In this work we propose a framework for using human acting as input for the animation of non-humanoid creatures; captured motion is classified using machine learning techniques, and a combination of preexisting clips and motion retargeting are used to synthetize new motions. This should lead to a broader use of motion capture.
Abstract: The number of products capable of displaying stereoscopic (also known as 3D) images has been growing in recent years. The use of this technology has outgrown the silver screen and is now available in televisions, computers, tablets, and even cell phones. Due to its nature, content created for stereoscopic media requires attention in relation to some characteristics not present in the context of monoscopic media. With a focus on image creation, the objective of this research was to assess how different stereoscopic image generation methods can affect human perception. To achieve this a virtual environment was created and from it different videos were generated using various methods including converging cameras, parallel cameras, and depth image-based rendering (DIBR). These videos were shown to participants who assessed the picture quality, depth quality, and visual comfort of the media. It was found that there was very little difference between the perception of images generated by parallel and convergent cameras, while there was a substantial difference in terms of perception between these two types of image and DIBR images. Such results can significantly affect the choice of technology for stereoscopic image generation, influencing the production costs, the methods involved, and human and machine time consumption.
Dias Velho e os Corsários (1988) is a Graphic Novel, written and illustrated by Eleutério Nicolau da Conceição, which depicts a pirate invasion to the island of Santa Catarina in the 17th century. Using a historic event as inspiration the work successfully represents local themes such as culture and social organization. The audience to which the publication was originally targeted (13+) allowed the story to be represented in a realistic manner, with complex characters and episodes of violence and death. This work details the adaptation of such story to the media of animation and a significantly younger audience (pre-schoolers).
This month I complete one year teaching at UFSC, in celebration of this I wanted to share the work of some of the students in one of my classes: 3d Animation I or EGR7249. This is the first contact of the students with the art of 3d animation in the course. Congratulations to all students for the effort and great work.
I have recently been invited to teach Animation for the Design course at Universidade Federal de Santa Catarina. It is very gratifying being able to return to the college where I have studied, as a faculty member, and I sincerely hope I can contribute to the institution and its students.
The course has seen great improvement since when I was a student. Specially regarding animation, which was a underdeveloped area at the time. I hope I can share some student content here soon.
People close to me might be aware that, for the last year and a half, I have been atending to the masters program at the post-graduate program of Design at Universidade Federal de Santa Catarina(Brazil). I have also use that as an excuse to not perform many time consuming activities like freelance jobs, friend gatherings and others. Tomorrow this excuse will be over with.
At 9am. in the Drummond Auditiorium I’ll be presenting my masters’ dissertation entitled: The quality of the stereoscopic effect assessed in relation to different image creation methods. The session will be open to members of academy and society in general.
This last job I’ve participated in was of a very rare breed. Animaking was bold enough to mix a bunch of different techniques, namely live action, miniature models, stop motion, cg and post… phew. It all blends into a nice view of the Aircross automobile running through the atacama desert…
I was a small part of this great effort, running most particle sims. It was very nice to work with some old friends and meet a few more nice people.
In the uni lab where I work (DesignLab) the creation of av content through computer graphics is a daily routine. Therefore we occasionally have to discuss workflow, project, file and asset management In the companies I have previously worked, as well as in our lab, I’ve never used a complete computational solution to handle this tasks. Most of the times management of many production aspects happens through best practices and some minor computer programs that help ease repetitive tasks or lessen user error potential of other tasks. During my last vacations, out of curiosity, I decided to research what would be necessary to automate management of of digital productions in our lab. Firstly I sketched out some diagrams of how worked flow, most places I’ve worked. I also brought down to paper rules for naming, storage, and backup… rules I’ve learned ad hoc.