More work. Some rapid examples of crowd/environment interpretations.
The above (final) image is an example of how an entire environment may be transformed.
Showing posts with label style. Show all posts
Showing posts with label style. Show all posts
Thursday, September 30, 2010
Friday, May 21, 2010
Three*8
WRITTEN COMPONENT ENTRY Style Translation [intial notes].
- style translation is the process of transforming an input motion into a new style while preserving its original content.
- Our solution learns to translate by analysing differences between performances of the same content in input and output styles.
- Style is a vital component of character animation. In the context of human speech, the delivery of a phrase greatly affects its meaning.
- Basic actions such as locomotion, the difference between a graceful strut and a defeated limp has a large impact on the tone of the final animation.
- Applications of human animation often require large data sets that contain many possible combinations of actions and styles.
- A database of normal locomotion, could be translated into crouching and limping styles while retaining subtle content variations such as turns and pauses. Our system can be used to extend the capabilities of techniques that rearrange mocap clips to generate novel content.
- Two motions in different styles typically contain very different purposes.
- Our model doesn’t account for kinematic interaction with the environment, the raw output may contain small visual artifacts, such as feet sliding on the ground.
- Such models (as in the paper’s) often require explicit frame correspondences to be solved during the translation process.
- Our solution draws its main inspiration from retargeting methods, which preserve content, but transform motion to adjust for skeleton size, kinematic constraints, or physics.
- Style is often difficult to encode in the procedural forms required by these methods.
- Statistical analysis of input-output relationships is a fundamental tool in nearly all areas of science and engineering. In computer graphics, such relationships have been used to translate styles of line drawings, complete image analogies and so on. Out method is the result of the comprehensive application of these principles to style translation.
- Blending and morphing approaches extrapolate from motion sequences with linear combinations.
- Such techniques allow for flexible synthesis of stylised motion, often with intuitive and tuneable parameters.
- Parametric approaches postulate a generative model of motion.
- Such general models of content would be needed to enhance a novice dance performance by removing mistakes.
- In all our evaluations, we acquired data in a mocap lab and processed it with standard commercial tools.
- Our data set contained various stylised locomotion’s: normal, limp, crouch, sneak, flap, proud, march, catwalk and inverse. Each style was performed at three speeds; slow, medium and fast.
- We found it took few (less than ten) to approach a near-optimal solution and a few more for full convergence.
- Style translation can operate on complex inputs; however, the translation itself must be relatively simple.
- Our system is intended for applications in which motions are specified by performance.
- It was not our objective to supplant existing motion synthesis techniques, but rather to present concepts that could be integrated into past and future work.
E. Hsu, K. Pulli, J. Popovic. “Style Translation for Human Motion”. Massachesetts Institute of Technology, Nokia Research Center.
Saturday, May 15, 2010
Three*2
WRITTEN COMPONENT ENTRY Impact of 300 – Stylised VFX notes.
The filmmakers of 300 voided the convention of being very conservative with their camera work when they are unsure of their environments and compositions. They used every camera move that they could think of in order to recreate the graphic novel in a faithful way with the knowledge that they would compose their shots later on.
The style of the film became a hybrid; not photoreal, not cartoon and not completely CG. The style may be appropriate for some mediums and subject matter, but it will most definitely not work for all films.
Chris Watts (VFX Supervisor) believes that a successful stylised movie has to have flaws and variations in style or it can get novel but boring. For instance, he purposefully allowed each battle to have its own unique characteristics.
Other professionals agree that a film shot the same way seeking a more realistic look would be more expensive.
It’s not easy to create a stylised film, the challenge lies in creating the work in an attractive style, and depending on the style – it may ignore real world effects such as lighting.
Saturday, May 8, 2010
Two*1
WRITTEN COMPONENT ENTRY The Spine – Landreth notes.
The Spine, exploring style as a story telling technique.
Landreth has been drawn to his unique style because it is something that he doesn’t see very often – using animation to tell emotional or psychological-based stories of people who are otherwise real and amongst us.
The story was personal – came from observing relationships, wondering why people remain in poisonous and destructive relationships. Landreth feels it is psychological-driven and these feed people identities (as stunted as they may appear externally).
Landreth feels that the style must be used sparingly – it’s possible to bring out a new layer of story telling to get the idea without being too literal. Representing something psychological or emotional – then you may tell as story without over-powering/extensive dialogue etc (visual story-telling technique).
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