Support characters throughout all phases of production for the Character Animation and Lighting departments
  • 38. Caso 2, Los lobos alfa
  • 39. Los lobos alfa The system allows the user to have high- level control over the actions of a character, while the emotional state of the character is autonomously maintained by the computer Each pup forms a social relationship with the other; the next time they meet, their remembered relationships will affect the way in which they interact
  • 40. Los lobos alfa Each wolf maintains an emotional state that is affected by its interactions with the world. A wolf is able to perceive the identity of its pack mates, recognizing them as distinct individuals. It forms an emotional memory of each individual after its first interaction with it It was necessary to choose a computational representation that captures the necessary range of emotional phenomena
  • 41. Los lobos alfa
  • 42. Skinning La piel se debe mover y deformar junto con el esqueleto Brinda correspondencia entre piel y esqueleto a través de una serie de pesos Define el movimiento de la piel como una función del esqueleto Asociar una malla al esqueleto Algunos métodos:  Skeletal Subspace Deformation: poco flexible  Animation Space: el mejor  Multi-Weight Enveloping: overfitting
  • 43. Skinning v: posición de un vértice ˆ v : posición de reposo de v 1 ... b: huesos Ti = matriz de transformación del i – esimo hueso T = Ti en reposo ˆ i
  • 44. Skinning Convertir la posición del i - esimo vértice en reposo de coordenadas del modelo a coordenadas del hueso
  • 45. Skinning Convertir el vértice en coordenadas de hueso a coordenadas del modelo
  • 46. Skeletal Subspace Deformation Otros nombres:  Linear Blend Skinning, Enveloping and Vertex Blending Determines the new position of a vertex by linearly combining the results of the vertex transformed rigidly with each bone
  • 47. Skeletal Subspace Deformation A scalar weight, wi, is given to each influencing bone and the weighted sum gives the vertex’s position
  • 48. Animation space Provides greater flexibility than SSD by changing the single rest pose position of each vertex Allows each component of the vertex’s position to be influenced independently by each bone
  • 49. Multi-Weight Enveloping These additional weights allow each component of v to be influenced, independently of one another, in each component of a bone’s movement.
  • 50. Bibliografía The Morphology of Digital Creatures Tim McLaughlin, Stuart S. Sumida Ph.D. Art-Directed Technology: Anatomy of a Shrek2 Sequence SIGGRAPH 2004 Course. Rachel Falk, Denise Minter, Conrad Vernon, Guillaume Aretos, Lucia Modesto, Arnauld Lamorlette, Nick Walker, Tim Cheung, Janet Rentel-Lavin, Harry Max Leashing the AlphaWolves: Mixing User Direction with Autonomous Emotion in a Pack of Semi-Autonomous Virtual Characters. Bill Tomlinson, Marc Downie, Matt Berlin, Jesse Gray, Derek Lyons, Jennie Cochran, and Bruce Blumberg Synthetic Characters Group, The Media Lab, MIT A Comparison of Linear Skinning Techniques for Character Animation. David Jacka, Ashley Reid, Bruce Merry, James Gain, University of Cape Town Autonomous Animation and Control of Four-Legged Animals. Evangelos Kokkevis, Dimitri Metaxas and Norman I. Badler The 3D Skeleton Pruning for Removing Undesired Joints. Porawat VISUTSAK, Korakot PRACHUMRAK Skinning Mesh Animations. Doug L. James Christopher D. Twigg

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