Category: Design for Animation

This semester’s studies and research have provided me with a new perspective on the interplay between motion capture and traditional keyframe animation. I first thought that by studying motion capture, I could save a great deal of time in animation, which is why I decided to study the topic in the first place.

After reading some literature and understanding the practicalities of the situation, I realized that although motion capture can save a great deal of time in the production of animation, there are several production processes that must be carried out to ensure that the character’s movements are accurate and of high quality, which cannot be accomplished by only exporting motion data.

This semester has also provided me with a general understanding of writing an academic report, which was a significant challenge for me because I had rarely completed this type of academic assignment in the past.

Motion Capture

Motion Capture vs.Animation from Observation:

Motion capture is different from making animation by watching people move. For one thing, motion capture can be used for things other than animation, like biomedical analysis, surveillance, sports performance analysis, or as a way for people and computers to talk to each other. Each of these tasks is both different and the same as the problems that come up when making animation. At the first step of each, you have to make the observations that will be used to figure out what’s going on, e.g., record the movements. Many of the ways animation is done come from the fields of biomechanics or medicine.

Motion Capture vs.AnimLtion:

Online motion capture is one of a kind because it is the only way to do what it does. Motion capture, on the other hand, is just one way to make animations move when they are made off-line. By knowing the other options, you can see where motion capture is most useful and what it needs to be able to do to be a way to make animated motion. Taxonomies of motion creation, such as those used by game designers, usually divide the ways to make motion into three groups: manual specification, procedural and simulation, and motion capture.

Motion Capture for Animation:

Motion Editing and Motion Capture:

The best motions that can be made with motion capture should be great, so why should they need to be changed? If everything was working right, the data from motion capture should be a good representation of how a desired performance really happened. Still, a big part of how motion capture is used seems to be talking about how to change movements once we have them.

ComputerVision and Motion Capture:

There are more and more people in the computer vision community who want to figure out how to analyse images of people moving. There are many different uses for this technology, such as surveillance, user interface input, and biomechanical analysis. Traditional motion capture techniques from these other fields have been used in animation, and video analysis is an interesting tool for making animated motion.

Motion capture is the process of recording a person’s movements so they can be analyzed and played back right away or at a later time. The information taken in can be as simple as where the body is in space or as complicated as the way the face and muscles move. Motion capture is the method of transferring a person’s movements into the movements of an animated computer figure. The mapping could be direct, like letting a player move a character’s arm, or it could be indirect, like letting a player move their hands and fingers to change a character’s skin tone or mood.

My first thought is to talk about things that have to do with motion capture and film. Motion capture technology is getting better and is being used more and more in animation and games. We should think about whether we should give up on traditional animation and focus on motion capture instead.

In the past few years, people have become more interested in motion capture systems. On the other hand, current systems only have a few degrees of freedom, so they can only get the motion of rigid bodies that are linked together. We show a system for capturing surfaces that change shape, like moving cloth, that includes both geometry and parameterization. We figure out the shape of the cloth using stereo correspondence, and we use the scale-invariant feature transform (SIFT) to find any pattern printed on it, even when the cloth is moving quickly. We explain a new seed-and-grow method for adapting the SIFT algorithm to geometry that can change shape. Lastly, we parameterize the whole geometry by interpolating feature points.

Motion capture is different from making animation by watching people move. For one thing, motion capture can be used for things other than animation, like biomedical analysis, surveillance, sports performance analysis, or as a way for people and computers to talk to each other. Each of these tasks is both different and the same as the problems that come up when making animation. At the first step of each, you must make the observations that will be used to figure out what’s going on, e.g., record the movements. Many of the ways animation is done come from the fields of biomechanics or medicine.

Topic:

The authenticity of a documentary is ‘deeply linked to notions of realism and the idea that documentary images are linked to notions of realism and the idea that documentary images bear evidence of events that actually happened, by virtue of the indexical relationship between image and reality’ Horness Roe. A. (2013) Animated Documentary. Basingstoke: Palgrave Macmillan.

My understanding:

Horns-Rowe says that documentary verisimilitude is “deeply tied to the idea of realism, the image of the documentary is tied to the idea of realism, and the image of the documentary gives proof of actual events by virtue of the indexical connection between image and reality.”

blue • derek jarman

Category:

Blue 1993 is a film directed by Derek Jarman that displays a static view of the color blue with a narrator and musical backdrop. Jarman’s narration is diaristic and lyrical prose detailing his AIDS-related sickness and approaching death at a period when he had become half blind, his vision often disturbed by blue light.

Background and formal function:

Jarman’s last movie was finished only a few months before his death. As a result, Blue is a direct counterpoint to Jarman’s late work Ataxia – Aids is Fun 1993 (Tate T06768) in its depiction of his terminal sickness, although from a completely different perspective. McDonald’s did not plan a unique campaign of blue hamburgers when the film opened at the Venice Biennale in June 1993, while Coca-Cola kept to its red-colored cans and brown-colored liquid.

Process:

Tilda Swinton, Nigel Terry, John Quentin, and Jarman himself speak in a sound collage of visceral and lyrical storytelling in this monochrome video. The film’s experience extends well beyond the surface despite its simple graphics.

Mirror:

Jarman’s Blue symbolizes the transforming and creative forces inherent in the alchemical activity, especially those in the “journey” stage. The journey is “one of the more widely used metaphors to describe the unfolding of the alchemical process and the achievement of the goal, which is the integration of the psychic, energetic and corporeal principles that preside over the life of man and the universe,” according to Astrology, Magic, and Alchemy in Art.

Flower:

The feeling of that deep IKB is never static; it changes rapidly throughout the film because of the story provided by sound. As bells rang, I felt at peace but was interrupted by the sounds of busy nightclubs and medical equipment. The sounds of the hospital fill the area in a manner that is as overwhelming as the blue that shines on you as you accept the truth of his impending death.

Key& Knife:

Blue is an extreme example of cinematic perception and expression. A soundtrack of voices, sound effects, and music weaves a poetic and fragmented first-person narrative of Jarman’s observations, memories, and emotions in relation to his failing eyesight, horrific medical experiences, and approaching death, all in the context of a larger community of lovers, friends, and strangers living with and dying.

Formal elements:

For more than five decades, John Waters has distilled everything of America’s filth, depravity, and crassness into exuberantly distorted, bad-taste movies.

In this British documentary, the hypothetical Chinese invasion of South Vietnam triggers a new world war between East and West. In the town of Rochester in Kent, the anticipation of a nuclear attack led to a mass evacuation. When a stray missile explodes, the ensuing firestorm blinds all who see it.

The prospect of nuclear war was very real in the Sixties, and although we now choose to try to forget it. The possibility that someone somewhere could detonate a nuclear device remains very real. This means that Peter Watkins’s hard-line view of what would happen in Kent if a nuclear bomb was detonated still carries a lot of weight more than 30 years after he fired the shot.

The fashions may have changed but the sentiment behind the documentary is as real today as it ever was. Watson struggled to get his view of the war committed to celluloid, and then, after the BBC found it had no appetite so close to home in the mid-60s, he struggled again to get them on display to the public. Watkins left the country shortly after the war games were banned.

In today’s world, capturing motion from film or video streams is constantly unfolding and challenging territory. Motion capture systems (Mocap) are widely used in today’s world, including sports, entertainment, video games, and more. Motion capture based on marker-based and marker-less motion capture and analyzes their advantages and disadvantages. By comparing two kinds of motion design methods, traditional keyframe and motion capture, we investigated whether students’ creativity in motion design would be supported by the digital tool. The results showed that in the animation exaggeration index, the keyframe method had slightly higher performance support for designing unusual motions. Nevertheless, motion capture had shown more support in creating valid actions in quantity which implied creative fluency was achieved.

Keywords: Future, Virtual Reality, Film & Animation, New Technique, Game