摘要:
Current handheld marking devices typically use hand movement to create marks on a surface. Marks, in this context, can be defined as an area on a surface having different physical properties from its surroundings. Such marks are created by the motion of a marking region that travels on a surface plane, creating a mark over time. Examples of such devices are: pens, brushes, markers, spray tools, and engraving instruments.Marking devices carry motion from the brain, to the hand, through the device and onto the surface. A feedback loop is created from the brain to hands to a final mark on a surface. The mark is observed as it is created and loops back into the brain. This creative mark making loop is the process to generate a visual element or design on a surface.Typically this loop is consistent across handheld marking devices.
摘要:
Animation of an object from a character modeling and/or animation tool is converted from a representation used by that tool to a representation used in a runtime animation system, such as a game engine. Such a tool typically represents the object using a source structure and a source skin. The runtime animation engine typically uses a target structure, target skin and shading to represent animation of an object. In addition to transferring motion of the object from its source structure to the target structure, deformation and shading also are converted. Low resolution information about the deformation of the source skin is converted into a set of skinning weights for associating the target skin with virtual bones added to the target structure and animated deformation data for each frame of animation. High resolution detail from the deformation of the source skin is converted into a set of normal maps, one or more masks and animated mask parameters for use by one or more shaders.
摘要:
The problem of editing motion data can be solved by providing a way to specify control points (herein called “handles”) along the path of the motion data and to describe the motion data as a combination of layers of information describing the motion in relationship to these handles. A first layer may describe, for each point in the motion data, the distance of the point between the handles. For example, a path between two handles may be defined. Each point in the motion data is closest to a point along that path. That point along the line has a distance to the two handles. These distances may be defined as a percentage of the length of the path. A second layer may describe the offset of points in the motion data from the line between the two handles.
摘要:
Motion may be transferred between portions of two characters if those portions have a minimum topological similarity. The elements of the topology that are similar are referred to as basic elements. To transfer motion between the source and target characters, the motion associated with the basic elements of the source character is determined. This motion is retargetted to the basic elements of the target character. The retargetted motion is then attached to the basic elements of the target character. As a result, the animation of the basic elements in the topology of the target character effectively animates the target character with motion that is similar to that of the source character.
摘要:
Motion may be transferred between portions of two characters if those portions have a minimum topological similarity. The elements of the topology that are similar are referred to as basic elements. To transfer motion between the source and target characters, the motion associated with the basic elements of the source character is determined. This motion is retargetted to the basic elements of the target character. The retargetted motion is then attached to the basic elements of the target character. As a result, the animation of the basic elements in the topology of the target character effectively animates the target character with motion that is similar to that of the source character.
摘要:
The problem of editing motion data can be solved by providing a way to specify control points (herein called “handles”) along the path of the motion data and to describe the motion data as a combination of layers of information describing the motion in relationship to these handles. A first layer may describe, for each point in the motion data, the distance of the point between the handles. For example, a path between two handles may be defined. Each point in the motion data is closest to a point along that path. That point along the line has a distance to the two handles. These distances may be defined as a percentage of the length of the path. A second layer may describe the offset of points in the motion data from the line between the two handles.
摘要:
Subdividing rotation between two poses in three dimensions may be accomplished in three parts. First, data defining the two poses is obtained from the animation or modeling interface. Second, a path associated with the two poses is determined. Third, using quaternion interpolation, the roll between the two poses is interpolated at intermediate positions along the path. The amount of roll at each of these intermediate positions then may be applied to three dimensional structures used for character rigging.
摘要:
Motion may be transferred between portions of two characters if those portions have a minimum topological similarity. The elements of the topology that are similar are referred to as basic elements. To transfer motion between the source and target characters, the motion associated with the basic elements of the source character is determined. This motion is retargetted to the basic elements of the target character. The retargetted motion is then attached to the basic elements of the target character. As a result, the animation of the basic elements in the topology of the target character effectively animates the target character with motion that is similar to that of the source character.
摘要:
The problem of editing motion data can be solved by providing a way to specify control points (herein called “handles”) along the path of the motion data and to describe the motion data as a combination of layers of information describing the motion in relationship to these handles. A first layer may describe, for each point in the motion data, the distance of the point between the handles. For example, a path between two handles may be defined. Each point in the motion data is closest to a point along that path. That point along the line has a distance to the two handles. These distances may be defined as a percentage of the length of the path. A second layer may describe the offset of points in the motion data from the line between the two handles.
摘要:
A face, as well as any other soft tissue of a character, can be animated much in the same way that a skeleton is animated by creating a soft tissue solver attached to the surface mesh. In particular, deformation objects are associated with regions of the surface mesh. The deformation objects deform the mesh according to deformation operators in response to a change in a control object. This soft tissue solver can be generated automatically given a set of salient points specified on an input mesh and a format file for the class of objects of which the input mesh is an example. The format file specifies what the salient points are, and the relative placement of the deformation objects and control objects as functions of the salient points. Specific deformation operators can be defined and associated, through the format file, with the deformation objects and control objects. The format file for a class of objects, such as for human and humanoid heads, and related operators can be determined based on experimentation and observation of the object being modeled. Through such a soft tissue solver, the behavior of the deformation of the surface mesh is quantified and controlled by direct manipulation of the points on the mesh. Thus, the surface of the object can be animated in a manner similar to how animation of a skeleton is defined using inverse kinematics. Because the surface of the object is directly related to its appearance or aesthetics, this animation capability is referred to herein as “quantitative aesthetics.”