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

....express nearly as much as the face and the speech themselves [1] This has been partly exploited in traditional 2D animation together with other observations regarding subjective interpretation of object proportions and relative motion. Such practical knowledge can now guide the 3D animators [2][3] in bringing to life cartoon like or toy like characters as recently demonstrated with the movie Toy Story [4] Apart from that masterpiece which involved an important team (110 persons at Pixar [4] this type of work is limited to short pieces for cost reasons. At this moment, most of ....

Lasseter J. (1987) Principle of traditional Animation Applied to 3D Computer Animation. Computer Graphics 21(4), 1987, pp35-44

....at facial and bodymovement expressions. Appropriate models for action representation are also presented within this chapter. 7.5. 1 Principles of Animation In 1987, John Lasseter (Pixar) presented a significant paper on principles of traditional animation applied to 3D computer animation [64]. He points out that understanding the fundamental principles of traditional animation is essential to producing good computer animation and lists eleven fundamental principles: 1. Squash and Stretch. Defining the rigidity and mass of an object by distorting its shape during an action. 2. ....

J. Lasseter. "Principles of traditional animation applied to 3d computer animation." In pages 35--44. ACM Press, 1987.

....end. The Animation object is moved along this path by translating the graphics context in which the Animation is drawn. Although a default linear timing function is used in this example, different timing functions are available. For example, a slow in, slow out timing function is often useful [10]. Custom timing functions can also be defined by using a marker that takes the location of a (0, 0) coordinate, the location of a (1, 1) coordinate, and a line defining a function from (0, 0) to (1, 1) 7] The details of this example are less important than the marker creation strategy that it ....

Lasseter, J., "Principles of Traditional Animation Applied to 3D Computer Animation", Proceedings of the 1987 SIGGRAPH Conference on Computer Graphics and Interactive Techniques (SIGGRAPH 1987).

....dynamic, which we subsequently refer to as dynamic FFDs. The deformations can also be active, meaning that a normally rigid, static object can locomote or jump under its own internal forces. This offers an opportunity to help apply physics to generating cartoon style, expressive animations[1]. Lastly, the dynamic FFDs can be hierarchical, allowing for proper interactions between local and global deformations. Our representation of dynamic FFDs makes use of deformation modes. Deformation modes restrict the shape of an object to those expressible by a set of modal amplitudes. 1 There ....

J. Lasseter, "Principles of traditional animation applied to 3-d computer animation, " Proceedings of ACM SIGGRAPH: Computer Graphics, vol. 21, no. 4, pp. 35--44, 1987.

....The Beauty and the Beast is a prime example. The cutlery, pots, and other household objects dance, sing, and perform like human actors. Their motions are a result of smooth deformations of their original shapes. Computer graphics can provide helpful tools for modeling and animating such characters [1]. The free form deformation (FFD) 2] essentially a geometric spline deformation that is manipulable through a lattice of control points, is a popular tool for modeling and animating nonrigid objects [3] Typically, an object of interest is embedded within the spatial domain of the FFD and the ....

J. Lasseter, "Principles of Traditional Animation Applied to 3D Computer Animation," Proc. ACM SIGGRAPH: Computer Graphics, vol. 21, no. 4, pp. 35--44, 1987.

....the surgery itself is ready to proceed. At this point, the surgeon has carefully studied the intended target(s) and the surgical trajectory, so the main difficulty is accurate navigation along the selected trajectory. Intra operative guidance for surgical navigation is a current research area [48][106], but not a topic of this dissertation. In some rare cases, the surgeon may elect to modify the plan intra operatively based on information which was not visible in the medical images. Chapter 3: System Description 46 3.2.3 Some system requirements All the activity leading up to the surgery ....

Lasseter, J., "Principles of Traditional Animation Applied to 3D Computer Animation," Computer Graphics (Proc. ACM SIGGRAPH `87), 21 (4), July 1987, pp. 35-44. Bibliography 196

....One of the most important aspects of animation is timing. Motions and reactions must occur at precise relative times, otherwise the illusion of animation is destroyed. Viscosity is more than a damping of velocities, it also creates follow through, one of the timing elements important to animation [lass87]. Additionally, the animator needs to be able to specify when a particular action starts and stops, and what happens in between. Viscosity Viscosity is a measure of the damping, or limiting, of the velocities that a kinematic elastic material deforms at. By damping or clamping the velocities of ....

John Lasseter. "Principles of traditional animation applied to 3D computer animation ". Computer Graphics (SIGGRAPH '87 Proceedings), Vol. 21, No. 4, pp. 35--44, July 1987.

....camera motions to smoothly transport the viewer from one shot to the next. To plan the virtual camera s motion from focal point f i to focal point f j , the explanation system employs the following three strategies: # Anticipation: By employing the classical animation technique of anticipation #Lasseter 1987#, it prepares the student for an upcoming action by transporting the camera to the location where the action f j will be presented a few moments before the action occurs. # Jump Cut Avoidance: Toavoid jump cuts, which are jarring cuts from one shot to another that is only slightly di#erent ....

Lasseter, J. 1987. Principles of traditional animation applied to 3D computer animation. In Proceedings of SIGRAPH '87, 35#44.

....on Imaging Media, September 19 21, 1996 Cologne 2 1. Introduction One of the great challenges of 3D character animation is the combination of the strength of traditional cartoon techniques and computer animation, e.g. the fusion of the expressive capabilities of traditional animation [11] and the real time performability of 3D characters [9] 10] Recently available motion capture systems allow the description of complex and realistic movements of computer generated characters. In combination with powerful graphics hardware, real time animation of characters is possible for the ....

J. Lasseter, "Principles of Traditional Animation Applied to 3D Computer Animation", Computer Graphics, Volume 21, Number 4, July 1987

....staging, straight ahead action and pose to pose, follow through and overlapping action, slow in and slow out, arcs, secondary action, timing, exaggeration, solid drawing, and appeal. John Lasseter outlined the principles of traditional animation, and how they apply to 3 D computer animation, in (Lasseter, 1987). The following subsection explains these principles and how they correspond to real world properties to make animation look believable. 2.2.1 Descriptions of the Principles of Animation Squash Stretch describes the behavior of life like materials as they move or are put under pressure. As a ....

....is superfluous to rendered 3 D computer animation, since the characters and sets are modeled in three dimensions and sophisticated rendering techniques yield completely believable realistic images. Indeed, when Lasseter summarized the principles of animation for the computer graphics community (Lasseter, 1987), this principle was not included. Appeal is the catch all directive for creating characters, situations, stories, and drawings that people actually want to watch. The importance of appeal in character design cannot be overstated, although it is almost completely outside the scope of this ....

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Lasseter, J. (1987). Principles of traditional animation applied to 3D computer animation.

....of the object do not overlap. The strobing effect can be eliminated by stretching the object to cause the images to overlap. Also by squashing objects as they bounce against other objects, the collision appears to be more realistic, even though such distortions are rarely seen in the real world [4]. 4. IMPLEMENTATION OBJECT STATES Each object in the view seen by a local user will be displayed at a time t D, obtained from the causal surface function D = S(x,y,z) The causal surface is continuous and dynamically changes as users move and as network delays vary, such that the value of the ....

J. Lasseter, "Principles of Traditional Animation Applied to 3D Computer Animation", Computer Graphics, 21, 4, pp. 35-44, July 1987.

.... x i C x i 1 = S x C i 1 T i ( D x a C x i 1 D x a b ( b C x i 1 T x i ( D x a b ( T x i = The function b is defined as follows: The slowIO ( slow in, slow out ) function is a function traditionally used in animation [13] to make objects look as if they are moving realistically (fig. 3) The function just returns a value between 0 and 1 depending on the percentage of b that u represents. In the above equation, the slowIO function is being used to smoothly generate values between G and G MAX as D moves over the B ....

Lasseter, J., "Principles of Traditional Animation Applied to 3D Computer Animation," Computer Graphics (Proc. ACM SIGGRAPH `87), 21 (4), July 1987, pp. 35-44.

....judged satisfactory. This inability to specify the timing of an animation in an interactive way is a major drawback in all cases where the spontaneity of the animated object s behavior is important [42] In these cases, defining the animation by straight ahead actions is clearly a better solution [21] The problem of defining animations using straight ahead actions is addressed by performance animation systems, where an actor s performance is captured in real time by means of dedicated devices and is used to drive the animation of a synthetic character [42; 41; 39] The sensed values are put in ....

Lasseter J (1987) Principles of Traditional Animation Applied to 3D Computer Animation. Proc SIGGRAPH: 35-44.

....to respond to a broad range of problem solving contexts, their behavior spaces are populated with a large, diverse set of behaviors. Using the the behavior canon of the animated film (Noake 1988) as our starting point, we build on previous computational models of classical animation principles (Lasseter 1987) to specify behaviors. Behavior spaces contain: manipulative behaviors (e.g. the agent picks up and manipulates objects) vi sual attending behaviors (e.g. the agent watches a student perform an action) re orientation (e.g. the agent stands up) locomotive behaviors (e.g. the agent moves ....

Lasseter, J. 1987. Principles of traditional animation applied to 3D computer animation. In Proceedings of SIGRAPH '87, 35--44.

....we used to deal with them. Basic knowledge of animation techniques and implicit surfaces terminology is assumed. Introduction Over the years traditional animators have developed a wide range of tricks, hints and rules to create better illusion of life with their drawings [5] Lasseter [2] shows how these principles can be successfully applied to computer generated character animation. He created a memorable character, Luxo Jr. a young anglepoise lamp. In our project, we wanted to achieve a similarly entertaining effect using implicit surfaces. As traditional animation suggests, ....

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

....[16] The flesh deforms during motion according to both physical laws (e.g. gravity) and traditional animation principles [19] In [16] we implemented automatic generation of squash and stretch, follow through and exaggeration, a few of the rules of traditional animation. As stressed by Lasseter [11], these effects are important in computer generated character animation. Figure 2. The layers in the model: a graph specifying the articulated figure, a body created from blended limbs designed by a user and flesh covering the body 3. Model Figure 2 shows the three layers in our model. The graph ....

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

....apparent for the audience. As a result of these experiments a list of fundamental principles of traditional animation was compiled, which verbalised the experience gained by the animators at the Walt Disney Studios. These principles have been successfully applied to computer animation. Lasseter [9] describes the creation of Luxo Jr. an animation sequence involving an anglepoise lamp that appeals to the audience in the same way as Disney animation. In this work, traditional animation principles were applied manually. The fact that an anglepoise lamp was chosen as the character helped the ....

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

....controller program for our agents to achieve their goals. 2 RELATED WORK Witkin and Kass [1] proposed the spacetime constraints method of automatically generating motion (later enhanced by Cohen [2] Their goal was to see how many of the principles of animation outlined by Lasseter [3] could be derived automatically from first principles. Spacetime constraints generates kinematic motion which both satisfies high level goals (e.g. jump from here to there ) and also appears to be physically plausible. The resulting motion also tended to exhibit many of the principles of ....

Lasseter, John. "Principles of traditional animation applied to 3D computer animation." Computer Graphics 21 (Proceedings of Siggraph '87), pp. 35-44.

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LASSETER, J. 1987. Principles of traditional animation applied to 3d computer animation. In Computer Graphics (Proceedings of SIGGRAPH 87), 35--44.

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J. Lasseter, "Principles of traditional animation applied to 3D computer animation", in Proceedings Computer Graphics (ACM SIGGRAPH), vol. 21, pp. 35--44, (July 1987).

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Lasseter, J. 1987. "Principles of traditional animation applied to 3D computer animation," Proceedings of the 14 th annual conference on Computer graphics. Anaheim, CA, July 27 - 31.

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John Lasseter, "Principles of traditional animation applied to 3--D computer animation", in Computer Graphics (SIGGRAPH '87 Proceedings) , 1987, vol. 21, pp. 35--44.

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J. Lasseter, "Principles of traditional animation applied to 3D computer animation", in Proceedings Computer Graphics (ACM SIGGRAPH), vol. 21, pp. 35--44, (July 1987).

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J. Lasseter, "Principles of traditional animation applied to 3D computer animation," in Proceedings Computer Graphics (ACM SIGGRAPH), July 1987, vol. 21, pp. 35-- 44.

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J. Lasseter, "Principles of Traditional Animation Applied to 3DComputer Animation," Computer Graphics (Proc. Siggraph 87), Vol. 21, No. 4, July 1987, pp. 35-43.

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

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Lasseter J (1987) Principles of Traditional Animation Applied to 3D Computer Animation, Proc. SIGGRAPH '87, Computer Graphics, Vol. 21, No4:35-44.

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Lasseter J (1987) Principles of Traditional Animation Applied to 3D Computer Animation, Proc. SIGGRAPH '87, Computer Graphics, Vol. 21, No4, pp.35-44

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Lasseter J (1987) Principles of Traditional Animation Applied to 3D Computer Animation, Proc. SIGGRAPH '87, Computer Graphics, Vol. 21, No4:35-44.

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Lasseter J (1987) Principles of Traditional Animation Applied to 3D Computer Animation. Proc. SIGGRAPH : 35 - 44.

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