Education on Urban Corridor Issues Through Computer Animation, TR-419, 2003

This project was undertaken in coordination with the Environmental Assessment process on the Mt. Vernon Road Improvements project in Cedar Rapids, Iowa. The goal of the research was to determine the cost effectiveness of combined photo-imaging and computer animation as a presentation tool describing public road improvements. The Public Hearing, in combination with the involvement of a Citizen's Resource Group, afforded an opportunity to have an evaluation of the processes by interested citizens who were not familiar with engineering drawings or the construction industry. After the initial viewing of a draft version of the video, the Resource Group made recommendations to the staff developing the video. Discussion of these recommendations led to the development of an animated composite section that showed a combination of situations typically encountered throughout the project corridor, as well as critical considerations. The composite section did not show specific locations and therefore, individuals were not distracted by looking for the details pertaining to their properties. Concentration on the concepts involved rather than specifics provided the opportunity for a more thorough understanding by the citizens. The development of the composite concept was the primary discovery of the research.

Computer animation of hot spot development in bulk coal as an aid for training coal miners

The processes that take place during the development of a heating are difficult to visualise. Bulk coal self-heating tests at The University of Queensland (UQ) using a two-metre column are providing graphic evidence of the stages that occur during a heating. Data obtained from these tests, both temperature and corresponding off-gas evolution can be transformed into what is effectively a video-replay of the heating event. This is achieved by loading both sets of data into a newly developed animation package called Hotspot. The resulting animation is ideal for spontaneous combustion training purposes as the viewer can readily identify the different hot spot stages and corresponding off-gas signatures. Colour coding of the coal temperature, as the hot spot forms, highlights its location in the coal pile and shows its ability to migrate upwind. An added benefit of the package is that once a mine has been tested in the UQ two-metre column, there is a permanent record of that particular coals performance for mine personnel to view.

The art to keep in touch: The ''good use'' of Lagrange multipliers

Physically-based modeling for computer animation allows to produce more realistic motions in less time without requiring the expertise of skilled animators. But, a computer animation is not only a numerical simulation based on classical mechanics since it follows a precise story-line. One common way to define aims in an animation is to add geometric constraints. There are several methods to manage these constraints within a physically-based framework. In this paper, we present an algorithm for constraints handling based on Lagrange multipliers. After few remarks on the equations of motion that we use, we present a first algorithm proposed by Platt. We show with a simple example that this method is not reliable. Our contribution consists in improving this algorithm to provide an efficient and robust method to handle simultaneous active constraints.

Reuse of paths in light source animation

In this paper we extend the reuse of paths to the shot from a moving light source. In the classical algorithm new paths have to be cast from each new position of a light source. We show that we can reuse all paths for all positions, obtaining in this way a theoretical maximum speed-up equal to the average length of the shooting path

Reuse of paths in light source animation

In this paper we extend the reuse of paths to the shot from a moving light source. In the classical algorithm new paths have to be cast from each new position of a light source. We show that we can reuse all paths for all positions, obtaining in this way a theoretical maximum speed-up equal to the average length of the shooting path

Supporting the software testing process through specification animation

Achieving consistency between a specification and its implementation is an important part of software development. In this paper, we present a method for generating passive test oracles that act as self-checking implementations. The implementation is verified using an animation tool to check that the behavior of the implementation matches the behavior of the specification. We discuss how to integrate this method into a framework developed for systematically animating specifications, which means a tester can significantly reduce testing time and effort by reusing work products from the animation. One such work product is a testgraph: a directed graph that partially models the states and transitions of the specification. Testgraphs are used to generate sequences for animation, and during testing, to execute these same sequences on the implementation.

Animation of object-z specifications using a Z animator

We discuss a methodology for animating the Object-Z specification language using a Z animation environment. Central to the process is the introduction of a framework to handle dynamic instantiation of objects and management of object references. Particular focus is placed upon building the animation environment through pre-existing tools, and a case study is presented that implements the proposed framework using a shallow encoding in the Possum Z animator. The animation of Object-Z using Z is both automated and made transparent to the user through the use of a software tool named O-zone.

PERFORMANCE CAPTURE: À PROCURA DAS MELHORES TÉCNICAS E ESTÉTICAS NO CONTEXTO DA ANIMAÇÃO DIGITAL

This paper investigates realism in character computer animation, which triggered the development of new techniques and aesthetic in spectacular cinema and contemporary culture. With the advent of motion or performing capture, animation has made possible that virtual characters or digital creatures reach higher levels in emotional acting, taking place in virtual cinematic worlds or even special effects movies. This technology, when placed at the service of imagination and fantasy can provide new dimensions in character motion and communication. In this context, projects like Peter Jackson’s (2001) The Lord of the Rings, James Cameron’s Avatar (2009) and more recently Steven Spielberg’s Tintin (2011) demonstrate that motion technology is constantly evolving, and it represents a credible option to explore new techniques and aesthetic in contemporary animation.

A Representação de Personagens Virtuais: Como a Tecnologia Obriga à Criação de Estilos e Estéticas Interdisciplinares na Animação Contemporânea

The evolution of computer animation represents one of the most relevant andrevolutionary aspects in the rise of contemporary digital visual culture (Darlew,2000), in particular, phenomena such as cinema “spectacular “ (Ibidem) and videogames. This article analyzes the characteristics of this “culture of simulation” (Turkle, 1995:20) relating the multidisciplinary and spectrum of technical and stylistic choices to the dimension of virtual characters acting. The result of these hybrid mixtures and computerized human motion capture techniques - called virtual cinema, universal capture, motion capture, etc. - cosists mainly on the sophistication of “rotoscoping”, as a new interpretation and appropriation of the captured image. This human motion capture technology, used largely by cinema and digital games, is one of the reasons why the authenticity of the animation is sometimes questioned. It is in the fi eld of 3D computer animation visual that this change is more signifi cant, appearing regularly innovative techniques of image manipulation and “hyper-cinema” (Lamarre, 2006: 31) character’s control with deeper sense of emotions. This shift in the culture that Manovich (2006: 27) calls “photo-GRAPHICS” - and Mulvey (2007) argue that creates a new form of possessive relationship with the viewer, in that it can analyze in detail the image, it can acquire it and modify it - is one of the most important aspects in the rise of Cubbit’s (2007) “cinema of attraction”. This article delves intrinsically into the analyze of virtual character animation — particularly in the fi eld of 3D computer animation and human digital acting.

Sistema de animação de personagens virtuais para comunicação não verbal

O principal objectivo da animação de personagens virtuais é o de contar uma história através da utilização de personagens virtuais emocionalmente expressivos. Os personagens têm personalidades distintas, e transmitem as suas emoções e processos de pensamento através dos seus comportamentos (comunicação não verbal). As suas acções muitas das vezes constituem a geração de movimentos corporais complexos. Existem diversas questões a considerar quando se anima uma entidade complexa, tais como, a posição das zonas móveis e as suas velocidades. Os personagens virtuais são um exemplo de entidades complexas e estão entre os elementos mais utilizados em animação computacional. O foco desta dissertação consistiu na criação de uma proposta de sistema de animação de personagens virtuais, cujos movimentos e expressões faciais são capazes de transmitir emoções e estados de espírito. Os movimentos primários, ou seja os movimentos que definem o comportamento dos personagens, são provenientes da captura de movimentos humanos (Motion Capture). As animações secundárias, tais como as expressões faciais, são criadas em Autodesk Maya recorrendo à técnica BlendShapes. Os dados obtidos pela captura de movimentos, são organizados numa biblioteca de comportamentos através de um grafo de movimentos, conhecido por Move Tree. Esta estrutura permite o controlo em tempo real dos personagens através da gestão do estado dos personagens. O sistema possibilita também a transição eficaz entre movimentos semelhantes e entre diferentes velocidades de locomoção, minimizando o efeito de arrastamento de pés conhecido como footskate. Torna-se assim possível definir um trajecto que o personagem poderá seguir com movimentos suaves. Estão também disponíveis os resultados obtidos nas sessões de avaliação realizadas, que visaram a determinação da qualidade das transições entre animações. Propõem-se ainda o melhoramento do sistema através da implementação da construção automática do grafo de movimentos.

Acceleration of physics simulation engine through OpenCL

Dissertação para obtenção do Grau de Mestre em Engenharia Informática

Modelatge basat en exemples de carrers d’una ciutat

L’objectiu d’aquest projecte és el desenvolupament d’una eina de generació de xarxes de carrers a partir d’exemples. L’eina ha de permetre generar una xarxa de carrers nova que sigui semblant a l’existent en un mapa vectorial donat. A més, també es pretén unir aquesta aplicació amb l’urbanEngine per tal de poder generar vistes en 3D sobre aquestes xarxes de carrers, a més d’ampliar les opcions de l’urbanEngine a l’hora de crear ciutats

Modelatge procedural de ciutats

L’objectiu d’aquest projecte és el desenvolupament d’una eina pel modelatge procedural de ciutats ixarxes de carrers. El modelatge de carrers és, per si sol, un bon tema on aplicar-hi la programacióprocedural. Les ciutats solen comptar amb patrons que es van repetint al llarg del territori. El fet de“repetir” una tasca suggereix sempre l’aplicació d’algun tipus de procediment per tal de simplificar ireduir la feina de l’usuari a l’hora de desenvolupar aquesta tasca. Shan utilitzat bàsicament tres eines diferents: Un modelador 3D, un llenguatge d’scripting i un llenguatge flexible per a definir els edificis

Creació del Videojoc: “El Mensajero De Pekín”

L’ objectiu és el desenvolupament d'un videojoc (senzill) des d’ una idea inicialfins a un producte acabat i funcional (disseny del joc (la historia, els nivells, els personatges, etc.) com a concepte, programació, disseny gràfic, i finalment el poliment del producte per a que sigui un joc complet) utilitzant un software lliure. S'anomena "El Mensajero de Pekín" l'objectiu com a jugadors és aconseguir repartir uns paquets a una sèrie de bústies seguint una lògica de colors (cada paquet haurà de ser introduït a la bústia del mateix color per sumar punts). Es pot fer tant a mode individual, en el qual haurem de superar uns reptes que ens posi la màquina, com en mode multijugador, de dos a quatre jugadors, en el qual a part de repartir els paquets,haurem d'impedir que els rivals reparteixin els seus