No full-text available
To read the full-text of this research,
you can request a copy directly from the authors.
Keyframe animation and motion capture for creating animation: a survey and perception from industry people
Abstract
The history of animation is generally referred to early production of traditional animation. It has begun in the early 1900. "Animation is the essence of animation" as explained by Halas (1991). It is a series of images that appear to be in motion. It can be either traditional animation or computer animation. In addition, Greenberg (1997) explains "Animation is a deliberately interpreted "illusion of life". It has been practiced for the last 70 years in both drawn and stop motion animation, and as such, is not an attempt to mimic human and animal life exactly" Traditionally animation is produced by drawing illusion of movement created by photographing a series of individual drawings on successive frames on film. Gleicher (1999), explains "Animation is a uniquely expressive art form: it provides the creator with control over both the appearance and the movement of characters and objects. This gives artists tremendous freedom, which when well used, can create works with tremendous impact." According to the historical timeline, many forms of animation have been introduced. This includes cel animation, clay animation, stop frame animation, three dimensional (3D) computer animation and virtual reality. With the rapid growth of this industry various types of techniques, methodologies and computer technologies have been developed, for instance keyframe animation, non-linear animation, motion capture, procedural animation and etc. This research discusses about producing animation by using two methods: motion capture and keyframe animation. Throughout this, the author covers some feedback from the respondents about the priority of using these both methods. It also highlights the pros and cons of these two approaches.
... Making 3D animation itself requires long processing and a large amount of funding. This is because most 3D animated films still use keyframing technology which causes the process to make an animation to take a lot of steps [1]. The cost of making 3D animation in a studio with the full support of animation tools costs around 3000 Euros per month depending on the duration of the tool usage and data collection. ...
... Generating animation using the motion capture method has been proposed by many researchers [1]- [9]. From the previous related research, the motion capture method of the humanoid model for sports animation movements using markerless sensors did not always produce good results. ...
... The mapping step is performed to map Kinect skeleton joints data into humanoid bones data. This mapping process will produce a motion animation of the humanoid 3D model [1]. There are 25 joints in the Kinect data while there are 52 joints in the humanoid bones model. ...
The definition of 3D animation is a representation of objects that are made into animation using characters or objects to look more alive and real. Making 3D animation itself requires a long process and a large amount of funding. This is because most 3D animated films still use key-framing technology which causes the process to make an animation to take a lot of steps. In this research, a motion capture technique with an enhancement filter is proposed to make humanoid movement animation using Kinect 2.0. The method consists of several steps such as recording every skeleton joint of human movements using a Kinect sensor, filtering the movements to minimize the shakiness and jitter from Kinect data, mapping skeleton data to the bones of a rigged humanoid model, and recording each movement to make animation. The final result is in the form of a 3D animation of modern dance movements. The method is tested by measuring the similarity between the 3D humanoid model and the user movement. From the 10 animations of modern dance generated by the method and performed by the user, a questionnaire to measure the MRI and MSE value is distributed and the result achieves 4.27 on a scale of 5 for the averaged MRI score and 0.0539 for the MSE score. The MSE value is less than 5% which means the system is categorized as acceptable.
... Referring to fig. 6 (a), the appearance of the folder before the mouse hover, (b), and the embossed appearance with the name of the folder is displayed when a mouse is hovered on top. Animation can be distracting to the users especially in the case of too much of use of it and it is said to be a unique expression of art [30], [31]. Thus, animation is practiced as a simple representation in the form of mouse hover action in this task. ...
... Thus, animation is practiced as a simple representation in the form of mouse hover action in this task. However, this animation did not contribute much to the blind user due to the reason that to interpret a continuous movement it involves the coordination of eye and brain to assemble the sequence of images and this is not possible for a blind user [31]. ...
... Keyframe animation is a cornerstone of character animation, but it provides only kinematic data, with no guarantee of dynamic feasibility [21]. To address this, we developed software integrating MuJoCo [45] with a GUI, enabling real-time tuning and validation of keyframes and motion trajectories generated through linear interpolation with user-defined timings. ...
Learning-based robotics research driven by data demands a new approach to robot hardware design-one that serves as both a platform for policy execution and a tool for embodied data collection to train policies. We introduce ToddlerBot, a low-cost, open-source humanoid robot platform designed for scalable policy learning and research in robotics and AI. ToddlerBot enables seamless acquisition of high-quality simulation and real-world data. The plug-and-play zero-point calibration and transferable motor system identification ensure a high-fidelity digital twin, enabling zero-shot policy transfer from simulation to the real world. A user-friendly teleoperation interface facilitates streamlined real-world data collection for learning motor skills from human demonstrations. Utilizing its data collection ability and anthropomorphic design, ToddlerBot is an ideal platform to perform whole-body loco-manipulation. Additionally, ToddlerBot's compact size (0.56m, 3.4kg) ensures safe operation in real-world environments. Reproducibility is achieved with an entirely 3D-printed, open-source design and commercially available components, keeping the total cost under 6,000 USD. Comprehensive documentation allows assembly and maintenance with basic technical expertise, as validated by a successful independent replication of the system. We demonstrate ToddlerBot's capabilities through arm span, payload, endurance tests, loco-manipulation tasks, and a collaborative long-horizon scenario where two robots tidy a toy session together. By advancing ML-compatibility, capability, and reproducibility, ToddlerBot provides a robust platform for scalable learning and dynamic policy execution in robotics research.
... For decades, the prevailing practice for animation design has been that an expert draws only the key poses (keyframes) which are then filled in by less experienced workers, or interpolated using quaternions in the case of 3D animation [22]. To the best of our knowledge, such an approach has not been translated to 3D human motion generation in the existing arXiv:2405.15439v1 ...
Text-driven human motion generation is an emerging task in animation and humanoid robot design. Existing algorithms directly generate the full sequence which is computationally expensive and prone to errors as it does not pay special attention to key poses, a process that has been the cornerstone of animation for decades. We propose KeyMotion, that generates plausible human motion sequences corresponding to input text by first generating keyframes followed by in-filling. We use a Variational Autoencoder (VAE) with Kullback-Leibler regularization to project the keyframes into a latent space to reduce dimensionality and further accelerate the subsequent diffusion process. For the reverse diffusion, we propose a novel Parallel Skip Transformer that performs cross-modal attention between the keyframe latents and text condition. To complete the motion sequence, we propose a text-guided Transformer designed to perform motion-in-filling, ensuring the preservation of both fidelity and adherence to the physical constraints of human motion. Experiments show that our method achieves state-of-theart results on the HumanML3D dataset outperforming others on all R-precision metrics and MultiModal Distance. KeyMotion also achieves competitive performance on the KIT dataset, achieving the best results on Top3 R-precision, FID, and Diversity metrics.
... (20) A lot of information can be transferred by using moving images because the eye-brain assembles a sequence of images and interprets them as a continuous movement. (21) Children can learn more effectively by combining animation and narrative rather than just narration. (22) Furthermore, preschoolers tend to have a short interest in a subject but when they have focus, it takes less time to recognize and understand.As children's attention spans are substantially shorter than adults. ...
... Sejauh ini, metode yang digunakan untuk membuat animasi 3D yang sering dipaparkan dalam paper penelitian yang membahas animasi antara lain stop motion, motion capture, keyframe, script, cut out dan puppet [6], [25]. Penelitian ini menerapkan metode keyframe karena metode ini merupakan konsep utama dalam computer animation [6], [7]. Metode pembuatan animasi 3D keyframe dimulai dari satu point ke point lainnya hingga menjadi satu kesatuan visualisasi gambar object yang dapat diinterpretasikan sebagai cerita. ...
Animasi 3D merupakan salah satu penerapan ilmu grafika komputer. Film animasi 3D dapat digunakan sebagai media pembelajaran untuk menyampaikan pesan. Dalam perancangannya, masih banyak film animasi 3D yang menghasilkan gerakan kaku dan tidak realistis. Hal ini disebabkan karena terdapat kekurangan pada proses animating. Masalah tersebut melatarbelakangi penelitian ini. Tujuan yang ingin dicapai adalah menemukan metode yang tepat guna menghasilkan gerakan animasi yang tidak kaku sehingga dapat menyampaikan pesan dengan baik. Penelitian ini mengangkat tema islami dan kasih sayang ibu. Metode yang digunakan dalam proses animating adalah metode keyframe; metode pembuatan animasi 3D yang dimulai dari satu point ke point lainnya hingga menjadi satu kesatuan visualisasi gambar object. Perancangan animasi 3D dilakukan menggunakan software blender dan dilakukan dalam 8 tahap yaitu penentuan desain cerita, penggambaran storyboard, character modelling, texturing, rigging, animating, rendering, dan editing. Penelitian ini menghasilkan film animasi 3D yang berdurasi 90 detik dalam format mp4. Metode keyframing juga terbukti efektif dan mudah diterapkan untuk menghasilkan gerakan animasi yang halus jika interpolated value nya diperkecil.
... This is because motion capture required a lot of high technology camera and equipment such as body suits to track and record the movement of the motion [2]. Not to be forget it is also required a large space of area and specific talents for the process to take place [3]. Overall, it is really costly for researcher to prepare the motion capture's setup in order to get the realistic motion data. ...
Capturing traditional dance motion data using motion capture technology is too expensive as it required a lot of high-priced equipment involving complicated procedures. It is also hard to find any traditional dance motion data from any open sources as the motion data always being made private and not for public use. However, the traditional dance videos can be found easily from any internet medium such as YouTube and it also free to be used by the public. Therefore, in this paper we propose a method of extracting the 3D dance motion data of Zapin traditional dance from videos instead of motion capture technology by using keyframe animation extraction method. This method works by extracting all the 3D body joints coordinates of every frame in the keyframe dance animation and reconstruct the extracted motion data into an empty character model to check whether the extracted and reconstructed 3D Zapin dance motion data is correct and efficient compare to the original dance motion in the videos.
... It is, generally, said that a Picture is worth a thousand words, then in this case an animated video is worth ten-thousand word. Tons of information and data can be conveyed by means of moving image called animation, because the eyebrains assembles a sequences of image and interprets them as a continuous movement [20] [8]. ...
Multimedia learning tools and techniques are placing its importance with large scale in education sector. With the help of multimedia learning, various complex phenomenon and theories can be explained and taught easily and conveniently. This project aims to teach and spread the importance of education and respecting the tools of education: pen, paper, pencil, rubber. To achieve this cognitive learning, a 3D animated movie has been developed using principles of multimedia learning with 3D cartoon characters resembling the actual educational objects, where the buildings have also been modelled to resemble real books and diaries. For modelling and animation of these characters, polygon mesh tools are used in 3D Studio Max. Additionally, the final composition of video and audio is performed in adobe premiere. This 3D animated video aims to highlight a message of importance for education and stationary. The Moral of movie is that do not waste your stationary material, use your Pen and Paper for the purpose they are made for. To be a good citizen you have to Be-Educated yourself and for that you need to give value to Pen. The final rendered and composited 3D animated video reflects this moral and portrays the intended message with very vibrant visuals.
... According to [17] a lot of information can be transferred by using moving image called animation because the eye-brains assembles a sequences of image and interprets them as a continuous movement. Animation can be defined as rapid display of images in sequence to create an impression of movement where it incorporates and draws inspiration from each of the other media [14]. ...
The interactive multimedia is considered as a very promising potential to aid primary school pupils in learning and teaching method in introducing road safety education. Although web based applications for road safety education are available, they are based on overseas countries where the rules and environment settings are different from Malaysia’s environment. An effort to help pupils in interactively learning on road safety education in Malaysia has motivated this study. A framework encompass of learning theories, modules, multimedia elements and, usability and acceptance, has been developed and applied in an interactive multimedia prototype on road safety education called “FIQIR Road Safety”. The prototype has been developed based on a primary school textbook “Cermat Tiba Selamat” by Malaysian Ministry of Education (MOE). FIQIR Road Safety has been designed and developed by utilizing multimedia elements to give an immersive experience to the user. It employs Watch, Learn and Play as the modules where the animations and activities represent actual traffic environment in Malaysia. The proposed framework hopefully can be a guide in developing interactive multimedia application such as FIQIR Road safety.
... A lot of information can be transferred by using moving image called animation because the eye-brains assembles a sequences of image and interprets them as a continuous movement (Izani & Eshaq, 2003). By using animation as an educational tool, children can engage more by learning from the animation and narration instead of from narration alone (Rozaimee et al., 2011). ...
The objective of this study was to develop a conceptual framework for edutainment animated series for children taking into consideration a pious story. The conceptual framework has been designed and considered as the first step to ensure attainment of the edutainment animated series. Nowadays, multimedia technology plays an important role to deliver the desired information. Animation is one of the ways used to educate children. Most animations have been brought in which implicitly deliver negative values such as violence and aggressiveness. Due to this factor, local animated series is crucial to be produced to suit with the local moral values. The pious story has been selected and designed to provide the children with the good moral values to be practiced by a good Muslim. Expert review has been conducted with two experts to validate the component in the conceptual framework. The instrument used is questionnaire with 5.00 point Likert scale. The result shows the elements in the conceptual framework are successfully implemented with overall means are above 4.00 of Likert Scale score. The designed framework could be serving as a catalyst to promote good moral value for animated series which could be used worldwide to develop Islamic edutainment.
... According to [16] a lot of information can be transferred by using moving image called animation because the eye-brains assembles a sequences of image and interprets them as a continuous movement. Animation can be defined as rapid display of images in sequence to create an impression of movement where it incorporates and draws inspiration from each of the other media [12]. ...
This paper attempts to present insight of components in Virtual 'Umrah application. This interactive application consists of five components namely content, virtual reality (VR) technology, multimedia elements, user profile and usability evaluation. Virtual reality technique in this application enables to provide a realistic experience for the users in performing 'Umrah. The methodology that has been adopted to develop this application is User-Centered design model (UCD) that focuses on involvement of users in every phase. These components are hopefully can be implemented as guidelines to the others to develop a virtual environment.
In this paper, we approach an archaeological site in the Southern Andes using Virtual Reality (VR) environments to enhance cultural heritage and academic research. We will detail how we used a video game engine to model the light, landscape, sound dispersion, and architecture and create VR experiences. We will also discuss the results of pilot tests and interviews that we did to evaluate the success of such VR experiences. Even though we believe these experiences can positively impact the field of research and the protection of tangible and intangible heritage, we must carefully consider how to design VR environments and experiences.
Advances in technology through education will help the way people communicate and learn in nearly every aspect of modern life. Motion graphic has become progressively known because of their ability to catch the audience's attention rather than words alone. This globalized era somehow creates problems in combining information whereby confusion and difficulty in recalling information occur. Despite this, motion graphics could be an effective tool in education in conveying information successfully as it can convey much information compared to still pictures. Keywords: Tawaf Simulation, Motion Graphic, Hajj Training, New Norms. eISSN: 2398-4287 © 2022. The Authors. Published for AMER ABRA cE-Bs by e-International Publishing House, Ltd., UK. This is an open access article under the CC BYNC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/). Peer–review under responsibility of AMER (Association of Malaysian Environment-Behaviour Researchers), ABRA (Association of Behavioural Researchers on Asians) and cE-Bs (Centre for Environment-Behaviour Studies), Faculty of Architecture, Planning & Surveying, Universiti Teknologi MARA, Malaysia. DOI: https://doi.org/10.21834/ebpj.v7iSI7%20(Special%20Issue).3831
Modifying the typical lecture notes and textbooks into animated e-Notes is the main focus of this project. The target user of this interactive kind of notes is the new generation students. They are more attracted to
something interactive and can be accessed online, rather than reading the conventional materials such lecture
and textbooks.
Memoria de Suficiencia Investigadora. Tutores: Francisco Andrés Candelas Herías y Fernando Torres Medina Esta memoria de investigación presenta una nueva técnica para localizar a una persona en un entorno industrial. Se utiliza un sistema de captura de movimiento para localizar todos los miembros de la persona con gran precisión. Estas medidas de localización se combinan con la traslación global devuelta por un sistema UWB (Ultra-Wide Band) para poder así localizar la persona en el entorno de trabajo. Esta localización precisa y en tiempo real permitirá desarrollar tareas de interacción humano-robot en investigaciones futuras.
An abstract is not available.
We discuss a method for creating animations that allows the animator to sketch an animation by setting a small number of keyframes on a fraction of the possible degrees of freedom. Motion capture data is then used to enhance the animation. Detail is added to degrees of freedom that were keyframed, a process we call texturing. Degrees of freedom that were not keyframed are synthesized. The method takes advantage of the fact that joint motions of an articulated figure are often correlated, so that given an incomplete data set, the missing degrees of freedom can be predicted from those that are present.
This article attempts to provide an overview of the process of creating animated motion from observations of real moving objects, and to discuss the potential for computer vision to contribute to this. My view is that the needs of the entire process create requirements on the individual steps; that motion capture for animation is most useful when the use of that data, including mapping and editing, is considered. The task of creating animation has some unique demands, and that only by considering these demands can a capture method be a useful tool for motion creation. This article is organized as follows. We begin with a discussion of the use of motion capture to create motion for animation, and look at the alternatives. We then consider the entire process of creating animation from motion capture, and consider some of these steps in detail. Specifically, we examine the current technologies for capture and issues in working with motion data. We conclude by discussing the opportunities for computer vision in the process. Within the animation community, there is historically a tension between animators and motion capture technicians/users [Cameron]. This tension comes from many factors, some of them real and some of them perceived. The two main sources of this tension are unrealistic expectations about what motion capture can do (that it can automatically produce motion that displaces animators), and that motion capture technology development has not considered the use of the data, leaving animators with data that is difficult to deal with. Motion Capture vs. Animation from Observation
This thesis discusses methods for using the information in motion capture data to assist in the creation of life-like animations. To address the problem of developing better methods for collecting motion capture data, we focus on video motion capture. A new factorization method is presented that allows one to solve for the model of the subject's skeleton from a series of video images. No markers or special suits are required. The rest of this thesis discusses new techniques for flexible use of motion capture data after it has been collected. For the case of cyclic motions such as walking, we demonstrate a technique for complete synthesis. It begins with an analysis phase, in which the data is divided into features such as frequency bands and correlations among joint angles, and is represented with multidimensional kernel-based probability distributions. These distributions are then sampled in a synthesis phase, and optimized to yield the final animation. We also demonstrate methods for performing texturing and synthesis of widely varying motions based on motion capture data. First we present results using principle components analysis as a basis for the texturing and synthesis. Second we discuss our most successful technique for motion capture assisted animation, in which a simple matching algorithm is used. These methods allow an animator to sketch an animation by setting a small number of keyframes on a fraction of the possible degrees of freedom. Motion capture data is then used to enhance the animation. Detail is added to degrees of freedom that were keyframed, a process we call texturing. Degrees of freedom that were not keyframed are synthesized. The methods take advantage of the fact that joint motions of an articulated figure are often correlated, so that given ...
Computer Animation: A Whole New World
- R Street