Unit5 Final
Unit5 Final
Unit5 Final
Computer Animation
Introduction to Animation:
• Computer animation is the art of creating moving images via the use of computers.
• To create the illusion of movement, an image is displayed on the computer screen then
quickly replaced by a new image that is similar to the previous image, but shifted
slightly.
• This technique is identical to how the illusion of movement is achieved with television
and motion pictures.
• The basic idea behind animation is to play back the recorded images at the rates fast
enough to fool the human eye into interpreting them as continuous motion.
• Animation can make a series of dead images come alive.
• Computer animation is the art of creating moving images via the use of computers.
• Sometimes the target of the animation is the computer itself, but it sometimes the target
is another medium, such as film.
• It is also referred to as CGI (Computer-generated imagery or computer-generated
imaging), especially when used in films.
• Animation can be used in many areas like entertainment, computer aided-design,
scientific visualization, training, education, e-commerce, and computer art.
• Basically there are six animation technique: Traditional Animation (frame by
frame), Key framing animation, Procedural Animation, behavioral animation,
Performance Based (Motion Capture), Physically Based (Dynamics).
Traditional Animation (frame by frame)
• Traditionally most of the animation was done by hand.
• All the frames in an animation had to be drawn by hand.
• Since each second of animation requires 24 frames (film), the amount of efforts
required to create even the shortest of movies can be tremendous.
2. Anticipation [IMPT]
• Anticipation is the preparation for the main action.
• Action in animation usually occurs in three sections. The setup for the motion, the
actual action and then follow-through of the action. The first part is known as
anticipation.
• Anticipation is used to prepare the audience for an action, and to make the action
appear more realistic.
• It's the precursor to the main action. It's like a visual hint that you give the viewer
to let them know whats about to happen.
• Animation can occur before an action. Before you jump, you bend your knees.
• Longer period of anticipation is needed for faster actions.
• Example, a character zips off screen leaving a puff of smoke. Usually just before
the zip, there is a pose where the characters raises a leg and bends both arms as if
he’s about to run. That’s the anticipation pose for the off screen run.
• The player striking the soccer ball would be the main action, and the follow-through of
the leg is well… the follow through.
• We first see the woman as she’s standing on the box. She then bends her knees in
anticipation of what’s about to happen and springs into action by leaping from the
ground up into the air.
•
• For example, a baseball player, before throwing the ball, will prepare for the action by
moving his arm back (and in fact his whole body will take a special "pose").
• This allows you to prepare your audience for what will happen next and get a more
"realistic" impact. In motion design, for example, if you want to animate a rotating
object, make a slight rotation in the opposite
3. Staging
• When filming a scene, where do you put the camera? Where do the actors go? What do
you have them do? The combination of all these choices is what we call staging.
• Staging is one of the most overlooked principles. It directs the audience’s attention
toward the most important elements in a scene in a way that effectively advances the
story.
• Staging is the presentation of an idea so that it is clear. This idea can be an action,
a personality, an expression, or a mood. The key idea is that the idea is made clear
to the viewer.
• Its purpose is to direct the audience's attention, and make it clear what is of
greatest importance in a scene; what is happening, and what is about to happen.
• This can be done by various means, such as the placement of a character in the
frame, the use of light and shadow, and the angle and position of the camera.
• The essence of this principle is keeping focus on what is relevant, and avoiding
unnecessary detail.
• Do not confuse the viewer with too many simultaneous actions, use one clear action
at a time to convey the idea.
• Exceptions are the cases when you really need to show the turmoil or confusion.
• Staginess directs viewer’s attention towards the story being told.
• An important objective of staging is to lead the viewers eye to where the action will
occur so that they do not miss anything. This means that only one idea at a time occur,
or else the viewers may be looking at the wrong thing. So, the main object should be
contrasted in some way with the rest of the scene. A good example is motion, since the
eye is drawn to motion in an otherwise still scene. In a scene with everything moving,
the eye is drawn to a still object.
• The animator must use different techniques to ensure that the viewer is looking at the
correct object at the correct time. For example, in Luxo, jr. The Father appears first,
and so is the center of attention. Then the son bounds in, moving rapidly, so the center
of attention shifts to him. At a certain point the son stops and looks up at the father,
refocusing the attention on the father.
• Straight Ahead Action in hand drawn animation is when the animator starts at
the first drawing in a scene and then draws all of the subsequent frames until he
reaches the end of the scene. This creates very spontaneous and zany looking
animation and is used for wild, scrambling action.
• Pose-to-Pose Action is when the animator carefully plans out the animation, draws
a sequence of poses, i.e., the initial, some in-between, and the final poses and then
draws all the in-between frames (or another artist or the computer draws the in-
between frames). This is used when the scene requires more thought and the poses
and timing are important.
5. Follow-Through and Overlapping Action [IMPT]
• When a moving object such as a person comes to a stop, parts might continue to move
in the same direction because of the force of forward momentum. These parts might be
hair, clothing, jowls, or jiggling flesh of an overweight person. This is where you can
see follow-through and overlapping action.
• The secondary elements (hair, clothing, fat) are following-through on the primary
element, and overlapping its action.
• Follow-through can also describe the movement of the primary element though. If you
land in a crouch after a jump, before standing up straight, that’s follow-through.
• Follow-through is the idea that certain appendages and body parts might continue
to move even after a motion is completed. So if a character with a scarf is running,
then they stop suddenly, the scarf will fly forward past the body, then fall back
where the character stopped. If a car stops moving, the antenna on top will keep
moving for a second. If a cat turns suddenly, their tail might whip around.
• Overlapping action is the idea that different parts of a body will move at different
rates. So if you walk, your arms will move at a different speed than your head.
• Overlapping action is an action that occurs because of another action. For e.g. : If a dog
is running and it suddenly stops; its ears will probably still keep moving for a bit.
• "Follow through" means that separate parts of a body will continue moving after
the character has stopped.
• "Overlapping action" is when a character changes direction, and parts of the body
continue in the direction he was previously going. OR It expresses the idea that if a
character is in motion, some parts of the character move faster than others.
• If a woman moves her head, then her hairs will also move—follow-through. And after
her head stops moving- for some time her hair will move—overlapping action.
Follow-through
• In Key framing technique, a storyboard is laid out and then the artists draw the
major frames of the animation.
• Major frames are the ones in which prominent changes take place.
• They are the key points of animation.
• Keyframing requires that the animator specifies critical or key positions for the
objects.
• The computer then automatically fills in the missing frames by smoothly
interpolating between those positions.
• A keyframe is a frame where we define changes in animation.
• Every frame is a keyframe when we create frame by frame animation.
• When someone creates a 3D animation on a computer, they usually don’t specify the
exact position of any given object on every single frame. They create keyframes.
• Keyframes are important frames during which an object changes its size,
direction, shape or other properties.
• The computer then figures out all the in-between frames and saves an extreme amount
of time for the animator.
Character Animation
Physics-Based Animation
Simulation uses the laws of physics to generate motion of pictures and other objects.
Simulations can be easily used to produce slightly different sequences while maintaining
physical realism.
Secondly, real-time simulations allow a higher degree of interactivity where the real person
can maneuver the actions of the simulated character.
Fluid Dynamics:
Flocking:
• Now we will perform the real trick which is done in JPEG compression which is
ZIG-ZAG movement. You have to perform zig zag until you find all zeroes ahead.
• The zig zag sequence for the above matrix is shown below.
•
• Hence our image is now compressed.
Summarizing JPEG compression
• The first step is to convert an image to Y’CbCr and just pick the Y’ channel and
break into 8 x 8 blocks.
• Then starting from the first block, map the range from -128 to 127.
• After that you have to find the DCT of the matrix.
• The result of this should be quantized.
• The last step is to apply encoding in the zig zag manner and do it till you find all
zero.
• Save this one dimensional array and you are done.
Image Processing: