CS 551/651: Structure of Spoken Language Lecture 6: Phonological Processes John-Paul Hosom
Animation CS 551 / 651
description
Transcript of Animation CS 551 / 651
AnimationCS 551 / 651
Lecture 5Lecture 5Classical AnimationClassical Animation
Principles of Computer AnimationJohn Lasseter, "Principles of Traditional John Lasseter, "Principles of Traditional
Animation Applied to 3D Computer Animation Applied to 3D Computer Animation", Animation", Computer GraphicsComputer Graphics, pp. 35-44, , pp. 35-44, 2121:4, July 1987 (SIGGRAPH 87).:4, July 1987 (SIGGRAPH 87).
Ollie Johnston and John Lasseter, Course 1 Ollie Johnston and John Lasseter, Course 1 at SIGGRAPH 94, "Animation Tricks".at SIGGRAPH 94, "Animation Tricks".
Comments from LasseterKeyframing
Computers are stupidComputers are stupid• Worst case, keyframe require for every frameWorst case, keyframe require for every frame• John discovered that some degrees of freedom (DOFs) John discovered that some degrees of freedom (DOFs)
require more keyframes than others to look naturalrequire more keyframes than others to look natural• You must start with a clear idea of the motion you desireYou must start with a clear idea of the motion you desire• Plan actions with thumbnail sketches and plot timing on Plan actions with thumbnail sketches and plot timing on
exposure sheetexposure sheet• Refer to sketches/timing frequentlyRefer to sketches/timing frequently
Lasseter: 2-D vs. 3-DNative computer character is 3-DNative computer character is 3-D
• Sometimes makes it Sometimes makes it harderharder
– A character’s hand may go through its body A character’s hand may go through its body when seen from a certain anglewhen seen from a certain angle
• Sometimes makes it Sometimes makes it easiereasier
– Animation reuse: An animation may look very Animation reuse: An animation may look very different when seen from different locationsdifferent when seen from different locations
Lasseter: Weight and Size
• Rendering can make realistic-looking objects Rendering can make realistic-looking objects (marble, feathers, steel)(marble, feathers, steel)
• Good rendering benefits are lost if animation is poorGood rendering benefits are lost if animation is poor• Physics matters – heavy things take longer to Physics matters – heavy things take longer to
start/stop moving…start/stop moving…• Proper timing/spacing of poses is more important Proper timing/spacing of poses is more important
than the poses themselvesthan the poses themselves
Lasseter: Thinking Character
Every motion must exist for a reasonEvery motion must exist for a reason• MoodMood
• PersonalityPersonality
• AttitudeAttitude
You must convey the character’s You must convey the character’s thoughts to tell the storythoughts to tell the story• Use anticipationUse anticipation
Lasseter: AnticipationLead with the Lead with the eyeseyes
• Move eyes first, with lock-in of focus a few frames Move eyes first, with lock-in of focus a few frames before the headbefore the head
• Head follows and leads the body by a few framesHead follows and leads the body by a few frames• More delay implies more thought requiredMore delay implies more thought required
– Use this relationship as a toolUse this relationship as a tool• External forces cause opposite timing relationshipExternal forces cause opposite timing relationship
Lasseter: Moving Holds
Traditional 2-D animation permits “holds”Traditional 2-D animation permits “holds”• Reuse of one drawing for multiple framesReuse of one drawing for multiple frames• This is one way to control timingThis is one way to control timing
In computer animation action dies In computer animation action dies immediatelyimmediately• Perhaps due to realistic rendering and smooth Perhaps due to realistic rendering and smooth
animationsanimations
Eye picks it up every timeEye picks it up every time
Lasseter: Moving HoldsHave some part of the character continue to move Have some part of the character continue to move
in same direction during holdsin same direction during holds
Remember to coordinate realism of character to Remember to coordinate realism of character to realism of motionsrealism of motions• More realistic characters (rendering style and dimensions) More realistic characters (rendering style and dimensions)
require more realistic movementsrequire more realistic movements
• This rule limits the straightforward reuse of human facial This rule limits the straightforward reuse of human facial mocap for non-human 3D charactersmocap for non-human 3D characters
Lasseter: EmotionCharacter’s personality conveyed through emotionCharacter’s personality conveyed through emotion
Emotion dictates animation paceEmotion dictates animation pace
Distinguish emotional state of two characters Distinguish emotional state of two characters through contrast in movementthrough contrast in movement• No two characters perform same action in same mannerNo two characters perform same action in same manner
Lasseter: Readability of ActionsTo make sure an idea or action is To make sure an idea or action is
unmistakably clear, the audience’s eye unmistakably clear, the audience’s eye must be led to the right place at the right must be led to the right place at the right timetime• TimingTiming
– Not too slow or audience eyes wanderNot too slow or audience eyes wander– Not too fast or action is misunderstoodNot too fast or action is misunderstood– The faster the motion, the more critical it is to The faster the motion, the more critical it is to
make the audience focus on itmake the audience focus on it
Harold Whitaker and John Halas, Timing for Animation, 1981
Readability of ActionsStaging• Audience can only see one idea at a time
• Object of interest must be contrasted against rest of scene
– Pick strongest and simplest technique
ex: Still object vs. busy background
Lasseter: Readability of Actions
Anticipation• First action should not be brought to complete stop
before starting second
–Slight overlapping preserves flow
–ex: Luxo Jr.
Lasseter: Story Tricks
Animation must be timed to stay slightly Animation must be timed to stay slightly ahead or behind audience’s ahead or behind audience’s understandingunderstanding• AheadAhead conveys suspense and surprise conveys suspense and surprise
– Initial scene of Luxo Jr. where Dad is surprised Initial scene of Luxo Jr. where Dad is surprised by ballby ball
– Closing scene of Red’s DreamClosing scene of Red’s Dream• BehindBehind reveals the story to the audience before a reveals the story to the audience before a
character to convey character’s discoverycharacter to convey character’s discovery
Lasseter: Ask WhyWhy is this here?Why is this here?
Does it further the story?Does it further the story?
Does it support the whole?Does it support the whole?• Change of shape shows a character is thinkingChange of shape shows a character is thinking
• ““It is the thinking that gives the illusion of life.It is the thinking that gives the illusion of life.It is the life that gives meaning to the expression”It is the life that gives meaning to the expression”11
• ““It’s not the eyes, but the glance – not the lips, but the smile”It’s not the eyes, but the glance – not the lips, but the smile”22
1. Frank Thomas and Ollie Johnston, Disney Animation – The Illusion of Life, 1981
2. Saint-Exupery, Wind, Sand, and Stars, 1932
Johnston NotesUse attitudes and actions to illustrate ideas Use attitudes and actions to illustrate ideas
and thoughts, not words and mechanical and thoughts, not words and mechanical movementsmovements
Squash and stretch the entire body for Squash and stretch the entire body for attitudesattitudes• Preserve volumePreserve volume
• Useful for face tooUseful for face too
Johnston Notes• Change of expression and dialog are points of Change of expression and dialog are points of
interest – don’t move head too muchinterest – don’t move head too much• Concentrate on drawing clear, not cleanConcentrate on drawing clear, not clean• Everything has a function – know whyEverything has a function – know why• Let the body attitude echo the facialLet the body attitude echo the facial• Find best part of character’s pose to squash Find best part of character’s pose to squash
and stretchand stretch
Johnston Notes
The eye is pulled by the eyebrow musclesThe eye is pulled by the eyebrow musclesGet a plastic quality in the faceGet a plastic quality in the face
• Cheeks, mouth, and eyesCheeks, mouth, and eyes
The audience has a difficult time reading the The audience has a difficult time reading the first 6 – 8 framesfirst 6 – 8 frames
Actions can be eliminated and staging Actions can be eliminated and staging “cheated” if it simplifies the picture you are “cheated” if it simplifies the picture you are trying to show and it doesn’t disturb the trying to show and it doesn’t disturb the audienceaudience
Johnston NotesSpend half your time planning your scene Spend half your time planning your scene
and the other half animatingand the other half animatingHow to animate a four-legged walk:How to animate a four-legged walk:
• Work out acting patterns with squash and stretch in Work out acting patterns with squash and stretch in body, neck, and headbody, neck, and head
• Animate the legsAnimate the legs
• Adjust up and down motion of body according to Adjust up and down motion of body according to legslegs
AnticipationCan be anatomicalCan be anatomical
• Swinging your foot back before kickingSwinging your foot back before kicking
Device that attracts viewer’s attentionDevice that attracts viewer’s attention• Staring off camera until character enters at that Staring off camera until character enters at that
positionposition
Can help convey mass. More wind-up or Can help convey mass. More wind-up or concentration implies increased scaleconcentration implies increased scale
StagingContrast is powerful staging techniqueContrast is powerful staging technique
• Motion is one exampleMotion is one example
• Original Disney characters were black and white (no Original Disney characters were black and white (no grayscale)grayscale)
– Important motions had to be drawn in silhouette Important motions had to be drawn in silhouette because limbs passing in front of others were not because limbs passing in front of others were not easy to seeeasy to see
– Even when grayscale (and color) is possible, Even when grayscale (and color) is possible, silhouette makes actions more visiblesilhouette makes actions more visible
Follow through and Overlapping Action""It is not necessary for an animator to take a It is not necessary for an animator to take a
character to one point, complete that action character to one point, complete that action completely, and then turn to the following action completely, and then turn to the following action as if he had never given it a thought until after as if he had never given it a thought until after completing the first action. When a character completing the first action. When a character knows what he is going to do he doesn't have to knows what he is going to do he doesn't have to stop before each individual action and think to stop before each individual action and think to do it. He has it planned in advance in his mind.do it. He has it planned in advance in his mind.""
Walt Disney
Ease-in and Ease-outA facsimile of physicsA facsimile of physics
• First, second, and third order continuityFirst, second, and third order continuity
• Remember challenges getting splines to interpolate Remember challenges getting splines to interpolate endpointsendpoints
End of hand animationDisney shuttered its last-remaining hand animation Disney shuttered its last-remaining hand animation studio last yearstudio last year• Home on the RangeHome on the Range is the last 2-D film is the last 2-D film
• They sold all their equipmentThey sold all their equipment
– Pixar bought all the 2-D animation desks!Pixar bought all the 2-D animation desks!
• India’s 2-D development is bigger than everIndia’s 2-D development is bigger than ever
http://www.savedisney.com/news/se/killing_animation.asphttp://www.savedisney.com/news/se/killing_animation.asp
Recent Disney Hits$84,355,863 - Little Mermaid (1989) $145,863,363 - Beauty and the Beast (1991) $217,350,219 - Aladdin (1992) $312,855,561 - Lion King (1994) $141,579,773 - Pocahontas (1995) $100,138,851 - Hunchback of Notre Dame (1996) $99,112,101 - Hercules (1997) $120,620,254 - Mulan (1998) $171,091,819 - Tarzan (1999) $89,302,687 - Emperor's New Groove (2000) $84,056,472 - Atlantis: Lost Empire (2001) $145,794,338 - Lilo & Stitch (2002) $38,176,783 - Treasure Planet (2002) $85,005,561 - Brother Bear (2003)
Companies
Pixar
Disney
Sony Imageworks
Industrial Light and Magic (ILM)
Rhythm and Hues
Pacific Data Images(PDI)
Dreamworks SKG
Tippett Studios
Angel Studios
Blue Sky
Robert Abel and Associates
Giant Studios
Toy Story (1995)• 77 minutes long; 110,064 frames• 800,000 machine hours of rendering• 1 terabyte of disk space• 3.5 minutes of animation produced each week
(maximum)• Frame render times: 45 min – 20 hours• 110 Suns operating 24-7 for rendering
• 300 CPU’s300 CPU’s
Toy Story 2• 80 minutes long, 122,699 frames
• 1400 processor renderfarm
• Render time of 10 min to 3 days
• Direct to video film
Stuart Little500 shots with digital character500 shots with digital character6 main challenges6 main challenges
• Lip syncLip sync
• Match-move (CG to live-action)Match-move (CG to live-action)
• FurFur
• ClothesClothes
• Animation toolsAnimation tools
• Rendering, lighting, compositingRendering, lighting, compositing
Stuart Little
100+ people worked on CG100+ people worked on CG• 32 color/lighting/composite artists32 color/lighting/composite artists
• 12 technical assistants12 technical assistants
• 30 animators30 animators
• 40 artists40 artists
• 12 R&D12 R&D
Final Fantasy
Main characters > 300,000 polysMain characters > 300,000 polys1336 shots1336 shots24,606 layers24,606 layers3,000,000 renders (if only rendered once)3,000,000 renders (if only rendered once)
• typically 5 render revisionstypically 5 render revisions• render time per frame = 90 minrender time per frame = 90 min
Most layers per shot 500Most layers per shot 500934,162 days of render time on one CPU934,162 days of render time on one CPU
• they used 1200 CPUs = 778 days of renderingthey used 1200 CPUs = 778 days of rendering
Final FantasyRenderman (Pixar) used for renderingRenderman (Pixar) used for rendering
• direct illuminationdirect illumination
• many hacks to fake global illuminationmany hacks to fake global illumination
Maya used for modelingMaya used for modelingHairHair
• Modeled is splinesModeled is splines
• Lighting and rendering complicated as wellLighting and rendering complicated as well
Production Team Directors Modelers Lighting Character Animators Technical Directors Render Wranglers Tools Developers
Shader WritersShader Writers Effects AnimatorsEffects Animators Looks TeamLooks Team Security OfficerSecurity Officer JanitorJanitor LackeyLackey
Michel GondryGreat directorGreat director
Palm pictureswww.director-file.com/gondry
2005 Oscar Nominee, Best Writing,Best Lead Actress
At Clemons
Michel GondryLucas: Lucas with the Lid Off
Daft Punk: Around the World
Foo Fighters: Everlong
Chemical Brothers: Let Forever Be
Michel GondryWhite Stripes: Fell in Love with a Girl
White Stripes: The Hardest Button to Button
Beck: Deadweight
Michel GondryBjork: Human Bjork: Human BehaviorBehavior
Bjork: Army Bjork: Army of Meof Me
Bjork: Bjork: BacheloretteBachelorette