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Journal articles on the topic '3D Character Animation'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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1

Waspada, Heri Priya, Ismanto Ismanto, and Firman Hidayah. "Penggunaan Hasil Motion Capture (Data Bvh) Untuk Menganimasikan Model Karakter 3d Agar Menghasilkan Animasi Yang Humanoid." JAMI: Jurnal Ahli Muda Indonesia 1, no. 2 (December 31, 2020): 94–102. http://dx.doi.org/10.46510/jami.v1i2.34.

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Abstrak Objektif. Proses pemodelan karakter 3D memegang peranan penting dalam menghasilkan model karakter 3D yang baik. Proses ini merupakan proses awal yang harus dilalui oleh seorang desainer dalam membuat sebuah model karakter 3D. Setelah proses pemodelan dikerjakan dengan baik agar karakter tersebut bisa dibuat bergerak maka diperlukan proses rigging. Dengan proses pemodelan dan rigging tersebut model karakter 3D bisa digunakan untuk menghasilkan animasi sesuai dengan keinginan animator. Tentunya seorang animator akan memerlukan kerja keras untuk membuat suatu adegan gerakan apabila animasi yang dibuat masih manual. Untuk itu dengan memanfaatkan data BVH, animator akan lebih ringan dalam membuat adegan animasinya. Hasil animasi karakter di tunjukkan kepada 40 responden untuk menilai dan menghasilkan rata-rata tingkat humanoid animasi karakter bernilai 65%. Material and Metode. Menganimasikan model karakter 3D memanfaatkan hasil motion capture (.bvh) Hasil. Animasi karakter 3D dengan menggunakan hasil motion capture menghasilkan animasi yang humanoid. Kesimpulan. Hasil motion capture merupakan susunan tulang yang sudah dilengkapi dengan hasil perekaman gerakan sehingga untuk memproduksi animasi model karakter 3D akan lebih mudah karena animator tidak perlu menggambar tiap gerakan yang diinginkan. Abstrack Objective. The process of modeling 3D characters plays an important role in producing good 3D character models. This process is the initial process that must be passed by a designer in creating a 3D character model. After the modeling process is done well so that the character can be moved, a rigging process is needed. With the modeling and rigging process, 3D character models can be used to produce animations in accordance with the wishes of the animator. Of course, an animator will need to work hard to create a motion scene if the animation created is still manual. For this reason, by utilizing BVH data, animators will be lighter in making their animated scenes. The results of the character animation were shown to 40 respondents to rate and produce an average humanoid character animation level of 65%. Materials and Methods. Menganimasikan model karakter 3D memanfaatkan hasil motion capture (.bvh) Results. 3D character animation using the results of motion capture produces humanoid animation. Conclusion. The result of motion capture is the arrangement of bones that has been equipped with the results of recording the motion so that to produce animated 3D character models will be easier because the animator does not need to draw every desired movement.
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Jing, Yang, and Yang Song. "Application of 3D Reality Technology Combined with CAD in Animation Modeling Design." Computer-Aided Design and Applications 18, S3 (October 20, 2020): 164–75. http://dx.doi.org/10.14733/cadaps.2021.s3.164-175.

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Computer three-dimensional animation is a new type of animation with the development of computer software and hardware technology in recent years. Three-dimensional animation should apply the software of three-dimensional animation technology to establish a virtual world in the computer. In this virtual three-dimensional world, designers build animated character models and scene models according to the shape and scale of the objects to be represented. Then set the motion trajectory of the character model, the motion of the virtual camera and other animation parameters according to the requirements, and then assign specific materials to the model and add lights to the model. Then the computer can automatically calculate and generate the final continuous picture. Under this background, the research on 3D animation character shaping in this paper is to analyze and study the market situation from the standpoint of small-scale 3D animation companies (teams) with relatively weak technology, and through the author's own creative practice, this paper summarizes some principles for the design and production of 3D animation characters, and tries to improve the education system of 3D animation character design. It promotes the production and dissemination of 3D animation and distinct 3D animation characters. Starting with the comparative research method, this paper summarizes the differences of 3D animation character shaping from the comparison of the characteristics of 3D animation and traditional animation, and then summarizes the efficient ways and methods of how to shape 3D animation characters by combining practice with theory.
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Gao, Xin Rui. "3D Character Animation and Efficiency." Applied Mechanics and Materials 421 (September 2013): 685–89. http://dx.doi.org/10.4028/www.scientific.net/amm.421.685.

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ntroduce the technologies of 3D character animation in 3dsMax and Maya. These technologies include making skeletons, producing muscles, skinning, and creating animation etc. Compare these technologies in 3dsMax and Maya. Discuss the efficiency of 3D character animation and suggests methods to enhance the efficiency of 3D animation.
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Song, Hyewon, Suwoong Heo, Jiwoo Kang, and Sanghoon Lee. "3D Character Animation: A Brief Review." Journal of International Society for Simulation Surgery 2, no. 2 (December 19, 2015): 52–57. http://dx.doi.org/10.18204/jissis.2015.2.2.052.

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Kim, Kyoung-Ho, and Jeongjin Lee. "3D Animation Character Development Pipeline using 3D Printing." Journal of the Korea Contents Association 13, no. 8 (August 31, 2013): 52–59. http://dx.doi.org/10.5392/jkca.2013.13.08.052.

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6

Liang, Ji Sheng, Xi Hong Zhou, Bo Li, Fu Hua Shang, and Wang Hui. "ADL 3D Character Animation Design Table Research and Application." Advanced Materials Research 548 (July 2012): 797–801. http://dx.doi.org/10.4028/www.scientific.net/amr.548.797.

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3D character animation has into every aspect of our lives, How to raise the efficiency of development is still current domestic and international research one of the hot issues. This paper, based on the rehabilitation medicine ADL standard, Puts forward 3d characters ADL action based action split standards,According to the software engineering layered development and atom model thought, Design realize the ADL 3d character animation design table, Applied to the simulation training construction of action of oil field development, Effectively improve the oil workers 3d action role construction the efficiency of the development.
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7

Adis, Fransisca, and Yohanes Merci Widiastomo. "Designing Emotion Of Characters By Referencing From Facs In Short Animated Film “RANA”." ULTIMART Jurnal Komunikasi Visual 9, no. 2 (March 21, 2018): 31–38. http://dx.doi.org/10.31937/ultimart.v9i2.747.

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Facial expression is one of some aspects that can deliver story and character’s emotion in 3D animation. To achieve that, we need to plan the character facial from very beginning of the production. At early stage, the character designer need to think about the expression after theu done the character design. Rigger need to create a flexible rigging to achieve the design. Animator can get the clear picture how they animate the facial. Facial Action Coding System (FACS) that originally developed by Carl-Herman Hjortsjo and adopted by Paul Ekman and Wallace V. can be used to identify emotion in a person generally. This paper is going to explain how the Writer use FACS to help designing the facial expression in 3D characters. FACS will be used to determine the basic characteristic of basic shapes of the face when show emotions, while compare with actual face reference. Keywords: animation, facial expression, non-dialog
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Riyana, Cepi. "THE DEVELOPMENT OF THREE DIMENSIONAL ANIMATION FILM FOR CHARACTER EDUCATION MEDIA IN ELEMENTARY SCHOOL." EDUTECH 14, no. 2 (June 10, 2015): 218. http://dx.doi.org/10.17509/edutech.v14i2.1379.

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Abstract. The formation of character is one of the national education goals. Article 1 of the 2003 Education Law states that among the objectives of national education is to develop the potential of learners to have intelligence, personality and noble character. Currently karakterbangsa strengthening of the strategic priorities of national education progra, given the state of the nation must be returned to the characterization of identity bangsa.Berbagai efforts should be made to build character education, including through modeling (modeling) characters through 3D animations Fim impressions. The strength of this medium is its appeal capable mengypnosis children so charges can be internalized character education in children. The purpose of this research is to "develop Animation 3D Virtual Reality for Education Character in elementary school," This study uses the Research & Development (R & D) through the stages: (1) analysis of the needs of the Media, (2) Media Development, (3) Validation and Product dissemination. Subjects were students of primary schools, with three locations in West Java (Bandung, Cimahi, Bandung regency). The results of this study indicate that the model is designed with ABC animation (animation character building) a positive impact on habituation as a first step to the formation of character in elementary students.Keywords: Character Education, Film 3D AnimationAbstrak. Pembentukan karakter merupakan salah satu tujuan pendidikan nasional. Pasal 1 UU Sisdiknas tahun 2003 menyatakan bahwa di antara tujuan pendidikan nasional adalah mengembangkan potensi peserta didik untuk memiliki kecerdasan, kepribadian dan akhlak mulia. Saat ini penguatan terhadap karakter bangsa menjadi prioritas program strategis pendidikan nasional, mengingat kondisi bangsa harus dikembalikan pada karakterisasi jati diri bangsa. Berbagai upaya perlu dilakukan untuk membangun pendidikan karakter, diantaranya melalui pemodelan (modeling) karakter melalui tayangan Fim Animasi 3D. Kekuatan media ini adalah daya tariknya yang mampu menghipnosis anak sehingga muatan-muatan pendidikan karakter dapat diinternalisasi pada diri anak. Tujuan Penelitian ini adalah “mengembangkan Film Animasi 3D untuk Pendidikan Karater di Sekolah Dasar”, Penelitian ini menggunakan metode Research & Development (R&D) melalui tahapan : (1) Analisis kebutuhan Media, (2) Pengembangan Media , (3) Validasi dan Diseminasi Produk. Subyek penelitian adalah siswa SD, dengan lokasi di tiga wilayah Jawa Barat (Cimahi, Kabupaten Bandung Barat dan Cianjur). Hasil penelitian ini menunjukkan bahwa model animasi yang didesain dengan ABC (animation character building) berdampak pada pembiasaan positif sebagai langkah awal untuk pembentukan karakter pada siswa SD.Kata Kunci : Pendidikan Karakter, Film 3D Animasi
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9

Ryu, Chang-Su, and Chang-Wu Hur. "ZBrush 3D animation character modeling using ZSphere." Journal of the Korean Institute of Information and Communication Engineering 16, no. 6 (June 30, 2012): 1312–17. http://dx.doi.org/10.6109/jkiice.2012.16.6.1312.

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Halim, Steven, and Christine Mersiana Lukmanto. "Animating and Designing Movements for Turtle Figure in 3D Animated Short Film Entitled “TUKIK”." IMOVICCON Conference Proceeding 2, no. 1 (July 6, 2021): 111–18. http://dx.doi.org/10.37312/imoviccon.v2i1.55.

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One of the most important elements in an animated film to convey a message to the audience is animating a character. Character movement in a scene is very necessary to show what is happening and what the character is experiencing in a scene that is being witnessed by the audience. This research will raise the animating process of the turtle character in a 3D animated short film entitled "TUKIK". There are two scenes that will be discussed; a scene when the turtle is swimming in the ocean and the movement when the turtle is trapped by the waste at the beach. In the design process, various principles of animation and movement of turtles are applied based on references. The results of this research will be applied to the movements of the turtle characters in the animated awareness film called "TUKIK".
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11

Liu, Yang. "3D Garment Real-Time Simulation in Character Animation." Advanced Materials Research 108-111 (May 2010): 753–58. http://dx.doi.org/10.4028/www.scientific.net/amr.108-111.753.

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In this paper, a framework of 3D Real-time Garment Simulation System for character animation is presented .For the problem of computational efficiency and stability for cloth physical modeling, we proposed a cloth mass-spring model based on constraint. Take geometry sphere and cylinder as example to explaining the whole strategy which used to dealing with cloth deformable bodies colliding with environment object. We described the procedure of physically based simulation, and illustrated the result and analysis of the experiment. By using the technique of parameterized human body modelling, virtual try-on was realized with the different shape of virtual character. Finally, integrating the techniques of character animation, physically based cloth simulation and non-precise deformable object collision handling, we create the real-time simulation animation of virtual character.
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12

Li, Leiming, Wenyao Zhu, and Hongwei Hu. "Multivisual Animation Character 3D Model Design Method Based on VR Technology." Complexity 2021 (April 20, 2021): 1–12. http://dx.doi.org/10.1155/2021/9988803.

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For VR systems, one of its core parts is to present people with a real and immersive 3D simulation environment. This paper uses real-time computer graphics technology, three-dimensional modeling technology, and binocular stereo vision technology to study the multivisual animation character objects in virtual reality technology; designs a binocular stereo vision animation system; designs and produces a three-dimensional model; and develops a virtual multivisual animation scene application. The main research content and work performed in the text include the research of the basic graphics rendering pipeline process and the analysis and research of each stage of the rendering pipeline. It mainly analyzes the 3D graphics algorithm used in the three-dimensional geometric transformation of computer graphics and studies the basic texture technology, basic lighting model, and other image output processes used in the fragment processing stage. Combined with the development needs of the subject, the principles of 3D animation rendering production software and 3D graphics modeling are studied, and the solid 3D model displayed in the virtual reality scene is designed and produced. This article also reflects the application of virtual reality in multivisual animation character design from the side, so it has realistic value and application prospects.
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Yu, Yang, Jucheng Yang, Xiaofei Zan, Jiangang Huang, and Xiangbo Zhang. "Research of Simulation in Character Animation Based on Physics Engine." International Journal of Digital Multimedia Broadcasting 2017 (2017): 1–7. http://dx.doi.org/10.1155/2017/4815932.

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Computer 3D character animation essentially is a product, which is combined with computer graphics and robotics, physics, mathematics, and the arts. It is based on computer hardware and graphics algorithms and related sciences rapidly developed new technologies. At present, the mainstream character animation technology is based on the artificial production of key technologies and capture frames based on the motion capture device technology. 3D character animation is widely used not only in the production of film, animation, and other commercial areas but also in virtual reality, computer-aided education, flight simulation, engineering simulation, military simulation, and other fields. In this paper, we try to study physics based character animation to solve these problems such as poor real-time interaction that appears in the character, low utilization rate, and complex production. The paper deeply studied the kinematics, dynamics technology, and production technology based on the motion data. At the same time, it analyzed ODE, PhysX, Bullet, and other variety of mainstream physics engines and studied OBB hierarchy bounding box tree, AABB hierarchical tree, and other collision detection algorithms. Finally, character animation based on ODE is implemented, which is simulation of the motion and collision process of a tricycle.
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Purwaningsih, Dominika Anggraeni. "PUPPET MOVEMENTS IN STRUCTURE-SPECIFIC TRADITIONAL PAPER CUT OUT ANIMATION PRODUCTION." Ultimart: Jurnal Komunikasi Visual 13, no. 2 (December 22, 2020): 61–68. http://dx.doi.org/10.31937/ultimart.v13i2.1821.

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Physical paper puppets are inanimate objects, but when we’re speaking in terms of the production of traditional paper cut out animation, they become the actors and the souls that drive the movie. When shooting and animating traditional paper cut out animation, the puppets are laid flat on a surface so they can only move in limited directions compared to conventional 2D or 3D animation. As we know, each character in animated movie has its own personality and unique to each other. The challenge lays in bringing out the characteristics and personality of the character through the limited medium of paper puppet. In this qualitative research, puppet movements will be applied to quadruped cat characters in a public service announcement titled “Spay & Neuter”. The puppet along with the visual design, segmentations, and joints were done in previous research. Qualitative observations and audio-visual materials are used to collect the data for references. Literature review will study the characteristics of cats, body language, behaviour, and principles of animation especially timing and exaggeration. Observation is conducted by studying the movements of real cats from online videos and direct observations and also studying how other animators animate cat characters in animated films. In the exploration stage, paper puppets will be animated according to the movement design while experimenting with the timing and frame rate of the stop motion to achieve the final results.
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Ismail, Ismahafezi, Mohd Shahrizal Sunar, and Cik Suhaimi Yusof. "Exploring Dynamic Character Motion Techniques for Games Development." International Journal of Virtual Reality 11, no. 1 (January 1, 2012): 51–57. http://dx.doi.org/10.20870/ijvr.2012.11.1.2837.

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3D character development is very important part in the character animation. Currently, animation researchers try to control their virtual character joint and make their character motion more realistic and look like real human movement. Using motion capture technology, input data for character movement can be manipulated. This paper presents a current motion research in the real time animation character and focused in dynamic motion control considering physic for game development. From this paper, the researcher can get better understanding what is the main issues and relevant technique that used by the recent researchers in this area. This review focuses on three main parts in dynamic motion generation with physics consideration and control: skeleton hierarchy and kinematics, motion capture data animation, and active dynamic control.
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Saputra, M. Aris, M. Suyanto, and Sukoco. "MENGENDALIKAN EKSPRESI WAJAH KARAKTER 3D MENGGUNAKAN TEKNIK UV WARP." MULTITEK INDONESIA 11, no. 2 (February 7, 2018): 98. http://dx.doi.org/10.24269/mtkind.v11i2.642.

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AbstractIn the three-dimensional character animation facial expression is very important that the messages displayed by the characters can be easily understood. The process of making facial expressions is known as facial rigging. This study aims to produce six basic facial expressions on the three-dimensional character of Den Basito by utilizing UV warp technique as a facial rigging method. In order to control the expression of a character's face with a UV warp it takes two object bones. Each bones function as an anchors and targets. Then the results of still rendering six kinds of basic facial expressions tested to the owner of the reference model Den Basito and some his closest friends. From the test results obtained the conclusion that the use of UV warp techniques can be used for the control of facial expressions of three-dimensional characters with cartoon style.
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Hornung, Alexander, Ellen Dekkers, and Leif Kobbelt. "Character animation from 2D pictures and 3D motion data." ACM Transactions on Graphics 26, no. 1 (January 2007): 1. http://dx.doi.org/10.1145/1189762.1189763.

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Jang, Seok-Woo, Sun-Hee Weon, and Hyung-Il Choi. "Estimation of 3D Rotation Information of Animation Character Face." Journal of the Korea Society of Computer and Information 16, no. 8 (August 31, 2011): 49–56. http://dx.doi.org/10.9708/jksci.2011.16.8.049.

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Jonison, Muhammad Adha Fajri, and Anggy Trisnadoli. "Implementation of Rotoscoping Technique in the making of the Hang Tuah Ksatria Melayu 3D Animated Film." Jurnal RESTI (Rekayasa Sistem dan Teknologi Informasi) 4, no. 5 (October 30, 2020): 943–50. http://dx.doi.org/10.29207/resti.v4i5.2404.

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The development of information technology in the multimedia field is growing very rapidly today. Multimedia development is often found in making animated films. Animation is an image that moves and is arranged so that it makes inanimate objects appear to be moving. Animation initially has a problem, where it is difficult for an animator to create animation with complex movements to imagine directly and sometimes the results will look stiff. Max Fleischer also saw it as a problem, so he invented rotoscoping. Rotoscoping is a technique for making animation by tracing the movements of an actor. This technique is used to create movements that are complex to imagine directly so that the animation movement is realistic. In implementing rotoscoping techniques in an animated film, a folk tale entitled Hang Tuah Ksatria Melayu was adopted. This folktale will be packaged into a 3D animated film using rotoscoping techniques. With the creation of a 3D animated film, the folklore of Hang Tuah Ksatria Melayu, an animated film was created with realistic character movements and people get moral messages of Hang Tuah Ksatria Melayu.
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Bian, Shaojun, Anzong Zheng, Lin Gao, Greg Maguire, Willem Kokke, Jon Macey, Lihua You, and Jian J. Zhang. "Fully Automatic Facial Deformation Transfer." Symmetry 12, no. 1 (December 21, 2019): 27. http://dx.doi.org/10.3390/sym12010027.

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Facial Animation is a serious and ongoing challenge for the Computer Graphic industry. Because diverse and complex emotions need to be expressed by different facial deformation and animation, copying facial deformations from existing character to another is widely needed in both industry and academia, to reduce time-consuming and repetitive manual work of modeling to create the 3D shape sequences for every new character. But transfer of realistic facial animations between two 3D models is limited and inconvenient for general use. Modern deformation transfer methods require correspondences mapping, in most cases, which are tedious to get. In this paper, we present a fast and automatic approach to transfer the deformations of the facial mesh models by obtaining the 3D point-wise correspondences in the automatic manner. The key idea is that we could estimate the correspondences with different facial meshes using the robust facial landmark detection method by projecting the 3D model to the 2D image. Experiments show that without any manual labelling efforts, our method detects reliable correspondences faster and simpler compared with the state-of-the-art automatic deformation transfer method on the facial models.
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Tandiary, Raynaldo Oscar, and Christine Mersiana Lukmanto. "Designing a Rabbit Character's Motion While Waiting in 3D Animation Short "Yue Bing"." Ultimart: Jurnal Komunikasi Visual 13, no. 2 (December 22, 2020): 69–75. http://dx.doi.org/10.31937/ultimart.v13i2.1813.

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The writing is grounded from the writer’s interest on character animation process in an animation production, which becoming more popular in Indonesia these days. This particular research is all about the process of designing a rabbit character’s motion while waiting in the 3D animation short “Yue Bing”, so the happiness and enthusiasm, also the sadness and desperation felt by the character can be delivered to the audiences. This is done through the use of body language theories, secondary action, and timing animation principles. Throughout the process, research is done by looking at still and moving images on body language, secondary action, and timing as references, that later is translated to the three-dimensional software.
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Zhang, Man Yu. "Application of Performance Motion Capture Technology in Film and Television Performance Animation." Applied Mechanics and Materials 347-350 (August 2013): 2781–84. http://dx.doi.org/10.4028/www.scientific.net/amm.347-350.2781.

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In todays animation films, virtual character animation is a research field developing rapidly in computer graphics, and motion capture is the most significant component, which has brought about revolutionary change for 3D animation production technology. It makes that animation producers are able to drive animation image models directly with the use of actors performance actions and expressions, which has simplified animation manufacturing operation greatly and enhanced quality for animation production.
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Shchehelska, Yu. "ПРОБЛЕМАТИКА ЗАСТОСУВАННЯ ТРИВИМІРНОЇ АНІМАЦІЇ ТА СПЕЦИФІКА ЇЇ СПРИЙНЯТТЯ В ДОДАНІЙ РЕАЛЬНОСТІ: КОМУНІКАЦІЙНИЙ АСПЕКТ." State and Regions. Series: Social Communications, no. 2(42) (March 18, 2020): 132. http://dx.doi.org/10.32840/cpu2219-8741/2020.2(42).20.

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<p><em>This study elucidates the main communication issues that arise from audiences’ interaction with three-dimensional animation of different types in augmented reality, as well as identifies the major 3D animations’ varieties used by brands to create AR and MR promotional campaigns. </em></p><p><em>The results of the study are based, in particular, on the analysis of AR cases of 27 commercial and social brands that used 3D animation for promotional purposes in 2010–2019.</em></p><p><em>It is ascertained that in the promotional practice there is used 3D predefined animation of a cartoon type, as well as 3D predefined and procedural non-homomorphic photorealistic animation. At the same time, three-dimensional procedural animation of cartoon type, as well as photorealistic animation of people (either predefined or procedural), was not used by any of the studied brands for the purpose of promotion.</em></p><p><em>The research revealed that in the field of promotion three-dimensional photorealistic animation of people, primarily of procedural type, is not used because it creates the majority of communication problems in the interaction of the audience with it. Real people’s displeasure with the animated ones arises, first of all, because of the “uncanny valley effect”, which is caused, in particular, by the technical difficulties with 3D rendering of human emotions and body language in real-time (including proxemics in a virtual environment); visual tracking of human movements by animated character; the naturalness and synchronicity of the language (above all, the content of the cues) and the sound of the voice of three-dimensional persons (its timbre, rhythmics, emotionality).</em></p><p><em>In general, today from a technical point of view photorealistic non-homomorphic animation is the most advanced 3D animation type, which explains the popularity of its use in the practice of promotional communications. Its predefined variety is most commonly used by automotive brands to create AR-campaigns, whereas procedural one is used in creating MR-campaigns, mainly for cosmetic and interior brands.</em></p><p><em>The predefined 3D animation of cartoon type was used to promote those commercial brands, which final consumers were, above all, children. However, some companies have used this kind of animation to create AR-based adult promotional events held in conjunction with the holiday and symbolic dates. The popularity of the use of 3D animation of cartoon type in the field of promotion is explained, first of all, by the fact that people at a subconscious level have a positive attitude towards cartoon characters as such.</em></p><strong><em>Key words:</em></strong><em> augmented reality (AR), mixed reality (MR), 3D animation, promotional communications.</em>
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Hu, Guo Feng, and Chung Gun Jang. "Research on Characteristic Color Usage for 3D Animation Image Character." Korea Institute of Design Research Society 5, no. 3 (September 30, 2020): 22–34. http://dx.doi.org/10.46248/kidrs.2020.3.22.

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25

Murdoch, Steven. "Agent-oriented modelling in the production of 3D character animation." Studies in Australasian Cinema 10, no. 1 (January 2, 2016): 35–52. http://dx.doi.org/10.1080/17503175.2015.1133486.

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Tai, Peng-yi. "The Animator as Inventor: Labour and the New Animated Machine Comedy of the 2010s." Animation 13, no. 3 (November 2018): 238–51. http://dx.doi.org/10.1177/1746847718805163.

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Around 2010, the inventor character started to populate animated blockbusters. Computer 3D animated films and their sequels such as Robots (Chris Wedge and Carlos Saldanha, 2005), Cloudy with a Chance of Meatballs (Phil Lord and Christopher Miller, 2009), Despicable Me (Pierre Coffin and Chris Renaud, 2010) and Big Hero 6 (Don Hall and Chris Williams, 2014) all feature inventors and their extravagant machines. In this article, the author explores the inventive artisan character as a self-reflexive trope of the animator. She expands Crafton’s thesis of the animator’s self-figuration and Tom Gunning’s work on machine comedy and operational aesthetics to further discussions on the animator and thereby the labour of animation. The article seeks to reveal the political agenda in the new animated machine comedy of the 2010s, which not only reflects the modes of production of contemporary animation studios, but also the larger concerns in the post-Fordist mode of production.
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Prayoonrat, Chinnawat. "Raising Energy Awareness through 3D Computer Animation." Applied Mechanics and Materials 752-753 (April 2015): 1116–20. http://dx.doi.org/10.4028/www.scientific.net/amm.752-753.1116.

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In the current situation, the number of energy sources in the world become less because of inefficient usage and the lack of realization on energy saving. Consequences from overusing energy include global warming problems. To encourage and promote efficient use of energy and energy reduction, this research was to improve energy awareness through 3D computer animation. The animation was created in the form of video animation format and has production process as follows: 1) Pre-production: problem defines, story board, turntable animation and backdrop design 2) Production: 3D model character, shading and texturing, lighting and shadowing, rendering and compositing and 3) Post-production: combining the story, inserting voice record and sound. A statistical examination, the research validation was evaluated by 5 experts and resulted in good level (= 4.11, S.D. = 0.64). When testing understanding and perspective on animation media with the sample group of 50 students from Sripatum University Chonburi Campus, the result of the survey that conducted before presenting the campaign (pre-test) was in moderate level (= 3.32, S.D. = 0.56) while the result that conducted after presenting the campaign (post-test) was in very good level (= 4.67, S.D. = 0.48). Therefore, the 3D computer animation could help samples understand more about importance of energy reduction.
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Salim Rasheed, Ali, Rasool Hasan Finjan, Ahmed Abdulsahib Hashim, and Mustafa Murtdha Al-Saeedi. "3D face creation via 2D images within blender virtual environment." Indonesian Journal of Electrical Engineering and Computer Science 21, no. 1 (January 1, 2021): 457. http://dx.doi.org/10.11591/ijeecs.v21.i1.pp457-464.

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<p><span>Animation and virtual reality movie-making technologies are still witnessing significant progress to this day. Building and stimulating virtual characters inside these applications is a goal. Build a 3D face via using some special tools inside the virtual world is the most important part of identifying a 3D animation. Keen Tools Face Builder add-on for Blender. Interested in creating a 3D face of a famous figure, artist or the general public by adopting several 2D images added to the virtual blinder software environment. The main problem facing these tools is that they deal with high-resolution and sharpness pictures because some images that contain blurring, the result is to build a 3D face model that contains design distortions and non- clearly. in this proposed paper, build a data set for 2D pictures of a specific character (actor), at a resolution of 1920 x 1080 pixels. These images were caught by the camera, different in sharpness and blurring (four types of blurry). Using the “Laplacian Filter algorithm” and OpenCV library with Python language, to isolate blurry from sharpness 2D images. Sharpness images used to build a 3D face model that gave real and similar results to the character in the pictures. </span></p>
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Ryu, Seuc-Ho, Yong-Hyun Park, Byung-Pyo Kyung, Dong-Lyeor Lee, and Wan-Bok Lee. "3D Game Character Animation Pipe-line to Improve Utilization of Motion Capture." Journal of the Korea Contents Association 8, no. 7 (July 28, 2008): 120–27. http://dx.doi.org/10.5392/jkca.2008.8.7.120.

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Joo, Heon Sik. "Production of 3D Character Video Contents Using IK Rigging Animation Technique." KOREA SCIENCE & ART FORUM 14 (December 31, 2013): 471. http://dx.doi.org/10.17548/ksaf.2013.12.14.471.

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KANAKUBO, Tetsuya, and Atsushi MIYAZAWA. "Latest Technologies and Trends of 3D Character Animation in Computer Games." Journal of The Institute of Electrical Engineers of Japan 129, no. 9 (2009): 616–19. http://dx.doi.org/10.1541/ieejjournal.129.616.

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Yun, Hwang-Rok, Seuc-Ho Ryu, and Dong-Lyeor Lee. "Digital Motion Capture for Types and Shapes of 3D Character Animation." Journal of the Korea Contents Association 7, no. 8 (August 28, 2007): 102–8. http://dx.doi.org/10.5392/jkca.2007.7.8.102.

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Kim, Joo-Chan, and Hae-Jung Suk. "Suggestion of Emotional Expression with Human Character in 3D Animation using Layering Method." Journal of the Korea Contents Association 15, no. 5 (May 28, 2015): 1–17. http://dx.doi.org/10.5392/jkca.2015.15.05.001.

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Chae, Eel-Jin. "'Master Character Set-up' for Effective Management of 3D Animation Pipe Line." Journal of the Korea Contents Association 7, no. 4 (April 28, 2007): 133–40. http://dx.doi.org/10.5392/jkca.2007.7.4.133.

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Aditya, Christian. "Designing The World Of 3D CG Animation “BALLOON” Through Low Poly Visual Style." ULTIMART Jurnal Komunikasi Visual 9, no. 1 (March 21, 2018): 41–49. http://dx.doi.org/10.31937/ultimart.v9i1.739.

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This research focus on the process of creating the world of “Balloon” through low poly visual style in 3D CG animation using an alternative non-photorealistic rendering method that is both efficient and visually astonishing. Low poly are chosen as a visual style because it represent the spirit of courage to explore the world outside the film’s story. By using low poly visual style in most of the environment, it creates a unique contrast between the environment and the character. The character is made using a traditional high poly modeling for 3D character. Through variety of experiments with various pipeline, the chosen method is considered the best to accommodate the filmmaker needs in both production time and the visual result. In order to determine the best technique, the research is conducted by testing the render results of some environment scenes within the film. The writer also experimented using procedural materials in the design of the world to help speed up rendering of the compositing process, in order to achieve good visual quality in a shorter production time. Keywords : low poly, non-photorealistic rendering, 3D CG animation
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Pratama, Riens, and Riana Defi Mahadji Putri. "Penerapan Animasi 3D pada Media Pembelajaran Mengenal Huruf Vocal untuk Anak 2-4 Tahun." Jurnal Teknologi Informasi dan Ilmu Komputer 7, no. 6 (December 2, 2020): 1099. http://dx.doi.org/10.25126/jtiik.2020762175.

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<p class="Abstrak"><span lang="IN">Pengenalan huruf vokal bagi anak usia dini harus diperkenalkan sejak dini karena huruf vokal berfungsi untuk merangkai huruf dari kumpulan konsonan yang dijadikan suatu perkataan. Komputer grafis telah berdampak signifikan pada banyak bidang salah satunya animasi komputer. Animasi komputer dapat diimplemantasikan bagi anak untuk belajar karena dalam masa perkembangannya anak memiliki kecenderungan meniru dan mengamati sehingga memudahkan anak dalam menerima materi. Penelitian ini bertujuan untuk merancang dan mengetahui kelayakan animasi 3D pada media pembelajaran mengenal huruf vokal. Metode penelitian menggunakan model pengembangan waterfall meliputi tahapan pra produksi, produksi dan pasca produksi. Tahap pra produksi, (a) penentuan ide dan cerita; (b) desain karakter; (c) <em>storyboard</em>; (d) perekaman suara. Tahap produksi, (a) <em>modeling</em>; (b) <em>texturing</em>; (c) <em>rigging</em>; (d) <em>animating</em>; (e) <em>lighting</em>; (f) <em>camera operation</em>; (g) <em>rendering</em>. Tahap pasca produksi, (a) <em>final editing</em>; (b) hasil <em>video</em> animasi. Media animasi 3D mengenal huruf vokal dikategorikan layak setelah dilakukan validasi oleh 4 ahli media. Hal ini dibuktikan dalam pengujian pertama media didapatkan hasil rata-rata 81% yang berada pada kategori layak dengan catatan revisi sesuai saran. Pengujian kedua setelah media direvisi didapatkan hasil rata-rata 86,5% yang berada pada kategori sangat layak.</span></p><p class="Abstrak" align="center"><span lang="IN"> </span></p><p class="Abstrak"><em><strong>Abstract</strong></em></p><p class="Abstrak"><em><em>The recognition of vowels for early childhood needs to be introduced early because the vowels function to string the letters of the consonant groups that are used as words. Based on the observation in KB Syiarul IslamTegal that the learning media know the vowels still use a simple props that is a vocal board attached to the class wall. This makes the child easily saturated and uninterested. In addition there is no media learning in the form of 3D animation. Anticipating these constraints, new learning media is needed using 3D animation. 3D animation can be implanted for the child to learn because in its development period the child has a tendency to emulate and observe so as to facilitate the child in receiving material. In general, this research aims to design and know the feasibility of visual elements (images, writings) and 3D animations on the media learning to know the vocal letters. The research method uses waterfall development model according to M. Suyanto (2006) which includes pre production stage, production and post production. Pre-production stage, (a) determination of ideas and stories; (b) Character design; (c) Storyboard; (d) Voice recording. Production stage, (a) modeling; (b) texturing; (c) Rigging; (d) Animating; (e) Lighting; (f) Camera operation; (g) Rendering. Post-production stage, (a) final editing; (b) The result of animated video. 3D animation Media know the vowels categorized worthy with the assessment of some aspects such as the aspect of image quality, sound quality, media content, objects and characters, background, animation techniques, storyline, and the impression of the video done validation by 4 Media experts. This is evidenced in the first test of the media obtained an average result of 81% which is in decent category with revision notes as per suggestion. The second Test after the revised media obtained an average yield of 86.5% which is in very decent category</em></em></p>
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Lim, Sooyeon. "Linear Interpolation Transition of Character Animation for Immediate 3D Response to User Motion." International Journal of Contents 11, no. 1 (March 28, 2015): 15–20. http://dx.doi.org/10.5392/ijoc.2015.11.1.015.

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Kim, Hye-jeong. "A Study on the Character Content Type by Making 3D Animation for Mobile." Journal of Communication Design 66 (January 31, 2019): 223–32. http://dx.doi.org/10.25111/jcd.2019.66.17.

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Yao-Yang Tsai, Wen-Chieh Lin, K. B. Cheng, Jehee Lee, and Tong-Yee Lee. "Real-Time Physics-Based 3D Biped Character Animation Using an Inverted Pendulum Model." IEEE Transactions on Visualization and Computer Graphics 16, no. 2 (March 2010): 325–37. http://dx.doi.org/10.1109/tvcg.2009.76.

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Park, Sunghwan, Haerang Chang, Jongsu Lee, Manseok Pyo, Soonchul Kwon, and Seunghyun Lee. "A Study of Character Animation Production using 3D Scanner and Application in Broadcasting." Asia-pacific Journal of Multimedia Services Convergent with Art, Humanities, and Sociology 5, no. 3 (June 30, 2015): 65–74. http://dx.doi.org/10.14257/ajmahs.2015.06.14.

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Gunanto, Samuel Gandang. "Evaluasi Sintesis Ekspresi Wajah Realistik pada Sistem Animasi Wajah 3D dengan Teknologi Motion Capture." REKAM: Jurnal Fotografi, Televisi, dan Animasi 14, no. 2 (December 10, 2018): 87–96. http://dx.doi.org/10.24821/rekam.v14i2.1747.

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The human face has a unique shape and size, as well as a 3D character face model. The facial animation of 3D virtual characters is mostly done manually by moving the rigging in each frame. The more characters used, the more production costs that must be incurred. The absence of a cheap facial motion transfers system is also one of the reasons why not many studios are using motion capture technology in Indonesia.This research will evaluate the implementation of a facial expression synthetically using motion capture technology built from radial basis function (RBF) as a method of marker transfer as a reference for rigging movement in point cluster system. Testing is done by approaching facial expressions according to FACS theory and questionnaire of synthesis results.The experimental results show that according to FACS theory the requirement of expression formation has been fulfilled by referring to changes in facial features, but the implementation is not always able to describe perfectly the desired condition, namely the average percentage of faces easily recognizable by 35.53%. Therefore, the influence of animators in the control of micro expression improvements or the addition of exaggeration principle elements in the manufacture of facial animation is very important to produce facial expressions that are easily recognized by the audience.
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Troy, Troy, and Pranowo Pranowo. "Transformasi Ruang 2D Ke 3D Pada Animasi Wajah Berbasis Data Marker Menggunakan Radial Basis Function." Journal of Animation & Games Studies 2, no. 2 (December 18, 2016): 229. http://dx.doi.org/10.24821/jags.v2i2.1422.

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Computer facial animation aims to create an animated character expression as natural as possible as well as human facial expressions. Using the data marker catches facial motion capture, will be determined the location of the feature points of 3D face models to follow the motion of the marker points of human faces.To overcome the morphological differences between the face of the source with the character's face, then applied with radial basis retargeting process mapping so that the character's face can still display the natural expression. Using the data marker 2D, Radial Basis Function (RBF) space transformation was applied to determine the position of the feature points on the 3D face models.RBF space transformation has good ability in determining the appropriate facial motion marker points on a human face to the character's face. Motion that occurs in 3D face models is scaled according to the relative scale between the source and the target. Keywords: facial animation, radial basis function, marker data. AbstrakTeknik komputasi yang dikembangkan pada animasi wajah bertujuan untuk menciptakan ekspresi pada wajah karakter animasi senatural mungkin seperti layaknya ekspresi pada wajah manusia. Menggunakan data marker pada citra 2D wajah manusia, komputer menangkap pergerakan marker tersebut kemudian menetukan lokasi titik fitur yang pada wajah model 3D (karakter animasi).Untuk mengatasi perbedaan morfologi pada wajah manusia yang menjadi sumber acuan ekspresi dengan wajah model 3D yang menjadi target animasi, maka diterapkan transformasi ruang Radial Basis Function (RBF). RBF digunakan untuk menentukan posisi titik fitur pada wajah model 3D berdasarkan posisi titik marker pada citra 2D wajah manusia.Transformasi ruang RBF memiliki kemampuan yang baik dalam pemetaan ulang titik marker dari wajah manusia ke titik fitur pada wajah karakter animasi. Pergerakan yang terjadi pada wajah model 3D berdasar pada skala relatif antara titik marker pada citra 2D wajah manusia dengan titik fitur pada wajah model 3D.Kata kunci: animasi wajah, radial basis function, data marker.
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43

Parkhomenko, Yana A., and Anatoly Yu Lugovtsev. "The Role of Object Design in the Creation of Ani­mation Imagery. Art Analysis Experience." Observatory of Culture 16, no. 4 (September 13, 2019): 374–85. http://dx.doi.org/10.25281/2072-3156-2019-16-4-374-385.

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The article’s problematics relate to the field of theoretical understanding of the emergent deve­lopment of 3D animation in modern culture, its technological, artistic, commercial features. The article focuses on specific features of character design and the influence of the character’s audiovisual image on the aesthetic imagery of the screen work. The study aims to distinguish the concepts of “character type”, “visual imagery”, “audiovi­sual imagery”, “artistic ima­gery” and to substantiate the semantic relationships between them. The authors uphold the belonging of character design to the field of object design, identify the main phases of desig­ning the audiovisual imagery of the character object, and determine its structural role in transmedia projects. In the process of consi­deration of these aspects, the article involves materials from interviews and speeches by artists Alexander Petrov, Mikhail Tumelya, and Maxim Kostenko.Via the deductive method, the article highlights the components of the screen artistic imagery in terms of subject-spatial content. In the context of solving certain problems, a comparative analysis of character ensembles in various techniques is carried out using examples of national and foreign animation. This analysis reveals the main trends in the development of artistic space of the screen work. The article also covers commercial, technological and aesthetic aspects of character development in modern 3D animation.The conclusions of this study provide the conso­lidation of the term “object design” in the art field and can be further used both in analytical work and in the educational process in the areas of history and theory of art, media and multimedia directing theory and practice.
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Lin, Gwo-Long, and Peng-Hsin Chen. "Dissemination of Biomedical Cell Sheets using Reality Technology and Digital Tools." Journal of Humanities and Social Sciences Studies 3, no. 4 (April 25, 2021): 46–53. http://dx.doi.org/10.32996/jhsss.2021.3.4.5.

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Nowadays, with the advance of biomedical and pharmaceutical technology, new treatments such as cell therapy, cell sheets, etc. all provide patients other alternatives. However, the public has little knowledge in these new technologies and they also find them difficult to understand. Hence, this paper is aimed at providing the public with state-of-the-art technological knowledge and constructing an innovative field full of diversity, entertainment, and educational meaning with the assistance of Augmented Reality (AR) and Virtual Reality (VR). Taking the cell sheets technology, a kind of cell therapy recently approved in Taiwan, as an example, we built an AR platform, and demonstrated a trailer animation, 2D animation and 3D model animation via Merge Cube. The trailer animation will portrait how the main character helps her friend, who became physically challenged in an accident, stand up again by asking a genius doctor to perform cell sheet technology. The 2D animation will be used to explain how cell sheet works and its application, while the 3D animation helps demonstrate the DNA reproduction and cell division in cell therapy. A VR field will also be set up so that players can play as the genius doctor, fight their way through the VR games, and learn more about cell sheet technology. To let the public learn more about this biotechnology knowledge, we held an exhibition to display the research results, providing them a whole new learning experience.
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45

Basori, Ahmad Hoirul, and Hani Moaiteq Abdullah AlJahdali. "Performance Driven-biped Control for Animated Human Model with Motion Synthesis Data." Journal of Information Systems Engineering and Business Intelligence 4, no. 2 (October 28, 2018): 162. http://dx.doi.org/10.20473/jisebi.4.2.162-168.

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Games and 3D movies are mostly supported by realistic character animation performance. The behaviour of the humanoid character it is depend on the motion data itself. Therefore the complexity of character movement will determine the realism of their behaviour. Generally, Motion Capture device will provide the raw data that previously recorded from human/actor movement. However there are some problems remains challenges such as controller, physic effect, or motion combination. Our proposed approach will read the data from motion capture device then transformed into realistic behaviour in virtual environment. However, there are few difficulties on realizing this idea, such as user objective and the appropriate behaviour of virtual human. Therefore, we solve this issue by providing the biped control to overcome the complexity of motion synthesis data when it will be applied into character animation. The controller is capable to perform motion blending with inverse and forward kinematics, as a result it able to generate the realistic behaviour along with user intention. There is three main behaviour walking, steady and jogging that has value 0-100. As a result of experiment, the biped interface control is able to read data from motion capture then load and control the virtual human by manipulating the joint forces power in every movement of the characters. As future works, the external physical forces can be added as additional forces in humanoid model to provide certain effect such as: falling down, jumping or kicking and punching to generate realistic motion synthesis.
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Hülsken, Frank, Christian Eckes, Roland Kuck, Jörg Unterberg, and Sophie J�rg. "Modeling and Animating Virtual Humans for Real-Time Applications." International Journal of Virtual Reality 6, no. 4 (January 1, 2007): 11–20. http://dx.doi.org/10.20870/ijvr.2007.6.4.2704.

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We report on the workflow for the creation of realistic virtual anthropomorphic characters. 3D-models of human heads have been reconstructed from real people by following a structured light approach to 3D-reconstruction. We describe how these high-resolution models have been simplified and articulated with blend shape and mesh skinning techniques to ensure real-time animation. The full-body models have been created manually based on photographs. We present a system for capturing whole body motions, including the fingers, based on an optical motion capture system with 6 DOF rigid bodies and cybergloves. The motion capture data was processed in one system, mapped to a virtual character and visualized in real-time. We developed tools and methods for quick post processing. To demonstrate the viability of our system, we captured a library consisting of more than 90 gestures.
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Kang, Yun-Geuk. "Study on the Character Geometry Naming Convention of CGI Pipeline for VFX, 3D Animation Industry." Korean Journal of animation 14, no. 1 (March 31, 2018): 7–31. http://dx.doi.org/10.51467/asko.2018.03.14.1.7.

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48

Nowak, Marta, and Robert Sitnik. "High-Detail Animation of Human Body Shape and Pose From High-Resolution 4D Scans Using Iterative Closest Point and Shape Maps." Applied Sciences 10, no. 21 (October 26, 2020): 7535. http://dx.doi.org/10.3390/app10217535.

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In this article, we present a method of analysis for 3D scanning sequences of human bodies in motion that allows us to obtain a computer animation of a virtual character containing both skeleton motion and high-detail deformations of the body surface geometry, resulting from muscle activity, the dynamics of the motion, and tissue inertia. The developed algorithm operates on a sequence of 3D scans with high spatial and temporal resolution. The presented method can be applied to scans in the form of both triangle meshes and 3D point clouds. One of the contributions of this work is the use of the Iterative Closest Point algorithm with motion constraints for pose tracking, which has been problematic so far. We also introduce shape maps as a tool to represent local body segment deformations. An important feature of our method is the possibility to change the topology and resolution of the output mesh and the topology of the animation skeleton in individual sequences, without requiring time-consuming retraining of the model. Compared to the state-of-the-art Skinned Multi-Person Linear (SMPL) method, the proposed algorithm yields almost twofold better accuracy in shape mapping.
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Li, Wanyi, Yuqi Zeng, Qian Zhang, Yilin Wu, and Guoming Chen. "Human Motion Capture Based on Incremental Dimension Reduction and Projection Position Optimization." Wireless Communications and Mobile Computing 2021 (April 28, 2021): 1–9. http://dx.doi.org/10.1155/2021/5589100.

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Three-dimensional (3D) human motion capture is a hot researching topic at present. The network becomes advanced nowadays, the appearance of 3D human motion is indispensable in the multimedia works, such as image, video, and game. 3D human motion plays an important role in the publication and expression of all kinds of medium. How to capture the 3D human motion is the key technology of multimedia product. Therefore, a new algorithm called incremental dimension reduction and projection position optimization (IDRPPO) is proposed in this paper. This algorithm can help to learn sparse 3D human motion samples and generate the new ones. Thus, it can provide the technique for making 3D character animation. By taking advantage of the Gaussian incremental dimension reduction model (GIDRM) and projection position optimization, the proposed algorithm can learn the existing samples and establish the relevant mapping between the low dimensional (LD) data and the high dimensional (HD) data. Finally, the missing frames of input 3D human motion and the other type of 3D human motion can be generated by the IDRPPO.
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Fu, Qiang, Xingui Zhang, Jinxiu Xu, and Haimin Zhang. "Capture of 3D Human Motion Pose in Virtual Reality Based on Video Recognition." Complexity 2020 (November 20, 2020): 1–17. http://dx.doi.org/10.1155/2020/8857748.

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Motion pose capture technology can effectively solve the problem of difficulty in defining character motion in the process of 3D animation production and greatly reduce the workload of character motion control, thereby improving the efficiency of animation development and the fidelity of character motion. Motion gesture capture technology is widely used in virtual reality systems, virtual training grounds, and real-time tracking of the motion trajectories of general objects. This paper proposes an attitude estimation algorithm adapted to be embedded. The previous centralized Kalman filter is divided into two-step Kalman filtering. According to the different characteristics of the sensors, they are processed separately to isolate the cross-influence between sensors. An adaptive adjustment method based on fuzzy logic is proposed. The acceleration, angular velocity, and geomagnetic field strength of the environment are used as the input of fuzzy logic to judge the motion state of the carrier and then adjust the covariance matrix of the filter. The adaptive adjustment of the sensor is converted to the recognition of the motion state. For the study of human motion posture capture, this paper designs a verification experiment based on the existing robotic arm in the laboratory. The experiment shows that the studied motion posture capture method has better performance. The human body motion gesture is designed for capturing experiments, and the capture results show that the obtained pose angle information can better restore the human body motion. A visual model of human motion posture capture was established, and after comparing and analyzing with the real situation, it was found that the simulation approach reproduced the motion process of human motion well. For the research of human motion recognition, this paper designs a two-classification model and human daily behaviors for experiments. Experiments show that the accuracy of the two-category human motion gesture capture and recognition has achieved good results. The experimental effect of SVC on the recognition of two classifications is excellent. In the case of using all optimization algorithms, the accuracy rate is higher than 90%, and the final recognition accuracy rate is also higher than 90%. In terms of recognition time, the time required for human motion gesture capture and recognition is less than 2 s.
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