Nadia Magnenat Thalmann and Daniel Thalmann. Computer Animation Theory and Practice. SpringerVerlag, 1990.  Home/Search   Document Not in Database   Summary   Related Articles   Check

....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 ....

N. Magnenat-Thalmann and D. Thalmann. Computer Animation: Theory and Practice. Springer-Verlag, 1985.

....literature, Frohlich[5] and Yeadon[14] provide detailed analysis of human motion in flight, and Eaves[3] provides insight on the mechanics of diving. In the computer graphics community, Badler[1] has developed a system to model kinematics and dynamics of humans, and Magnenat Thalmann and Thalmann[9] have explored methods for producing realistic animations and images of humans. The dynamic simulation of fluid bodies has been addressed in several ways. One of the most accurate is to solve the 3D Navier Stokes equations that describe the fluid body[7] This approach is well suited for ....

Magnenat-Thalmann, N., Thalmann, D., Computer Animation: Theory and Practice, Springer-Verlag, New York, 1990.

....such as stand, sit, crawl, prone, or supine can be defined by the relative positioning of various parts of the body. When simulating human motions, an animation system must create suitable motions between these static postures. Most classical animation systems use keyframe or key pose animation [14] for moving an object from one posture to another. An interactive positioning program is used to define the location and orientation of parts of the object at various key times. The in between frames are then calculated by interpolating the individual joint angles. Key based techniques, though ....

Magnenat-Thalmann, N., and Thalmann, D. Computer Animation: Theory and Practice. Springer-Verlag, New York, NY, 1985.

....time savings. This iterative technique is similar to filling in an outline. The structure of this outline, originally developed by the film and animation community[1, 25] for describing animated and live action sequences, forms the framework of our system. The framework consists of a hierarchy[18] that describes an animation as a sequence 2 of scenes containing a number of shots (see Figure 1.1) Each shot consists of any number of individual frames. In particular, a scene is a piece of animation with a collection of objects in specific locations during a period of time. A scene may be ....

....these works as they relate to the relevant sections of the thesis. 2. 1 Animation Production The utility of storyboards as a graphical outlining tool has long been known to conventional animation production houses[25] and some computer generated animations have used hand drawn storyboards as well[18]. In general, however, computers have not played a role in managing storyboards and associated information, although as far back as 1978 Catmull[3] stressed the value of using computers for this purpose. Recently, there has been some interest in creating interactive storyboard systems[8] but at ....

Magnenat-Thalmann, N., and Thalmann, D. Computer Animation: Theory and Practice. Springer-Verlag, 1985.

....animator to describe composite objects and access their structures using interactive techniques. The main problem is that current interactive animation systems have no efficient or expressive tools to describe and manipulate an object hierarchy. To specify motions, many current animation systems [5,3,6] offer the animator one or more animation techniques (or specification methods) task level, guide(or interactive) and programming [8] Few interactive animation systems, however, enable the animator to use all of these techniques to define motions for a node of an object hierarchy in a combined ....

Nadia Magnenat Thalmann and Daniel Thalmann. Computer Animation:Theory and Practice. Addison-Wesley Publishing Company, 2 edition, 1990.

....movie using this model. 3.1 Atomic Objects This section presents the atomic objects layer. This layer contains objects that are considered indivisible (i.e. they are rendered in their entirety) The exact representation of an atomic object is application dependent. In animation, as described in [TT90] the alternative representations include: 1) wire frame representation: An object is represented by a set of segment lines. 2) surface representation: An object is represented by a set of primitive surfaces, typically: polygons, equations of algebraic surfaces or patches. 3) solid ....

....and Behind relationships are viewpoint dependent. We are not aware of specific algorithms to decide whether an object is in front of another object. However, a similar problem: the hidden surfaces problem (i.e. deciding what surfaces of a 3D object are visible) has been studied extensively [TT90] Therefore, we believe that algorithms to establish InFrontOf and Behind exist. 6.3 Spatial and Temporal Relationships Some of the spatial and temporal relationships can be expressed as a combination of spatial relationships and temporal relationships using logical connectors such as AND, OR, ....

Nadia Magnenat Thalmann and Daniel Thalmann. Computer Animation Theory and Practice. Springer-Verlag, 1990.

....in the presented objects is based on temporal data. In cartographic animations, there is a change relative to factors other than time, identified University of Siegen, D 57068 Siegen, Germany fhartmut,grauerg fb5.uni siegen.de, http: www winfo.uni siegen.de as the visual animation variables [11], such as a change in the camera position, ligth source or other non temporal variables. Therefore, VR based interaction methods like navigating the spatial or temporal dimension of the visualization are offered to better investigate the data set and immerse in the presented virtual objects. In ....

N. Magnenat-Thalmann and D. Thalmann. ComputerAnimation: Theory and Practice. Springer, 1990.

....in TBAG, Definition of reusable geometry is handled by programming language support for definition of constants of arbitrary types. TBAG: A High Level Framework for Interactive, Animated 3D Graphics Applications Conal Elliott, Greg Schechter, Ricky Yeung, and Salim Abi Ezzi SunSoft, Inc. 2550 Garcia Avenue, M S MTV10 228, Mountain View, CA 94025 USA. phone:415 336 3086,6950,1791,2141 . email: conal,gds,ryeung,salim eng.sun.com. 2 [To Appear in the SIGGRAPH 94 Conference Proceedings] Parameterized reusable geometry is handled by definition and invocation of functions that ....

....by programming language support for definition of constants of arbitrary types. TBAG: A High Level Framework for Interactive, Animated 3D Graphics Applications Conal Elliott, Greg Schechter, Ricky Yeung, and Salim Abi Ezzi SunSoft, Inc. 2550 Garcia Avenue, M S MTV10 228, Mountain View, CA 94025 USA. phone:415 336 3086,6950,1791,2141 . email: conal,gds,ryeung,salim eng.sun.com. 2 [To Appear in the SIGGRAPH 94 Conference Proceedings] Parameterized reusable geometry is handled by definition and invocation of functions that produce geometry. The resulting customization power is not ....

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Nadia Magnenat-Thalmann and Daniel Thalmann. Computer Animation: Theory and Practice. SpringerVerlag, Tokyo, 1985.

....each of the atomic and composed objects layers in more detail. 3.1 Atomic Object Layer This layer contains objects that are considered indivisible (i.e. they are rendered in their entirety) The exact representation of an atomic object is application dependent. In animation, as described in [TT90], the alternative representations include: 1. wire frame representation: An object is represented by a set of segment lines. 2. surface representation: An object is represented by a set of primitive surfaces, typically: triangles, polygons, equations of algebraic surfaces or patches. 3. solid ....

Nadia Magnenat Thalmann and Daniel Thalmann, editors. Computer Animation Theory and Practice. Springer-Verlag, 1990.

....use to the extent that the creation of high quality animation was confined to a few worldrenowned centres of expertise. Consequently, when the first graphics computers were applied to the production of animation, the focus of development was increasing the speed at which images could be generated [14]. Since the early sixties the quality and speed at which acceptable pictures may be synthesised have improved rapidly, thanks to the efforts of the computer graphics research community, many of whom have advocated the application of parallelism to frame production [12] However, as the image ....

Nadia Magnenat-Thalmann and Daniel Thalmann. Computer Animation: Theory and Practice. Springer-Verlag, Second Edition. 1990.

....but few actually tackle the problem of scheduling long term activities in a program. Some systems have been developed for specific areas, like FORMES in music, ASAS for animation [Rey82] or CINEMIRA, another animation environment that has a notion of animated types to control variations over time [Mag85]. TEMPO seems more general and more flexible, however, despite several restrictions that we hope to relieve in future versions. Research will proceed in three main directions. First temporal expressions still look very much like programming, and could be made more user friendly. A project for ....

Nadia Magnenat-Thalmann and Daniel Thalmann, "Computer Animation: Theory and Practice", Springer-Verlag, 1985.

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N. Magnenat Thalmann, D.Thalmann (eds) Computer Animation: Theory and Practice, Springer Verlag, Tokyo (2nd edition), 1990

....to relying on instances of existing acted motion, we shall rely on existing tools for motor learning, namely the principle of guiding a motion. The specific challenge of creating tools for human animation has been taken on by few. The work of Badler et al. 2] Magnenat Thalmann and Thalmann[17], and Boulic et al. 4] illustrate the present state of the art in modeling humans using predominantly kinematic methods. The method presented in [3] includes the use of kinematicallyguided corrections to motions. A method of generalizing existing rotoscope data while preserving original motion ....

N. Magnenat-Thalmann and D. Thalmann. Computer Animation: Theory and Practice. Springer-Verlag, New York, 1990.

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Nadia Magnenat Thalmann and Daniel Thalmann. Computer Animation Theory and Practice. SpringerVerlag, 1990.

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Magnenat-Thalmann, Nadia, and Daniel Thalmann. Computer Animation: Theory and Practice, Springer-Verlag, 1985. f7g

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