Physically based walking simulation

Hem realitzat l’estudi de moviments humans i hem buscat la forma de poder crear aquests moviments en temps real sobre entorns digitals de forma que la feina que han de dur a terme els artistes i animadors sigui reduïda. Hem fet un estudi de les diferents tècniques d’animació de personatges que podem trobar actualment en l’industria de l’entreteniment així com les principals línies de recerca, estudiant detingudament la tècnica més utilitzada, la captura de moviments. La captura de moviments permet enregistrar els moviments d’una persona mitjançant sensors òptics, sensors magnètics i vídeo càmeres. Aquesta informació és emmagatzemada en arxius que després podran ser reproduïts per un personatge en temps real en una aplicació digital. Tot moviment enregistrat ha d’estar associat a un personatge, aquest és el procés de rigging, un dels punts que hem treballat ha estat la creació d’un sistema d’associació de l’esquelet amb la malla del personatge de forma semi-automàtica, reduint la feina de l’animador per a realitzar aquest procés. En les aplicacions en temps real com la realitat virtual, cada cop més s’està simulant l’entorn en el que viuen els personatges mitjançant les lleis de Newton, de forma que tot canvi en el moviment d’un cos ve donat per l’aplicació d’una força sobre aquest. La captura de moviments no escala bé amb aquests entorns degut a que no és capaç de crear noves animacions realistes a partir de l’enregistrada que depenguin de l’interacció amb l’entorn. L’objectiu final del nostre treball ha estat realitzar la creació d’animacions a partir de forces tal i com ho fem en la realitat en temps real. Per a això hem introduït un model muscular i un sistema de balanç sobre el personatge de forma que aquest pugui respondre a les interaccions amb l’entorn simulat mitjançant les lleis de Newton de manera realista.

Perceptual Evaluation of Video-Realistic Speech

abstract With many visual speech animation techniques now available, there is a clear need for systematic perceptual evaluation schemes. We describe here our scheme and its application to a new video-realistic (potentially indistinguishable from real recorded video) visual-speech animation system, called Mary 101. Two types of experiments were performed: a) distinguishing visually between real and synthetic image- sequences of the same utterances, ("Turing tests") and b) gauging visual speech recognition by comparing lip-reading performance of the real and synthetic image-sequences of the same utterances ("Intelligibility tests"). Subjects that were presented randomly with either real or synthetic image-sequences could not tell the synthetic from the real sequences above chance level. The same subjects when asked to lip-read the utterances from the same image-sequences recognized speech from real image-sequences significantly better than from synthetic ones. However, performance for both, real and synthetic, were at levels suggested in the literature on lip-reading. We conclude from the two experiments that the animation of Mary 101 is adequate for providing a percept of a talking head. However, additional effort is required to improve the animation for lip-reading purposes like rehabilitation and language learning. In addition, these two tasks could be considered as explicit and implicit perceptual discrimination tasks. In the explicit task (a), each stimulus is classified directly as a synthetic or real image-sequence by detecting a possible difference between the synthetic and the real image-sequences. The implicit perceptual discrimination task (b) consists of a comparison between visual recognition of speech of real and synthetic image-sequences. Our results suggest that implicit perceptual discrimination is a more sensitive method for discrimination between synthetic and real image-sequences than explicit perceptual discrimination.

O futuro do presente: a mídia audiovisual e a sociedade contemporânea na ficção científica do cinema de animação

This research presents a study that seeks to analyze the images of the future in science fiction movies, specifically those made through animation techniques, exploring particularly the representation of audiovisual communication medias in its dialogue with the approached societies in the movies chosen to be analyzed. The proposed discussion seeks approximations in order to answer to the question that initiated this research: how are we thinking the future nowadays? It also seeks to, according to Morin (1997), comprehend aspects of the contemporary society by using the cinema, and at the same time, to understand the cinema, aided by a social analysis

Avaliação da aplicabilidade de sistema computacional de visualização de imagens aéreas de alta resolução em tempo real e multitemporal à degradação do rio Corumbataí

Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)

Animação de movimentos em repetição: uma ênfase nas possibilidades do formato GIF

This thesis goes from the origin of the human interest in movement, tracing briefy the history of animation, from your remotest manifestations until the appearence of the GIF format, to address the topic of repetition in movement, stablishing a parallel between this format and primitive devices of animation ehxibition. It is also brought into this project some questions relative to the uses of GIF as meme and as artwork, and the possibilities that the repetition offer in both cases. Through artistic production and empiric research, many techniques were considered adequated to produce an animation that gave the public the sensation of continuity, with the intent to contribute to the development of GIF language. It was also researched the effect of the movement repetition on the espectors, and if these manifestations where different for each person by age and with distinct professions. At the end of the research, was concluded that animation techniques with contrasting visual characteristics were able to give the sensation of continuity, as well as the sensations towards the animations were independent of the social groups that the espectors belongs

Creación de personajes autónomos animados en la herramienta de desarrollo de entornos virtuales Unity 3D

Este trabajo se centra en la construcción de la parte física del personaje virtual. El desarrollo muestra téecnicas de modelado 3D, cinemática y animación usadas para la creación de personajes virtuales. Se incluye además una implementación que está dividida en: modelado del personaje virtual, creación de un sistema de cinemática inversa y la creación de animaciones utilizando el sistema de cinemática. Primero, crear un modelo 3D exacto al diseño original, segundo, el desarrollo de un sistema de cinemática inversa que resuelva con exactitud las posiciones de las partes articuladas que forman el personaje virtual, y tercero, la creación de animaciones haciendo uso del sistema de cinemática para conseguir animaciones fluidas y depuradas. Como consecuencia, se ha obtenido un componente 3D animado, reutilizable, ampliable, y exportable a otros entornos virtuales. ---ABSTRACT---This article is pointed in the making of the physical part of the virtual character. Development shows modeling 3D, kinematic and animation techniques used for create the virtual character. In addition, an implementation is included, and it is divided in: to model the 3D character, to create an inverse kinematics system, and to create animations using a kinematic system. First, creating an exact 3D model from the original design, second, developing an inverse kinematics system that resolves the positions of the articulated pieces that compose the virtual character, and third, creating animation using the inverse kinematics system to get fluid and refined animations in realtime. As consequence, a 3D animated, reusable, extendable and to other virtual environments exportable component has been obtained.

Le développement de compétences réflexives chez des étudiantes en techniques d'éducation en services de garde à travers une démarche de micro-animation

Des précisions méritent d’être apportées au début de ce rapport pour éclairer certains choix que nous avons faits dans notre démarche de rédaction ainsi que le contexte dans lequel se sont effectués nos travaux. D’abord, nous avons pris deux décisions en ce qui concerne la féminisation du texte. Premièrement, nous avons opté pour l’utilisation des termes génériques dans la définition du cadre conceptuel. Par ailleurs, nous avons utilisé le féminin pour parler des enseignantes et des sujets impliqués dans la recherche pour représenter fidèlement la réalité. Nous avons par la suite décidé d’utiliser le féminin dans toutes les autres parties du rapport. D’autre part, tous les prénoms des sujets et des enfants impliqués dans la recherche ont été remplacés par des pseudonymes pour conserver leur anonymat. Nous avons aussi choisi de présenter les extraits issus de nos données de recherche tels quels, pour qu’ils soient le plus fidèles possibles. Par contre, nous nous sommes permis de corriger les erreurs d’orthographe par respect pour la langue française. De plus, pour éviter d’alourdir la lecture du cinquième chapitre, nous mentionnons les références des extraits qui appuient nos affirmations sans en rapporter le texte. De même, il nous est arrivé de faire ce choix à quelques reprises dans le sixième chapitre, lorsque les extraits nous paraissaient trop longs ou que la reproduction fidèle des verbalisations aurait rendu la lecture fastidieuse. La rédaction du rapport est le fruit d’un travail d’équipe soutenu. Par contre, pour des raisons d’efficacité, nous avons partagé l’analyse des données. De ce fait, certaines parties du rapport, notamment dans les chapitres cinq et six ont été rédigées individuellement. Aussi, des styles d’écriture différents peuvent être observés dans ces deux chapitres car nous avons tenu à les respecter. Par contre, chacune des chercheures a soumis ses textes à l’équipe qui les a critiqués et bonifiés. Finalement, il faut mentionner que le présent document est issu d’une double démarche : celle d’une équipe de travail subventionnée dans le cadre du Programme d’aide à la recherche sur l’enseignement et l’apprentissage du Ministère de l’éducation du Québec, et celle d’étudiantes dans le Programme de maîtrise en sciences de l’éducation donné par l’Université de Sherbrooke. Ainsi nous avons pu bénéficier de plus d’un support : support financier, support institutionnel et support méthodologique. À notre avis, la recette est bonne.

LEARNING ENVIRONMENTS IN THE CONTEXT OF A MASTER DEGREE IN ANIMATION AND ILLUSTRATION

This paper aims to describe the processes of teaching illustration and animation, together, in the context of a masters degree program. In Portugal, until very recently, illustration and animation higher education courses, were very scarce and only provided by a few private universities, which offered separated programs - either illustration or animation. The MA in Illustration and Animation (MIA) based in the Instituto Politécnico do Cávado e Ave in Portugal, dared to join these two creative areas in a common learning model and is already starting it’s third edition with encouraging results and will be supported by the first international conference on illustration and animation (CONFIA). This masters program integrates several approaches and techniques (in illustration and animation) and integrates and encourages creative writing and critique writing. This paper describes the iterative process of construction, and implementation of the program as well as the results obtained on the initial years of existence in terms of pedagogic and learning conclusions. In summary, we aim to compare pedagogic models of animation or illustration teaching in higher education opposed to a more contemporary and multidisciplinary model approach that integrates the two - on an earlier stage - and allows them to be developed separately – on the second part of the program. This is based on the differences and specificities of animation (from classic techniques to 3D) and illustration (drawing the illustration) and the intersection area of these two subjects within the program structure focused on the students learning and competencies acquired to use in professional or authorial projects.

Le cinéma d'animation : avènement d'une institution et naissance d'une industrie

Les premiers comptes rendus de l’histoire du cinéma ont souvent considéré les premiers dessins animés, ou vues de dessins animés, comme des productions différentes des films en prise de vue réelle. Les dessins animés tirent en effet leurs sources d’inspiration d’une gamme relativement différente d’influences, dont les plus importantes sont la lanterne magique, les jouets optiques, la féérie, les récits en images et les comics. Le dessin animé n’en demeure pas moins fondamentalement cinématographique. Les vues de dessins animés de la décennie 1900 ne se distinguent ainsi guère des scènes à trucs sur le plan de la technique et du style. D’abord le fait de pionniers issus de l’illustration comique et du croquis vivant comme Émile Cohl, James Stuart Blackton et Winsor McCay, le dessin animé s’industrialise au cours de la décennie 1910 sous l’impulsion de créateurs venant du monde des comics, dont John Randolph Bray, Earl Hurd, Paul Terry et Max Fleisher. Le processus d’institutionnalisation par lequel le dessin animé en viendra à être considéré comme une catégorie de film à part entière dépend en grande partie de cette industrialisation. Les studios de dessins animés développent des techniques et pratiques managériales spécifiquement dédiées à la production à grande échelle de films d’animation. Le dessin animé se crée ainsi sa propre niche au sein d’une industrie cinématographique dont il dépend toutefois toujours entièrement. Ce phénomène d’individuation repose sur des formules narratives et des personnages récurrents conçus à partir de modèles issus des comics des années 1910.

XSAMPL3D: An Action Description Language for the Animation of Virtual Characters

In this paper we present XSAMPL3D, a novel language for the high-level representation of actions performed on objects by (virtual) humans. XSAMPL3D was designed to serve as action representation language in an imitation-based approach to character animation: First, a human demonstrates a sequence of object manipulations in an immersive Virtual Reality (VR) environment. From this demonstration, an XSAMPL3D description is automatically derived that represents the actions in terms of high-level action types and involved objects. The XSAMPL3D action description can then be used for the synthesis of animations where virtual humans of different body sizes and proportions reproduce the demonstrated action. Actions are encoded in a compact and human-readable XML-format. Thus, XSAMPL3D describtions are also amenable to manual authoring, e.g. for rapid prototyping of animations when no immersive VR environment is at the animator's disposal. However, when XSAMPL3D descriptions are derived from VR interactions, they can accomodate many details of the demonstrated action, such as motion trajectiories,hand shapes and other hand-object relations during grasping. Such detail would be hard to specify with manual motion authoring techniques only. Through the inclusion of language features that allow the representation of all relevant aspects of demonstrated object manipulations, XSAMPL3D is a suitable action representation language for the imitation-based approach to character animation.

Images and animation of a complex microboring (Pyrodendrina cupra n. igen. and isp.) from the early Paleozoic of Anticosti Island, Canada

Three complementary imaging techniques were used to describe a complex rosette-shaped microboring that penetrates the shells of brachiopods from the Ordovician–Silurian shallow marine limestones of Anticosti Island, Canada. Pyrodendrina cupra n. igen. and isp. is among the oldest dendrinid microborings and consists of shallow and deep penetrating canals that radiate from a central polygonal chamber. The affinity of the tracemaker is unknown, but a foraminiferal origin, as proposed for some dendrinid borings, is rejected. Combining microCT with traditional stereomicroscopy and SEM helped distinguish and quantify fine morphological features while maintaining contextual information of the microboring within the shell substrate. Different imaging techniques inherently bias the description of microborings. These biases must be accounted for as new methods in ichnotaxonomy are integrated with past research based on different methods.

Animation of micro-computed tomography of bioerosion trace Entobia megastoma made by East Australian bioeroding sponge Cliona celata

Endolithic bioerosion is difficult to analyse and to describe, and it usually requires damaging of the sample material. Sponge erosion (Entobia) may be one of the most difficult to evaluate as it is simultaneously macroscopically inhomogeneous and microstructurally intricate. We studied the bioerosion traces of the two Australian sponges Cliona celata Grant, 1826 (sensu Schönberg 2000) and Cliona orientalis Thiele, 1900 with a newly available radiographic technology: high resolution X-ray micro-computed tomography (MCT). MCT allows non-destructive visualisation of live and dead structures in three dimensions and was compared to traditional microscopic methods. MCT and microscopy showed that C. celata bioerosion was more intense in the centre and branched out in the periphery. In contrast, C. orientalis produced a dense, even trace meshwork and caused an overall more intense erosion pattern than C. celata. Extended pioneering filaments were not usually found at the margins of the studied sponge erosion, but branches ended abruptly or tapered to points. Results obtained with MCT were similar in quality to observations from transparent optical spar under the dissecting microscope. Microstructures could not be resolved as well as with e.g. scanning electron microscopy (SEM). Even though sponge scars and sponge chips were easily recognisable on maximum magnification MCT images, they lacked the detail that is available from SEM. Other drawbacks of MCT involve high costs and presently limited access. Even though MCT cannot presently replace traditional techniques such as corrosion casts viewed by SEM, we obtained valuable information. Especially for the possibility to measure endolithic pore volumes, we regard MCT as a very promising tool that will continue to be optimised. A combination of different methods will produce the best results in the study of Entobia.

Comparison Of Postoperative Stability Of Three Rigid Internal Fixation Techniques After Sagittal Split Ramus Osteotomy For Mandibular Advancement.

The aim of this investigation was to compare the skeletal stability of three different rigid fixation methods after mandibular advancement. Fifty-five class II malocclusion patients treated with the use of bilateral sagittal split ramus osteotomy and mandibular advancement were selected for this retrospective study. Group 1 (n = 17) had miniplates with monocortical screws, Group 2 (n = 16) had bicortical screws and Group 3 (n = 22) had the osteotomy fixed by means of the hybrid technique. Cephalograms were taken preoperatively, 1 week within the postoperative care period, and 6 months after the orthognathic surgery. Linear and angular changes of the cephalometric landmarks of the chin region were measured at each period, and the changes at each cephalometric landmark were determined for the time gaps. Postoperative changes in the mandibular shape were analyzed to determine the stability of fixation methods. There was minimum difference in the relapse of the mandibular advancement among the three groups. Statistical analysis showed no significant difference in postoperative stability. However, a positive correlation between the amount of advancement and the amount of postoperative relapse was demonstrated by the linear multiple regression test (p < 0.05). It can be concluded that all techniques can be used to obtain stable postoperative results in mandibular advancement after 6 months.

[health Protection For Rural Workers: The Need To Standardize Techniques For Quantifying Dermal Exposure To Pesticides].

Quantification of dermal exposure to pesticides in rural workers, used in risk assessment, can be performed with different techniques such as patches or whole body evaluation. However, the wide variety of methods can jeopardize the process by producing disparate results, depending on the principles in sample collection. A critical review was thus performed on the main techniques for quantifying dermal exposure, calling attention to this issue and the need to establish a single methodology for quantification of dermal exposure in rural workers. Such harmonization of different techniques should help achieve safer and healthier working conditions. Techniques that can provide reliable exposure data are an essential first step towards avoiding harm to workers' health.

Construction Of A Manual Of Work Processes And Techniques From Centro De Dispensação De Medicamentos De Alto Custo (cedmac), Hospital De Clínicas, Unicamp.

The Centers for High Cost Medication (Centros de Medicação de Alto Custo, CEDMAC), Health Department, São Paulo were instituted by project in partnership with the Clinical Hospital of the Faculty of Medicine, USP, sponsored by the Foundation for Research Support of the State of São Paulo (Fundação de Amparo à Pesquisa do Estado de São Paulo, FAPESP) aimed at the formation of a statewide network for comprehensive care of patients referred for use of immunobiological agents in rheumatological diseases. The CEDMAC of Hospital de Clínicas, Universidade Estadual de Campinas (HC-Unicamp), implemented by the Division of Rheumatology, Faculty of Medical Sciences, identified the need for standardization of the multidisciplinary team conducts, in face of the specificity of care conducts, verifying the importance of describing, in manual format, their operational and technical processes. The aim of this study is to present the methodology applied to the elaboration of the CEDMAC/HC-Unicamp Manual as an institutional tool, with the aim of offering the best assistance and administrative quality. In the methodology for preparing the manuals at HC-Unicamp since 2008, the premise was to obtain a document that is participatory, multidisciplinary, focused on work processes integrated with institutional rules, with objective and didactic descriptions, in a standardized format and with electronic dissemination. The CEDMAC/HC-Unicamp Manual was elaborated in 10 months, with involvement of the entire multidisciplinary team, with 19 chapters on work processes and techniques, in addition to those concerning the organizational structure and its annexes. Published in the electronic portal of HC Manuals in July 2012 as an e-Book (ISBN 978-85-63274-17-5), the manual has been a valuable instrument in guiding professionals in healthcare, teaching and research activities.