LASSETER J.: Principles of traditional animation applied to 3d computer animation. Proceedings of SIGGRAPH 87 21, 4 (July 1987), 35--44. 3  Home/Search   Document Not in Database   Summary   Related Articles   Check

....is aligned with the beat time event. At which point, it is blended into the main motion. Hence, negative values of X represent time before the beat, whilst positive values of X represents time after the beat event. This enables anticipation and overshoot, which are conventional animation effects [13], to occur in the perturbed motion. Observe that our chosen perturbation curve is a 2D curve and the original motion a 3D curve in Figure 7. Consequently, the amplitudes of the perturbation curve are used to scale the normalized Frenet Frame s normals found for each point of the original motion. ....

J. Lasseter, Principles of Traditional Animation Applied to 3D Computer Graphics, SIGGRAPH'87, 1987

....awkwardness that quickly marks the performance as synthetic. It is not a computer animation problem per se conventional but skilled key pose animators are able to produce excellent gestures in three dimensional (3D) characters by careful application of classic rules for conventional animation [124, 81]. But there is a considerable gap between what an animator intuits in a character (and is therefore able to animate) and what happens in a procedurally synthesized movement. The McNeill Cassell approach to gesture is rooted in psychology and experimental procedures that use human observers to ....

John Lasseter. Principles of traditional animation applied to 3D computer animation. In Maureen C. Stone, editor, Proceedings of SIGGRAPH '87, volume 21, pages 35 44. ACM SIGGRAPH, ACM Press, July 1987.

.... not by the perfect lip synching, but by the co occurrence of movements [15, 18, 28] Anatomically correct movement is therefore not the prime problem, rather using exaggeration simplification as well as some anticipation of the movement is often more valuable to produce a more expressive animation [20]. 3 Communicative facial expressions Faces are an important mean of communication and may have several communicative functions. They are used to control the flow of conversation; that is they help in regulating the exchange of speaking turns, keeping the floor or asking for it. Actions such as ....

J. Lasseter. Principles of traditional animation applied to 3D computer animation. SIGGRAPH'87, Computer Graphics, 21(4):35--44, July 1987.

....surfaces [13] Fig. 8. Left: visualization of sample points as scales on the surface. Right: visualization of the same sampling but with a piecewise polygonization. IV. Controlling volume during animations The preservation of constant volume of deformable objects is desirable in animation [22]. Additionally, the user may desire precise control over volume variation in order to emphasize certain motion. The problem of volume preservation has been solved by methods based on Lagrange multipliers in the specific case of objects discretized into lattices of fixed topology [33] 34] We ....

John Lasseter. Principles of traditional animation applied to 3d computer animation. Computer Graphics, 21(4):35--43, July

....mass or flock destination, to rich low level motion. However, the abstraction that these tools introduce restrict the animator s ability to specify the details of the generated motion. Unfortunately it is often this detailed motion which is most responsible for the expressive power of animation [14]. This is a classic tradeoff in computer animation: automated complexity vs. expressive control. Zeltzer [26] proposes a useful hierarchy of the different control modes for animation. He identifies three levels: Task Level: The animator need only specify general goals or constraints on the ....

John Lasseter. Principles of traditional animation applied to 3D computer animation. In Computer Graphics (SIGGRAPH 87 Proceedings), pages 35--44. ACM SIGGRAPH, Addison--Wesley, 1987.

....of the animated objects at various points in time is specified by the animator and the computer generates the in between frames using linear or other forms of interpolation. In early systems, specification of keyframes required the animator to 6 directly manipulate the DOFs of an object [Mez68, BW71, Csu71, KB84, Stu84, MTT85b, SB85, Las87]. Later systems allowed the animator to specify the position of specific points on the objects being animated (such as a hand or foot ) and used inverse kinematics to determine the appropriate values for the creature s internal DOFs [KB82] GM85] BMW87] Procedural descriptions of motion, often ....

J. Lasseter. Principles of traditional animation applied to 3D computer animation. Proceedings of SIGGRAPH '87. In ACM Computer Graphics. 21(4):35-44, July 1987.

....will almost always involve many motions, executed in sequence and in tandem. We will examine several mechanisms for combining motions. Traditional animators have long known that subtle movements and mannerisms are crucial to portraying engaging, convincing personalities [Thomas 1981, Lasseter 1987] In the research community, Morawetz [Morawetz 1990] was among the first to explicitly recognize this by formulating secondary actions independent, primitive motions representing mannerisms and gestures and structuring an animation so that the secondary motions could be grafted on top of ....

John Lasseter. Principles of Traditional Animation Applied to 3D Computer Animation, Computer Graphics (Proceedings of SIGGRAPH 87), 21(4), pp. 35-44 (July 1987, Anaheim, California). Edited by Maureen C. Stone.

....not have a degree of freedom, the system shows an animation which represents that the system tries to move the object but the object does not move. In Figure 8, the object is stretched to the direction of the pull. This is a kind of cartoon technique that distorts characters in cartoon animations[5]. This system uses HiRise constraint solver[1] The original TRIP uses ordinary linear equation solver, and it cannot handle over under constrained systems. This is a serious problem because the system cannot generate a picture from constraint systems that include bugs. HiRise can solve ....

John Lasseter. Principles of traditional animation applied to 3D computer animation. ACM Computer Graphics, 21(4):35-- 44, July 1987.

....motion [5, 12, 17, 18] This type of system is common in 2 d animation systems, but is less common in 3 d systems. An extension of the technique, called parametric key framing, is based on defining the parameters of objects in the animation at key frames (e.g. position, velocity and acceleration) [11, 13]. This is more suited to 3 d animation, since typically it allows closer control of the many degrees of freedom present in the system. This type of animation can be seen as offering explicit control, since exact 1 Figure 1: Existing animation techniques control can be exerted over all aspects of ....

....of the final result depends primarily on the skill of the animator. An example of this is shown in in work by Lasseter where by the motion of a hopping object is constrained from penetrating the floor by adjusting its path, thus preventing the anomaly without an inherent model of the process [13]. The apparent realism of the final motion is entirely due to the experience and knowledge of the creator. Simulation methods, in contrast, require accurate models to be created of real (or predicted) behaviour before anything can be defined. This behavioural model is then either used to ....

J. Lasseter. Principles of traditional animation applied to 3d computer animation. Computer Graphics, 21(4):35--44, July 1987.

.... simple animation and speculated on ways in which animation would be used in the future [76] The Xerox Alto and Star introduced animation to the computer desktop [70] Lassiter bridged the gap by using Disney like effects like anticipation, slow in slow out, and squashing in the user interface [41]. Chang and Ungar included many of these effects in a user interface toolkit to simplify their inclusion in interfaces [14] Several widget sets have been developed to allow the programmer to include animation in the interface. The Artkit toolkit allows programmers to create transition objects ....

....Planned widget set extensions that will include other behaviors such as shrinking, growing, and swiping should further extend the user base. Adding other optional techniques such as motion trails and slow in slow out should lessen the distraction caused by the animations as demonstrated in [41, 14, 34]. 109 Programmer and user reaction to animated widgets has been encouraging (see Chapter 4) and the use should continue as the widget capabilities increase. The Agentk toolkit, including the animated widgets and most of the programs described in this thesis, is available at ....

[Article contains additional citation context not shown here]

John Lasseter. Principles of traditional animation applied to 3d computer animation. ACM Journal of Computer Graphics, 21(4):35--43, July 1987.

....So there is some gap between what such an animator intuits in a character (and is therefore able to animate) and what happens in a procedurally synthesized movement. Key pose animators have managed to bridge the technology gap by careful application of classic rules for conventional animation [35,25]. The McNeil Cassell approach to gesture is rooted in psychology and experimental procedures that use human observers to manually note and characterize a subject s gestures during a story telling or conversational situation. The difficulty in this approach is hidden within the decision to call ....

....in extracting other manifestations of Effort and focusing our attention solely on the influence of Effort on arm movements. Other methods we used to derive an empirical model of Effort included descriptions of Effort from the literature [7,17,26,28] application of traditional animation principles [25,35], and much experimentation with feedback from a CMA. First, we describe the set of low level, quantitative movement parameters. Then, we show how these parameters are set based on the settings for the Effort parameters. There are three types of low level movement parameters: those that affect ....

[Article contains additional citation context not shown here]

Lasseter, J. Principles of traditional animation applied to 3D computer animation. In Proc. of SIGGRAPH'87, volume 21, pp. 35-44, July 1987.

....and position of the object. Witkin and Kass [81] used spacetime constraints to produce realistic motion of the simple articulated model of a lamp. The constraints permitted specifying end positions or intermediate altitudes requirements. The result conformed to traditional animation principles [42] such as anticipation, squash and stretch, follow through, and timing. Even though the motion of animals is not the exact result of energy minimization ( 30] this technique captures one general aspect of live motion. Barzel and Barr [9] proposed a modeling system based on dynamic constraints. ....

John Lasseter. Principles of traditional animation applied to 3D computer animation. In Maureen C. Stone, editor, Computer Graphics (SIGGRAPH '87 Proceedings), volume 21, pages 35--44, July 1987.

....a small part of the world of animation animation of rotation. As a background for the following chapters, we will in this section give an overview of how animation was done traditionally (i.e. before the computer) and how it is done now. The presentation is based on [Foley et al. 1990] and [Lasseter, 1987]. An animation is based on a story a manuscript. The manuscript is used to make a storyboard, in which it is decided how to split the story into individual scenes. For each scene a sketch is made with some text describing the scene. Based on the storyboard, a series of key frames is produced ....

John Lasseter. Principles of traditional animation applied to 3D computer animation. Computer Graphics, 21(4):35--44, July 1987.

.... to enhance the illusion of the animation [81] This section presents a subset of effects used in both hand drawn and computergenerated animation: anticipation, squash and stretch, motion blurring, exaggeration, slow in slow out, arcs, secondary action, follow through, and overlapping action [35]. Figure 2.1 uses a number of these effects, and is used as an example throughout this section. Anticipation prepares the view for the next movement in the animation, so they can expect the movement before it happens. This can be used to broadcast the nature of the action or to attract the ....

....convincing, the cross sectional area of an object should remain constant during a squash operation. The stretch effect is also used to demonstrate an object rapidly accelerating, and when motion blurring is not available the stretch effect is an alternative mechanism for temporal anti aliasing [35]. In the bouncing ball example, the ball is elongated along its trajectory. On the way down, the ball appears to be pulled towards the ground, and on the way up, the ball seems to leap off the ground. The Disney animators claim this adds visual realism to the final animation. If an object moves ....

[Article contains additional citation context not shown here]

John Lasseter. Principles of traditional animation applied to 3D computer graphics. In Proceedings of the ACM SIGGRAPH '87, pages 35--44, Anaheim, CA, July 1987.

....vector in the buffer to the previous vertex position, and render a line segment between the previous and new positions. 6 Integration With Animation and MultiResolution Mesh Many systems have been created to address animation in a stylized rendering architecture, including [Rade99] and [Lass87]. In our system, no new information from the modeler is necessary beyond that required for traditional computer animation. We export from a 3D modeling tool a bones based representation of the animation to which we apply standard key frame animation [Digi00a] Our Multi Resolution Mesh ....

John Lasseter, Principles of Traditional Animation Applied to 3D Computer Animation. In 3URFHHGLQJV RI $&0 6,**5$3+ ##, pages 35-44. 1987.

No context found.

LASSETER J.: Principles of traditional animation applied to 3d computer animation. Proceedings of SIGGRAPH 87 21, 4 (July 1987), 35--44. 3

No context found.

Lasseter, John. Principles of Traditional Animation Applied to 3D Computer Animation. SIGGRAPH 87 Conference Proceedings, pages 35-44, 1987.

No context found.

John Lasseter. Principles of traditional animation applied to 3D computer animation. In Computer Graphics (Proceedings of SIGGRAPH 87), volume 21, pages 35--44, July 1987.

No context found.

Lasseter, J. Principles of traditional animation applied to 3d computer animation. In SIGGRAPH '87 Conference Proceedings (1987), pp. 35--44.

No context found.

John Lasseter. Principles of traditional animation applied to 3D computer animation. In Computer Graphics (Proceedings of SIGGRAPH 87), volume 21, pages 35--44, July 1987.

No context found.

Lasseter, J. Principles of Traditional Animation Applied to 3D Computer Animation. Computer Graphics. 1987, Vol. 21, No. 4, 35-44.

No context found.

Lasseter J., Principles of Traditional Animation Applied to 3D Computer Animation, Computer Graphics Proceedings (SIGGRAPH 87), (1987), 35-44.

No context found.

Lasseter, John. Principles of Traditional Animation Applied to 3D Computer Animation. SIGGRAPH 87 Conference Proceedings, pages 35-44, 1987.

No context found.

John Lasseter. Principles of traditional animation applied to 3D computer animation. In Computer Graphics (Proceedings of SIGGRAPH 87), volume 21, pages 35--44, July 1987.

No context found.

R. Lasseter. Principles of traditional animation applied to 3D computer animation. Comput. Graph. (SIGGRAPH Proc.), pages 35--44, 1987.

First 50 documents

Online articles have much greater impact   More about CiteSeer.IST   Add search form to your site   Submit documents   Feedback  

CiteSeer.IST - Copyright Penn State and NEC