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1
Torabi, Peyman. "Skeletal Animation Optimization Using Mesh Shaders." Thesis, Blekinge Tekniska Högskola, Institutionen för kreativa teknologier, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-18248.
Повний текст джерелаАнотація:
Background. In this thesis a novel method of skinning a mesh utilizing Nvidia’sTuring Mesh Shader pipeline is presented. Skinning a mesh is often performed with a Vertex Shader or a Compute Shader. By leveraging the strengths of the new pipeline it may be possible to further optimize the skinning process and increase performance, especially for more complex meshes. Objectives. The aim is to determine if the novel method is a suitable replacement for existing skinning implementations. The key metrics being studied is the total GPU frame time of the novel implementation in relation to the rest, and its total memory usage. Methods. Beyond the pre-existing implementations such as Vertex Shader skinning and Compute Shader skinning, two new methods using Mesh Shaders are implemented. The first implementation being a naive method that simply divides the mesh into meshlets and skins each meshlet in isolation. The proposed novel common influences method instead takes the skinning data, such as the joint influences of each vertex, into account when generating meshlets. The intention is to produce meshlets where all vertices are influenced by the same joints, allowing for information to be moved from a per vertex basis to a per meshlet basis. Allowing for fewer fetches to occur in the shader at run-time and potentially better performance. Results. The results indicate that utilizing Mesh Shaders results in approximately identical performance compared to Vertex Shader skinning, (which was observed to be the fastest of the previous implementations) with the novel implementation being marginally slower due to the increased number of meshlets generated. Mesh Shading has the potential to be faster if optimizations unique to the new shaders are employed. Despite producing more meshlets, the novel implementation is not significantly slower and is faster at processing individual meshlets compared to the naive approach. The novel Common Influences implementation spends between 15-22% less time processing each meshlet at run-time compared to the naive solution. Conclusions. Ultimately the unique capabilities of Mesh Shaders allow for potential performance increases to be had. The proposed novel Common Influences method shows promise due to it being faster on a per meshlet basis, but more work must be done in order to reduce the number of meshlets generated. The Mesh Shading pipeline is as of writing very new and there is a lot of potential for future work to further enhance and optimize the work presented in this thesis. More work must be done in order to make the meshlet generation more efficient so that the run-time workload is reduced as much as possible.Bakgrund. I denna avhandling presenteras en ny metod för att deformera en modell med hjälp av den nya Mesh Shader funktionaliteten som är tillgänglig i Nvidias nya Turing arkitektur. Deformering av modeller utförs just nu oftast med så kallade Vertex eller Compute Shaders. Genom att nyttja styrkan hos den nya arkitekturen så kan det vara möjligt att ytterligare optimera deformeringsprocessen och på så sätt öka prestandan. Speciellt i samband där mer komplexa modeller används. Syfte. Syftet är att avgöra om den nya metoden är en lämplig ersättning av de nuvarande implementationerna. De viktigaste aspekterna som studeras är den totala GPU-exekveringstiden per bild som renderas av den nya metoden i förhållande till resterande, samt dess totala minnesanvändning. Metod. Utöver de befintliga implementeringarna, såsom Vertex Shader deformering och Compute Shader deformering, implementeras två nya metoder som använder Mesh Shaders. Den första implementeringen är en naiv metod som helt enkelt delar modellen i mindre delar, så kallade meshlets och deformerar varje meshlet i isolering. Den föreslagna nya common influences metoden tar i stället hänsyn till deformeringsdatan som tillhör modellen, såsom de gemensamma inverkningarna av varje vertex, vid generering av meshlets. Avsikten är att producera meshlets där alla vertriser påverkas av samma leder i modellens skelett, vilket gör det möjligt att flytta informationen från en per vertris basis till en per meshlet basis. Detta tillåter att färre hämtningar sker på grafikkortet vid körning och vilket kan potentiellt ge bättre prestanda. Resultat. Resultaten indikerar att utnyttjandet av Mesh Shaders resulterar i ungefär samma prestanda jämfört med Vertex Shader deformering, (som observerades vara den snabbaste av de existerande implementationerna) samt att den orginella implementationen är marginellt långsammare på grund av ett högre antal meshlets genereras. Mesh Shading har potential till att bli snabbare om optimeringar somär unika till den nya arkitekturen används. Trots att man producerar fler meshlets,är den nya metoden inte markant långsammare och är snabbare med att bearbeta meshlets individuellt jämfört med den naiva implementationen. Den orginella implementationen spenderar mellan 15-22% mindre tid per meshlet vid körtid jämfört med den naiva lösningen. Slutsatser. I slutändan så erbjuder Mesh Shaders unika nya möjligheter till optimeringar som kan leda till potentiellt bättre prestanda. Den föreslagna nya Common Influences-metoden är lovande på grund av att den är snabbare per meshlet, men mer arbete måste utföras för att minska antalet genererade meshlets. Mash Shaders och Turing arkitekturen är vid skrivande stund fortfarande väldigt nya och det finns mycket potential för framtida arbeten att yterrligare förbättra och optimera det arbete som presenteras i denna avhandling. Mer arbete måste utföras för att göra meshletgenereringen effektivare så att arbetet som måste utföras under körtid minskas så mycket som möjligt.
2
Balzaris, Tomas. "Kadrinės ir skeletinės animacijos metodų palyginimas ir jų taikymas praktikoje." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2006. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2006~D_20060606_232857-71695.
Повний текст джерелаАнотація:
Modern technology and computer science is spreading and developing very fast. The use and facilities evolve too. One of the fields where computer science is widely used – computer games. Computer animation makes games more interactive and attractive to the user. The purpose of this project was to review and analyze the animation techniques used in modern games development. Review file formats witch are used in computer games to store game objects and animation data. Try to point out the strengths and weaknesses of animation techniques. Main attention was committed to skeletal and key frame animation. Implement skeletal and key frame animation techniques.
3
Smith, Jason Alan. "Naturalistic skeletal gesture movement and rendered gesture decoding." Diss., Online access via UMI:, 2006.
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4
Telford, William Lawrence Jr. "Rigging skeletal perissodactyl and artiodactyl ungulate limbs using analytic inverse kinematic-based solutions for a feature film production environment." Texas A&M University, 2006. http://hdl.handle.net/1969.1/4943.
Повний текст джерелаАнотація:
The goal of this thesis is to develop and construct a repeatable, scalable, and portable
rigging solution for the skeletal limbs of ungulates, maximizing functionality while
streamlining intuitive interface controls for a feature film production pipeline. The
research presents a methodology for breaking down character reference materials
commonly available to feature film productions like artwork, anatomical drawings,
photographs, and client provided performance criteria. It then presents a modular
methodology and approach for successfully evaluating and applying the character
reference to the construction of skeletal limbs using ungulates as the primary example.
Each limb is broken down into modules that more easily translate into the digital world.
The methodology then further defines how to combine and apply digital rigging tools
such as constraints and inverse and forward kinematic techniques in a layered and
modular way in order to achieve a robust character rig. The resulting ungulate limb rig
provides an efficient, intuitive, and robust solution capable of replicating the given
performance criteria as well as an example of a scalable approach applicable to non-ungulates. In application of the repeatable modular approach presented, huge efficiency
gains have been realized in feature film production pipelines. Animation studios are
under increasing pressure to create larger quantities of work, at higher quality, with
shorter timetables, and smaller relative budgets. This methodology successfully meets
those criteria.
5
Hjelm, John. "Facial Rigging and Animation in 3D : From a videogame perspective." Thesis, Högskolan på Gotland, Institutionen för speldesign, teknik och lärande, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:hgo:diva-679.
Повний текст джерелаАнотація:
What are some of the methods for rigging and animating a face in 3D and which method is preferable when and under which circumstances? In this report I will examine a few of the different methods available when rigging and animating a face in 3D. I will be working mainly with Autodesk 3D Studio Max so some knowledge with it is preferable to fully understand the process. At the end of the report I will look at the positive as well as negative aspects of each method as well as which method is preferable in what kind of production or with which assets.
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Haley, Brent Kreh. "A Pipeline for the Creation, Compression, and Display of Streamable 3D Motion Capture Based Skeletal Animation Data." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1300989069.
Повний текст джерела
7
Olexa, Jan. "Grafické intro 64kB s použitím OpenGL." Master's thesis, Vysoké učení technické v Brně. Fakulta informačních technologií, 2019. http://www.nusl.cz/ntk/nusl-399181.
Повний текст джерела
8
Mohelník, Petr. "Procedurální animace lidské chůze." Master's thesis, Vysoké učení technické v Brně. Fakulta informačních technologií, 2016. http://www.nusl.cz/ntk/nusl-255439.
Повний текст джерелаАнотація:
Animation of human walk is employed in many interactive applications, mostly in computer games. There are many ways to create such animation which differ in compromise among naturalness, control over animation and computing time. This work implements procedural animation which is applicable for walking on uneven terrain. Skeletal animation is used for manipulation with model of human body. Furthermore, inverse kinematics is described and implemented. That allows for adaptation to uneven terrain. It also describes phases of human walk, so we can accurately aproximate them. Proposed solution enables specification of walk using number of parameters and is able to adapt to surrounding terrain. The result should be usable in creation of computer games and should allow for creation of specific animation of human walk without need to create such animation manually.
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Minařík, Antonín. "Kosterní animace pro GPUengine." Master's thesis, Vysoké učení technické v Brně. Fakulta informačních technologií, 2019. http://www.nusl.cz/ntk/nusl-403812.
Повний текст джерелаАнотація:
This paper deals with studying skeletal animation techniques, and the subsequent design and implementation of skeletal animation extension for the GPUEngine library. The theoretical part describes the techniques of animation, skeletal animation and skinning. The following is an analysis of existing skeletal animation systems. The proposed solution seeks to reduce the data redundancy in the memory while rendering more skeletal models. According to the design a basic skeletal animation system has been implemented. Furthermore, a demonstration application has been created showing the skeletal system's use. The resulting skeletal system can be used in simple 3D applications and can serve as a basis for further works.
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Andblom, Robin, and Carl Sjöberg. "A Comparison of Parallel Design Patterns for Game Development." Thesis, Malmö universitet, Fakulteten för teknik och samhälle (TS), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-20691.
Повний текст джерелаАнотація:
-----As processor performance capabilities can only be increased through the useof a multicore architecture, software needs to be developed to utilize the parallelismoffered by the additional cores. Especially game developers need toseize this opportunity to save cycles and decrease the general rendering time.One of the existing advances towards this potential has been the creation ofmultithreaded game engines that take advantage of the additional processingunits. In such engines, different branches of the game loop are parallelized.However, the specifics of the parallel design patterns used are not outlined.Neither are any ideas of how to combine these patterns proposed. Thesemissing factors are addressed in this article, to provide a guideline for whento use which one of two parallel design patterns; fork-join and pipeline parallelism.Through a collection of data and a comparison using the metricsspeedup and efficiency, conclusions were derived that shed light on the waysin which a typical part of a game loop most efficiently can be organized forparallel execution through the use of different parallel design patterns. Thepipeline and fork-join patterns were applied respectively in a variety of testcases for two branches of a game loop: a BOIDS system and an animationsystem.
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Dokoupil, Petr. "Animační knihovna se zaměřením na skeletální animace." Master's thesis, Vysoké učení technické v Brně. Fakulta informačních technologií, 2009. http://www.nusl.cz/ntk/nusl-236629.
Повний текст джерелаАнотація:
This thesis proposes an architecture of animation engine flexible enough to support large scale of animation algorithms with unified approach to each one of them. One of the major goals of the engine is to support creation of very complex animation seqences with high degree of animation execution control. The main animation technique used in the engine is skeletal animation and some variants of this technique are already implemented within, but it was never meant to be skeletal animation only engine and is designed that way.
12
Klement, Martin. "Fúze procedurální a keyframe animace." Master's thesis, Vysoké učení technické v Brně. Fakulta informačních technologií, 2013. http://www.nusl.cz/ntk/nusl-235456.
Повний текст джерелаАнотація:
The goal of this work is to create an application, which will combine procedural and keyfram animations with subsequent visualization. Composition of this two different animations techniques is used to animate a virtual character. To combine this two techniques one starts with interpolations from keyframe animation and then enchance them by procedural animations to properly fit into the characters surroundings. This procedural part of animation is obtained by using forward and inverse kinematics. Whole application is written in C++, uses GLM math library for computations and OpenGL and GLUT for final visualization.
13
Čapek, Radovan. "Manipulace s objekty pomocí p5 glove." Master's thesis, Vysoké učení technické v Brně. Fakulta informačních technologií, 2011. http://www.nusl.cz/ntk/nusl-236995.
Повний текст джерелаАнотація:
The thesis is focused on the description of the basic principles of the virtual reality, on utilization of data gloves in the virtual reality and it implements the application with usage of the input device P5 glove. The implementation contains among the others various visual techniques of OpenGL and also shows up-to-date work with the popular physics engine Bullet Physics. The theoretical bases of these techniques are analysed in the thesis. So the output of the thesis will serve as a source of information to people interested in the knowledge of the data gloves problems and other similar peripherals, but also to interested people who want to learn more about the realization of the computer graphics and creation of physicist models.
14
Tallevi-Diotallevi, Matteo. "Progettazione e sviluppo di un videogame PVP con personalizzazione dei giocatori." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2018.
Знайти повний текст джерелаАнотація:
Questa tesi documenta il design e la creazione di un videogioco del genere Picchiaduro per mezzo del game engine Game Maker Studio. Il gioco permette a due giocatori di sfidarsi sullo stesso PC in una serie di duelli mozzafiato ambientati in un Giappone feudale alternativo. E' anche possibile personalizzare l'aspetto del proprio samurai per mezzo di un editor grafico integrato nel gioco. La tesi documenta le fasi della progettazione e implementazione, con particolare attenzione al design delle meccaniche di gioco, all'organizzazione del codice, alle animazioni, gli effetti visivi e lo stile grafico.
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Marlow, Gregory. "Week 13, Video 02: Creating Skeleton." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/digital-animation-videos-oer/83.
Повний текст джерела
16
Turchet, Fabio. "Physics-based modelling, simulation, placement and learning for musculo-skeletal animations." Thesis, Bournemouth University, 2018. http://eprints.bournemouth.ac.uk/31092/.
Повний текст джерелаАнотація:
In character production for Visual Effects, the realism of deformations and flesh dynamics is a vital ingredient of the final rendered moving images shown on screen. This work is a collection of projects completed at the hosting company MPC London focused on the main components needed for the animation of musculo-skeletal systems: primitives modeling, physically accurate simulation, interactive placement. Complementary projects are also presented, including the procedural modeling of wrinkles and a machine learning approach for deformable objects based on Deep Neural Networks. Primitives modeling aims at proposing an approach to generating muscle geometry complete with tendons and fibers from superficial patches sketched on the character skin mesh. The method utilizes the physics of inflatable surfaces and produces meshes ready to be tetrahedralized, that is without compenetrations. A framework for the simulation of muscles, fascia and fat tissues based on the Finite Elements Method (FEM) is presented, together with the theoretical foundations of fiber-based materials with activations and their fitting in the Implicit Euler integration. The FEM solver is then simplified in or- der to achieve interactive rates to show the potential of interactive muscle placement on the skeleton to facilitate the creation of intersection-free primitives using collision detection and resolution. Alongside physics simulation for biological tissues, the thesis explores an approach that extends the Implicit Skinning technique with wrinkles based on convolution surfaces by exploiting the gradients of the combination of bones fields. Finally, this work discusses a possible approach to the learning of physics-based deformable objects based on deep neural networks which makes use of geodesic disks convolutional layers.
17
Pan, Junjun. "Sketch-based skeleton-driven 2D animation and motion capture." Thesis, Bournemouth University, 2009. http://eprints.bournemouth.ac.uk/13990/.
Повний текст джерелаАнотація:
This research is concerned with the development of a set of novel sketch-based skeleton-driven 2D animation techniques, which allow the user to produce realistic 2D character animation efficiently. The technique consists of three parts: sketch-based skeleton-driven 2D animation production, 2D motion capture and a cartoon animation filter. For 2D animation production, the traditional way is drawing the key-frames by experienced animators manually. It is a laborious and time-consuming process. With the proposed techniques, the user only inputs one image ofa character and sketches a skeleton for each subsequent key-frame. The system then deforms the character according to the sketches and produces animation automatically. To perform 2D shape deformation, a variable-length needle model is developed, which divides the deformation into two stages: skeleton driven deformation and nonlinear deformation in joint areas. This approach preserves the local geometric features and global area during animation. Compared with existing 2D shape deformation algorithms, it reduces the computation complexity while still yielding plausible deformation results. To capture the motion of a character from exiting 2D image sequences, a 2D motion capture technique is presented. Since this technique is skeleton-driven, the motion of a 2D character is captured by tracking the joint positions. Using both geometric and visual features, this problem can be solved by ptimization, which prevents self-occlusion and feature disappearance. After tracking, the motion data are retargeted to a new character using the deformation algorithm proposed in the first part. This facilitates the reuse of the characteristics of motion contained in existing moving images, making the process of cartoon generation easy for artists and novices alike. Subsequent to the 2D animation production and motion capture,"Cartoon Animation Filter" is implemented and applied. Following the animation principles, this filter processes two types of cartoon input: a single frame of a cartoon character and motion capture data from an image sequence. It adds anticipation and follow-through to the motion with related squash and stretch effect.
18
Wills, Eric David. "Gait animation and analysis for biomechanically-articulated skeletons /." Connect to title online (Scholars' Bank) Connect to title online (ProQuest), 2008. http://hdl.handle.net/1794/7508.
Повний текст джерелаАнотація:
Thesis (Ph. D.)--University of Oregon, 2008.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 281-287). Also available online in Scholars' Bank; and in ProQuest, free to University of Oregon users.
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Kárníková, Pavlína. "Grafické demo s inverzní kinematikou." Master's thesis, Vysoké učení technické v Brně. Fakulta informačních technologií, 2010. http://www.nusl.cz/ntk/nusl-237219.
Повний текст джерелаАнотація:
This work deals with the creation of a graphic demo with the use of inverse kinematics. It explains the motivations that led to the creation of the demo; it briefly mentions the history of the demo as well as the principles of animation. It describes in detail the fundamentals of inverse kinematics as well as the terminology needed for the understanding of inverse kinematics. It also includes some selected algorithms. The issue of inverse kinematics is further developed in the part of the work where the principles of skinning are being described. The principles of the collision detection are also mentioned here. The conclusion consists of a detailed explanation of some of the techniques used in graphic demo, such as the L-systems or procedural textures.
20
Pfudl, Václav. "Zobrazování scény s velkým počtem chodců v reálném čase." Master's thesis, Vysoké učení technické v Brně. Fakulta informačních technologií, 2015. http://www.nusl.cz/ntk/nusl-264968.
Повний текст джерелаАнотація:
The aim of this thesis was to implement a software that would be able to render, simulate and record a scene with walking pedestrians in real-time, with emphasis on rendering level of realism. The output of the application could serve as an input test data for people counting systems or similar systems for video recognition. The problem was divided into three major subproblems: character animation, artificial intelligence for character movement and advanced rendering techniques. The character animation problem is solved by the skeletal animation of the model. To achieve the characters moving in a scene autonomously path finding(A* algorithm) and group behaviors(steering behaviors) were implemented. Realism in a scene is added by implemented methods such as normal-mapping, variance shadow-mapping, deffered rendering, skydome, lens flare effect and screen space ambient occlusion. Optimaliaztion of the rendering was implemented using octree data structure for space partitioning. Rendering stage of a scene can be easily parametrized through implemented GUI. Implemented application provides the user with easy way of setting a scene with walking pedestrians, setting its visualization and to record the result.
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Tamulionis, Andrius. "Procedūrinė humanoidų animacija." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2014. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2007~D_20140701_184100-90931.
Повний текст джерелаАнотація:
Šokis ir aerobika yra judesių programų pavyzdžiai - jos susideda iš tam tikra tvarka surikiuotų, pakartotinai naudojamų komponenčių. Norint efektyviai modeliuoti tokias programas, reikalinga formali žmogaus judesių notacija. Pasinaudoję esamomis priemonėmis (3D modeliavimo įrankiai, OGRE grafikos variklis, H-Anim) ir sukūrę savas, realizavome procedūrinių humanoido animacijų veikimo schemą. Ji leidžia sudaryti žmogaus judesių programą ir yra nesunkiai suprantama net ir tiems, kurie neturi animacijos ar trimačio modeliavimo patirties. Procedūrinės animacijos užrašomos XML formatu. Jas pavaizduoja mūsų peržiūros programa. Formatas leidžia abstrahuoti judesius į "procedūras", juos apjungti į sekas ir kaupti judesių bibliotekas. Turint pavienių judesių komponentes, procedūrinės animacijos kūrimas, pildymas ar keitimas yra žymiai paprastesnis ir lankstesnis, be to, tokia animacija yra nepriklausoma nuo humanoido modelio geometrijos.Dance and aerobics are examples of movement programs – they consist of reusable components laid out in particular order. Efficient modeling of such programs requires the usage of some formal movement notation. With the help of existing tools and standards (3D modeling packages, OGRE graphics engine, H-Anim), as well as utilizing the ones we designed ourselves, we have implemented procedural humanoid animation schema. It allows for creating human movement programs and is easy to grasp even for those with no experience in animation or 3D modeling. Procedural animations are written in XML and visualized by our viewer software. Using our format, one can abstract movements into "procedures", combine them into sequences and store them in movement libraries. With all the individual movements at hand, creating, extending and modifying a procedural animation is much more simple and flexible. Moreover, this kind of animation is independent of model's geometry.
22
Pascucci, Fiammetta. "A Positon Based Approach to Ragdoll Simulation." Thesis, Linköping University, Department of Electrical Engineering, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-9396.
Повний текст джерелаАнотація:
Create the realistic motion of a character is a very complicated work.
This thesis aims to create interactive animation for characters in three dimensions using position based approach. Our character is pictured from ragdoll, which is a structure of system particles where all particles are linked by equidistance constraints.
The goal of this thesis is observed the fall in the space of our ragdoll after creating all constraints, as structure, contact and environment constraints.
The structure constraint represents all joint constraints which have one, two or three Degree of Freedom (DOF).
The contact constraints are represented by collisions between our ragdoll and other objects in the space.
Finally, the environment constraints are represented by means of the wall constraint.
The achieved results allow to have a realist fall of our ragdoll in the space.
23
Crenn, Arthur. "Reconnaissance d’expressions corporelles dans des mouvements de personnes en vue de la synthèse de style." Thesis, Lyon, 2019. http://www.theses.fr/2019LYSE1341.
Повний текст джерелаАнотація:
Le thème de ma thèse concerne la reconnaissance et la synthèse d’expressions faciales et corporelles. Notre problématique est d’étudier, de comprendre et d’extraire les éléments qui traduisent l’état émotionnel d’une personne à partir des expressions de son visage et de son corps, dans le but de la reconnaissance et également de la synthèse de l’émotion ou du style dans un geste. Ce double objectif de reconnaissance et de synthèse permettra de généraliser de nouveaux modes d’interactions dans des applications comme les jeux-vidéos, l’interaction homme-machine, etc. En effet, ces applications pourront s’enrichir de scénario qui pourraient d’adapter à l’état émotionnel de l’utilisateur. Pour répondre à ce problème, le point crucial est de comprendre « où » se situe l’information de style dans une action ou une animation. En effet, un humain sait en quelques secondes caractériser une expression qu’il voit alors que les algorithmes de reconnaissance en sont encore loin notamment pour les expressions corporelles où à notre connaissance, peu de travaux ont été réalisés comparé à la reconnaissance des expressions faciales. Concernant la reconnaissance des expressions, notre objectif est, dans un premier temps, de proposer des descripteurs capables de reconnaître l’expression portée par un mouvement. Pour cela, le principal verrou est d'arriver à séparer le mouvement réalisé de l'expression perçue. Concernant la reconnaissance d'expressions faciales, nous nous intéressons au problème sociétal concernant la protection parentale. Pour cela, il est nécessaire de comprendre et de savoir reconnaitre des d'expressions faciales chez des enfants. Afin de résoudre ce problème, nous avons construit et proposé une nouvelle base de données dans le but d'aider la communauté de la vision par ordinateur à comprendre les spécificités des expressions faciales de visages d'enfants. Dans un second temps, nous souhaitons également que les différents descripteurs proposés en reconnaissance d'expressions corporelles puissent être utilisés dans le domaine de la synthèse d’animations. En effet, dans le domaine de l’animation, la création d’une action porteuse d'une émotion ou d'un style nécessite énormément de travail, de savoir-faire et de temps à un animateur afin de proposer des animations stylisées. Par exemple, dans un jeu-vidéo, pour créer de telles animations, il est souvent nécessaire de disposer d’une énorme base de données de mouvements incluant chaque style pour chaque personnage virtuel. Pour disposer d’une telle base de données, on a souvent recours à l’une des 2 méthodes suivantes. La première consiste à procéder à la capture de tous les mouvements réalisés par différents acteurs jouant différents styles. Dans la seconde, c’est le graphiste qui doit réaliser les différentes animations à la main en utilisant un logiciel d’animation. Notre objectif dans ce cadre est de mettre à profit les descripteurs quantifiant l’expression détectée en reconnaissance d’expressions faciales et corporelles afin de développer des outils capables de changer / éditer le style ou l’expression d’une animation. Ces outils permettront d’assister et de faciliter le travail des graphistes en leur permettant de synthétiser rapidement une « animation primale » stylisée. Ces animations stylisées pourront être affinées en post-processing en apportant une touche artistique à l’animation généréeThe theme of my thesis concerns the recognition and synthesis of facial and body expressions. Our problem is to study, understand and extract the elements that translate a person's emotional state from the expressions of his face and body, in order to recognize and also to synthesize the emotion or style in a gesture. This dual objective of recognition and synthesis will make it possible to generalize new modes of interaction in applications such as video games, human-machine interaction, etc. Indeed, these applications can be enriched with scenarios that could be adapted to the emotional state of the user. To answer this problem, the crucial point is to understand "where" the expression information is located in an action. Indeed, in a few seconds, a human knows how to characterize an expression he sees while recognition algorithms are still far from it, especially for body expressions where, to our knowledge, little work has been done compared to the recognition of facial expressions. Concerning the recognition of expressions, our objective is, first of all, to propose features capable of recognizing the expression carried by a movement. To do this, the main problem is to separate the movement achieved from the perceived expression. Concerning the recognition of facial expressions, we are interested in the societal problem of parental protection. To do this, it is necessary to understand and know how to recognize facial expressions of children. To solve this problem, we have built and proposed a new database to help the computer vision community understand the specificities of facial expressions of children's faces. Secondly, we also hope that the various descriptors proposed in recognition of body expressions can be used in the field of animation synthesis. Indeed, in the field of animation, the creation of an action that conveys an emotion or a style requires a lot of work, know-how and time for an animator to propose stylized animations. For example, in a video game, to create such animations, it is often necessary to have a huge database of movements including each style for each virtual character. To have such a database, one of the following two methods is often used. The first consists in capturing all the movements made by different actors playing different styles. In the second, it is the graphic designer who must create the various animations by hand using animation software. Our objective in this context is to use the descriptors quantifying the expression detected in recognition of facial and body expressions in order to develop tools capable of changing / editing the style or expression of an animation. These tools will assist and facilitate the work of graphic designers by allowing them to quickly synthesize a stylized "primal animation". These stylized animations can be refined in post-processing by adding an artistic touch to the generated animation
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Björn, Overå. "Skinning på GPUn : Med dubbel kvaternioner." Thesis, Linnéuniversitetet, Institutionen för datavetenskap, fysik och matematik, DFM, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-21364.
Повний текст джерелаАнотація:
Målet med projektet var att undersöka hur skeletal animationer utförs. Ett mål till var att det skulle vara förbestämda animationer. För att kunna ha förberäknade animationer användes autodesk fbx-filer. Skinningen har använt dubbel kvaternioner istället för matriser.Rapporten visar att skeletal animation med dubbel kvaternion skinning teknik kan utföras genom att använda fbx-filer med data som först exporterats till json-format.
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WANG, JHONG-PING, and 王忠平. "Skeletal Animation of Animation Technology:Take “Griffin” As Example." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/2brh75.
Повний текст джерелаАнотація:
碩士南臺科技大學
多媒體與電腦娛樂科學系
105
Games and movies nowadays include many imaginative creatures and animals as well as fictional characters. To integrate such characters into games and movies, 3D animation of characters has been a common technique. Since each character has individual appearance and personality, how to present the features of each character has been a vital issue. This study analyzed the elements of presenting imaginative creatures based on the books of imaginative creature design, the image, history, and symbol of the griffin, and related literature on animals. The analytical results were combined with related knowledge and skills of 3D animation software to create characters. The study used 3D animation software as the main creation tool. The process included the construction of high polygon models, topology, the construction of bone structure, and the stages from weight bounding to weight adjustment. An overview of the configuration actions of character animation in the early stage and the key points of their implementaion was offered, in which the creation methods that facilitated users’ future operation and the implementation that reduces workloads were provided. This study served as a reference to readers and relevant industries.
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Özer, Mustafa Cihan. "Matrix-based Parameterizations of Skeletal Animated Appearance." Thèse, 2017. http://hdl.handle.net/1866/19372.
Повний текст джерелаАнотація:
Alors que le rendu réaliste gagne de l’ampleur dans l’industrie, les techniques à la
fois photoréalistes et basées sur la physique, complexes en terme de temps de calcul,
requièrent souvent une étape de précalcul hors-ligne. Les applications en temps réel,
comme les jeux vidéo et la réalité virtuelle, se basent sur des techniques d’approximation
et de précalcul pour atteindre des résultats réalistes. L’objectif de ce mémoire est l’investigation
de différentes paramétrisations animées pour concevoir une technique d’approximation
de rendu réaliste en temps réel.
Notre investigation se concentre sur le rendu d’effets visuels appliqués à des personnages
animés par modèle d’armature squelettique. Des paramétrisations combinant
des données de mouvement et d’apparence nous permettent l’extraction de paramètres
pour le processus en temps réel. Établir une dépendance linéaire entre le mouvement et
l’apparence est ainsi au coeur de notre méthode.
Nous nous concentrons sur l’occultation ambiante, où la simulation de l’occultation
est causée par des objets à proximité bloquant la lumière environnante, jugée uniforme.
L’occultation ambiante est une technique indépendante du point de vue, et elle est désormais
essentielle pour le réalisme en temps réel. Nous examinons plusieurs paramétrisations
qui traitent l’espace du maillage en fonction de l’information d’animation par
squelette et/ou du maillage géométrique.
Nous sommes capables d’approximer la réalité pour l’occultation ambiante avec une
faible erreur. Notre technique pourrait également être étendue à d’autres effets visuels
tels le rendu de la peau humaine (diffusion sous-surface), les changements de couleur
dépendant du point de vue, les déformations musculaires, la fourrure ou encore les vêtements.While realistic rendering gains more popularity in industry, photorealistic and physically- based techniques often necessitate offline processing due to their computational complexity. Real-time applications, such as video games and virtual reality, rely mostly on approximation and precomputation techniques to achieve realistic results. The objective of this thesis is to investigate different animated parameterizations in order to devise a technique that can approximate realistic rendering results in real time. Our investigation focuses on rendering visual effects applied to skinned skeletonbased characters. Combined parameterizations of motion and appearance data are used to extract parameters that can be used in a real-time approximation. Trying to establish a linear dependency between motion and appearance is the basis of our method. We focus on ambient occlusion, a simulation of shadowing caused by objects that block ambient light. Ambient occlusion is a view-independent technique important for realism. We consider different parameterization techniques that treat the mesh space depending on skeletal animation information and/or mesh geometry. We are able to approximate ground-truth ambient occlusion with low error. Our technique can also be extended to different visual effects, such as rendering human skin (subsurface scattering), changes in color due to the view orientation, deformation of muscles, fur, or clothes
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Wan-Chi, Luo. "Skeleton-driven Animation Transfer." 2004. http://www.cetd.com.tw/ec/thesisdetail.aspx?etdun=U0001-1006200416394400.
Повний текст джерела
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Luo, Wan-Chi, and 羅婉琪. "Skeleton-driven Animation Transfer." Thesis, 2004. http://ndltd.ncl.edu.tw/handle/97686430335188454965.
Повний текст джерелаАнотація:
碩士國立臺灣大學
資訊工程學研究所
92
As the fundamental building blocks of movies, networking computer games, and simulation systems, 3D models have become an important part of our daily life recently. The common solution for driving a 3D model move is building a skeleton and setting the binding weight for it by artist, and then key-pose editing is necessary. Even when we want to create the same motion sequence for different 3D models, we still have to repeat the process. So it is very lengthy and time consuming to create an imposing scene such as full of soldiers or dancers. Hence we propose an efficient system to clone a skeleton-driven model to another new character in this paper. To clone the motion of a source model, which motion is driven by its skeleton, to another one, the basic idea is that we have to construct the same skeleton structure for the target model. Since the motion data is always saved as the attributes of the vertices, in order to transfer the skeleton and all of the motion data to the target model, we utilize surface parameterization to find the correspondence of all vertices between source and target models. Using this correspondence, we also can transfer the information including color, texture, skeleton and binding weight from the source model to the target one. The whole process was abstracted as follows. First, the user needs to dissect both of the two models into homologous patches and manually mark some common features of them. Since the patches dissected from the two models are disk-like, they can be mapped to a plane using discrete conformal mapping. In order to compute better correspondences between a pair of homologous patches, we use a foldover-free warping scheme to align those features. Then the correspondence of all vertices can be obtained by overlaying the two aligned embeddings. To transfer a skeleton, we select two vertices as the markers for each joint of the skeleton and remember their numerical relation to the joint. Because of the consistent correspondence, we can reconstruct the skeleton of the same structure for target model. Once the motion data is transferred, our system can clone the motion from the source model to the target one. Our system aimed at speeding up and facilitating the process of cloning animation to different 3D models. We can efficiently transfer skeleton and binding weight by only mark few vertices manually. Our system can convert transferred motion data to the Maya file format, so that the artists can refine the cloned key poses in Maya.
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GAO, YU-SIAN, and 高譽顯. "The analysis of 3D animation skeleton tool - In game and movie character animation." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/b4qcdd.
Повний текст джерелаАнотація:
碩士南臺科技大學
多媒體與電腦娛樂科學系
104
In now of production industry, there are many software tools of animation, and there are many differences and similar with the nature of three-dimensional drawing tools, I had deal with the different types of projects in development process, which will be applied by different types of skeleton animation tools, and discussed with skeletal animation tools and features. In process among we use animation tools, this research will beginning of the skeleton product, and then to the binding, then enter the weight adjustment, and finally to setup the reverse phase power, after above of this series of steps will be entered to adjust the animation stage. There will be many features for making games or movies animation of characters, it will use by the tool functions include special tools and methods, both of its will affect the quality of the animation process, and times effects. The purpose of this research is to study and find out the relevant application of animation tools, after I finishing study the origin function and associated documentation, it will be associated with the project we get to use animation tools, and we can get conclusions after analyzing the results of the recommendations, I hope readers will have the following knowledge related help in animation tools.
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Shih, Liang-Yu. "Capturing Skeleton-based Animation Data from a Video." 2008. http://www.cetd.com.tw/ec/thesisdetail.aspx?etdun=U0001-0708200819234800.
Повний текст джерела
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Shih, Liang-Yu, and 施亮宇. "Capturing Skeleton-based Animation Data from a Video." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/25431507875690068796.
Повний текст джерела
32
Liu, Pin-Chou, and 劉秉周. "Automatic Animation Skeleton Construction Using Repulsive Force Field." Thesis, 2003. http://ndltd.ncl.edu.tw/handle/46918089072047897016.
Повний текст джерелаАнотація:
碩士國立臺灣大學
資訊工程學研究所
91
A method is proposed in this paper to automatically generate the animation skeleton of a model such that the model can be manipulated according to the animation skeleton. With our method, users can construct the skeleton in a short time and make a static model both dynamic and alive. The primary steps of our method are finding skeleton joints, connecting the joints to form the animation skeleton, and binding skin vertices to the joints. Initially, a repulsive electro-static force field is constructed inside a given model, and a set of points with local minimal force is found based on the force field. Then, a modified thinning algorithm for volume data is applied, so that the thinning process will stop at those local minimal points which are already found. Referring to the topological information, we define the skeleton joints and connect them to form the skeleton. After constructing the skeleton, we anchor skin vertices to the skeleton joints according to the distances between vertices and joints. In order to compute the sum of repulsive forces, hundreds of rays are sampled from a point inside the model, and the computation of the intersection points takes most of the time. Therefore, an octree structure is used to accelerate the repulsive force field construction. Currently, the skeleton generated from a typical 3D model with 1000 to 10000 polygons takes less than 2 minutes on a Pentium IV 2.4 GHz PC.
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Yen-Tuo, Chang. "Skeleton-driven Animation Transfer based on Consistent Volume Parameterization." 2006. http://www.cetd.com.tw/ec/thesisdetail.aspx?etdun=U0001-2407200621501200.
Повний текст джерела
34
Chang, Yen-Tuo, and 張硯拓. "Skeleton-driven Animation Transfer based on Consistent Volume Parameterization." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/40149050223699730997.
Повний текст джерелаАнотація:
碩士國立臺灣大學
資訊管理學研究所
94
To edit or create the animation of a 3D character model has always been an important but time-consuming task, since the animator usually needs to set up the character''s skeleton, paint its binding weights, and adjust its key-poses. Therefore, systems and algorithms have been proposed to improve the animating pipeline in both efficiency and quality concern. Hence, we propose an animation transfer system in this thesis to take a well-edited character animation as the input. Then, the system can transfer the skeleton, binding weights, and other attributes of the given character model to another static model with only few corresponding feature points specified. The transferring process is based on a mapping between the space around two character meshes. In this thesis, the mapping is called consistent volume parameterization, which inherits consistent surface parameterization. With this method, the skeleton, binding weights, and other attributes transferred by our system are nicely generated and ready to be edited. Hence, the animator can start to create a skeleton-driven animation for the new character model without any prior setting. Moreover, our system is also capable of cloning a skeleton-driven animation to several other character models which can be used in a crowd animation.
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Chi-Jr, Yu, and ä½å²æº. "An Animation Synthesis System based on 2D Skeleton Structures of Images." Thesis, 2004. http://ndltd.ncl.edu.tw/handle/40483566302778473089.
Повний текст джерелаАнотація:
碩士國立暨南國際大學
資訊工程學系
90
Together with the miniaturization of digital image capture devices and the integration of digit camera into cellular phones, there are enormous photograph images around us. The research purpose of this paper is developing an animation synthesis system to further utilize the above-mentioned image materials effectively, and produce interesting and vivid animation effects in a natural and simple way. However, reconstructing the 3D models by using only 2D images is still a very difficult task. Also, building the virtual reality world by the traditional computer graphics methods is a highly time-consuming task. For the above problems, the image-based rendering technology provides an elegant approximate solution. Basically, the required image of arbitrary viewing position and direction is synthesized by morphing two or multiple pre-captured images at some determined camera positions. Applying the image morphing technology does not only reduce the expensive cost of world construction, but also overcome the discontinuity drawback of the pre-captured image sequence. However, if the morphing results fail to preserve the original shape of objects, it will cause a fake construction, especially when the target object is artifact. In this research, we propose a simple shape-preserving image morphing method to produce frames of animation of images. First, the skeleton structures of the pre-captured images are extracted. The skeletonization is a process for reducing foreground regions in a digital image to a skeletal remnant that largely preserves the properties of the original region while discarding most of the original foreground pixels. We use the Discrete Voronoi Skeletons [1] proposed by Robert L. Ogniewigz to build object’s skeleton. After the pre-captured images are analyzed, the skeletons data structure of the required image are applied some forward kinematics motion patterns like walking or running. Finally, the reasonable result images are synthesized by feature-based image morphing technique.
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Fu-Che, Wu. "DOMAIN CONNECTED GRAPH: THE ESSENTIAL SKELETON OF A 3D SHAPE FOR ANIMATION." 2005. http://www.cetd.com.tw/ec/thesisdetail.aspx?etdun=U0001-2207200511402000.
Повний текст джерела
37
Xiang, Cheng-kai, and 項成凱. "Using Multiple Inertial Sensors for the Construction of Real-time Human Skeleton Animation." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/03848891484144731584.
Повний текст джерелаАнотація:
碩士國立中央大學
資訊工程學系
102
Research in Human-Computer Interaction (HCI) has gained interest in recent years and has fostered new ideas and expectations. As the development of computer science, HCI has got into a new era. There are many kinds of human motion capture methods nowadays. Image based motion tracking system like Microsoft Kinect, it's good for use and easy for coding, but it still has disadvantages. This kind of method camera and human have to be line of sight (LOS), and it will be easily disturb by the object in the environment. In this progress, we have compared 2 kinds of methods which are the most popular methods in HCI – Microsoft Kinect Sensor and Inertial Sensors. This progress presents a wearable real-time human motion capture system using inertial sensors, and result of our method has been compared with Microsoft Kinect Sensor. Some research have been done, in this progress several technology we want to achieve as following: 1. An efficient accurate motion tracking system; 2. We can use this system into daily life, like smart TV etc. Several experiments have been performed to validate the effectiveness of our method. Our system using multiple sensors build a body sensor network system, and this system can also be used in Rehabilitation domain;
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Liu, Mei-Lin, and 劉美麟. "Animating Characters in Chinese Painting Using Two-Dimensional Skeleton-Based Deformation." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/3k8wx9.
Повний текст джерелаАнотація:
碩士國立中正大學
資訊工程研究所
104
Nowadays many Chinese-antique museums make famous Chinese paintings into animations to allow visitors to have feelings of actually being immersed in paintings. However, creating animations is not an easy work. First, it is laborious and time-consuming to construct each motion of animated characters. Second, Chinese paintings are drawn with ink on “Xuan” paper, which cause irregular dispersions, and these dispersions would lead to ragged borders of character, and strokes of Chinese painting character would be torn which lose the stroke line connectivity while implementing deformation. Therefore, we present an animating system to overcome these problems. In this thesis, we focus on two technical issues: sample point processing and animation generation. In sample point processing section, we put emphasis on sample point distribution and allocation which are the preprocessing of object deformation. We propose a point distribution method to preserve connectivity of stroke line of object and implement a weight scheme to decide control bone of individual sample points. Then our animation generation method includes two parts. First, we use skeleton-based deformation which is designed according to characteristics of Chinese paintings, to generate key frames through user-provided skeleton. Second, we use interpolation method to create smooth animations. Our system could apply to multiple-character and multiple-skeleton animations.
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Siao, Chong-You, and 蕭崇佑. "Applying Design and Development of Puppet Stop-motion-animation into Project Oriented Teaching-An Example of Metal Balljoint Skeleton." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/wa3d2f.
Повний текст джерелаАнотація:
碩士國立臺北教育大學
數位科技設計學系(含玩具與遊戲設計碩士班)
103
Puppet stop-motion-animated filming is an emergingcultural industry in Taiwanin recent years. However, manufacturing puppets requires metal ball shape joints and bones in puppet stop-motion-animated filming.Compared withwestern countries, the costs of making puppets in Taiwan are often prohibitive, and there are no specialized producersin the country. Furthermore, related research is very limitedin this field. Therefore, this research aims to explorethemanufacturing and designingofpuppets forvocational high school students when the students carry out stop-motion-animated filming projects in schools.As such, the research objectives of this study are three-fold: first, to conduct literature review onmetal bones producersworldwide. Second, based on stop-motion-animated movie-Sleepy Bear,to sort and classify puppet parts needed in the list and applythem to final product design in students’ projects. Third, to help student develop their independent designcapabilitiesand execution abilities by using their final productsin teaching. Our results show that major difficulties in producing puppet stop-motion-animated films lie in thedesign of joints and bones of puppets, in particular,parts like hip joints, hand joints, knee joints, neck facet joints and waist joints. When further combining exact sizing, static posing, moving and design concept, we can develop a part list to complete filming and to use it in students’ projects. Moreover, we also found that using puppet part list would help improvestudents’ abilities in independent designing capability and successfully completing the productsas well as help reduce costs. Overall, with this research, we hope to help expand Taiwan’s market in puppet stop-motion-animated filmingand to provide references for future studies.