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      Motion Capture Visualisation For Mixed Animation Techniques

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      Proceedings of EVA London 2020 (EVA 2020)

      AI and the Arts: Artificial Imagination

      6th July – 9th July 2020

      Motion capture, Computer animation, Digital sculpting, Digital drawing

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            Abstract

            In this paper we discuss a novel multidisciplinary method for computer animation, using motion capture ('mocap') as reference, combining techniques from 2D and 3D animation, and digital sculpting. Our method develops a process to create animation based on mocap data, without being restricted by standard practices that depend on existing rigged 3D models, allowing for visual expression and improvisation while taking advantage of naturalistic motion and interaction within a 3D environment. The standard mocap methodology for creating animation consists of retargeting (transferring) the recorded data from actors and performers to existing digital characters, providing them with movement. The motion is then polished and tweaked by animators, until the final result is achieved. The character’s animation is the result of the captured performance and the original character design, but they are not created at the same time, as they are put together later on. Something similar happens with 3D computer animation: in order for animators to articulate characters into poses that are interpolated by the computer, a model of a character has to be built first. Here, the animators fully control the performance, but the design of the character pre-dates this process, and can only be modified within certain constraints. Mocap is bound by physics and naturalistic movements, animation can be exaggerated, weight and force have to be conveyed, rather than imposed. Both differ aesthetically but none of the approaches takes full advantage of 2D animation methods, where drawings dictate shape, form and motion at the same time. The characters here can be designed for the movement they perform in particular shots. This opens possibilities for a more experimental approach, where abstraction can exist. Our method combines the different disciplines and allows form to be created for each key pose, using digital sculpting tools for development and mocap as reference. Then, poses can be interpolated so the method is still interactive, allowing for experimentation. Using drawing as the starting point from the mocap data allows for greater understanding of the poses by studying the human figure in motion. This creates new opportunities for designing the animation, regarding shapes, forms and movement.

            Content

            Author and article information

            Contributors
            Conference
            July 2020
            July 2020
            : 278-282
            Affiliations
            [0001]Catholic University of Portugal, CITAR

            Research Center for Science and Technology of the Arts

            Rua Diogo Botelho, 1327, 4169-005

            Porto, Portugal
            Article
            10.14236/ewic/EVA2020.50
            aac189e6-a159-49d6-920b-02c6d29c3606
            © Megre et al. Published by BCS Learning & Development Ltd. Proceedings of EVA London 2020

            This work is licensed under a Creative Commons Attribution 4.0 Unported License. To view a copy of this license, visit http://creativecommons.org/licenses/by/4.0/

            Proceedings of EVA London 2020
            EVA 2020
            30
            London
            6th July – 9th July 2020
            Electronic Workshops in Computing (eWiC)
            AI and the Arts: Artificial Imagination
            Product
            Product Information: 1477-9358BCS Learning & Development
            Self URI (journal page): https://ewic.bcs.org/
            Categories
            Electronic Workshops in Computing

            REFERENCES

            1. 2017 Michael Dudok de Wit’s ‘The Red Turtle’: 5 interesting facts about the film’s production https://www.cartoonbrew.com/feature-film/michael-dudok-de-wits-red-turtle-5-interesting-facts-films-production-148887.html 17 March 2020

            2. 2010 Animated Performance AVA Publishing SA Switzerland

            3. 2012 Substitutive Bodies and Constructed Actors: A practice-based investigation of animation as performance University of the Arts London

            4. 2008 MoCap for Artists: workflow and techniques for motion capture Elsevier Inc Oxford, UK

            5. 2014 The role of drawing in animated films CONFIA 2012 | Illustration and Animation Conference Ofir, Portugal 30 November 1 December 2012 IPCA Barcelos, Portugal 51 65

            6. 2013 Moving Innovation: a history of computer animation MIT Press Cambridge, MA

            7. 1981 The Illusion of Life: Disney animation Disney Editions New York, NY

            8. 2006 The Fundamentals of Animation AVA Publishing SA Switzerland

            9. 2001 The Animator’s Survival Kit Faber and Faber Limited London, UK

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