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Animator's Motion Capture Guide: Organizing, Managing, and Editing [Multiple-component retail product]

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  • Formāts: Multiple-component retail product, 300 pages, height x width x depth: 235x189x25 mm, weight: 612 g, Contains 1 Paperback / softback and 1 CD-ROM
  • Izdošanas datums: 30-Jan-2004
  • Izdevniecība: Charles River Media
  • ISBN-10: 1584502916
  • ISBN-13: 9781584502913
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  • Multiple-component retail product
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Animator's Motion Capture Guide: Organizing, Managing, and EditingPalielināt
  • Formāts: Multiple-component retail product, 300 pages, height x width x depth: 235x189x25 mm, weight: 612 g, Contains 1 Paperback / softback and 1 CD-ROM
  • Izdošanas datums: 30-Jan-2004
  • Izdevniecība: Charles River Media
  • ISBN-10: 1584502916
  • ISBN-13: 9781584502913
Citas grāmatas par šo tēmu:
Permanent link: https://www.kriso.lv/db/9781584502913.html
Keywords:
Written for all levels of animators, artists, project managers, and companies who wish to handle their Motion Capture effectively, this book teaches how to deal with the process from determining if MOCAP is right for their project, coordinating the capture session, and managing the post-production details.
Acknowledgments xi
Foreword xiii
Preface xvii
CHAPTER 1 AN INTRODUCTION TO MOTION CAPTURE 1(20)
Types of Motion Capture Systems
7(2)
Approaches to Animating
9(2)
Basic Principles of Animation
11(3)
Motion Capture and the Principles of Animation
14(5)
The Preparation Phase
15(1)
The Capture Session Phase
16(1)
The Post Capture Phase
17(2)
Conclusion
19(2)
CHAPTER 2 MOTION CAPTURE AND YOUR PROJECT 21(18)
Deciding If Motion Capture Is Right for Your Project
22(9)
Common Errors when Considering Motion Capture
31(1)
Using Motion Capture
32(3)
A Coordinated Approach
35(2)
Conclusion
37(2)
CHAPTER 3 THE MOTION LIST 39(28)
Non-Linear Motions
41(1)
Linear Motions
42(1)
The In-Game Motion List
43(5)
Core Motions
46(1)
Looping Motions
47(1)
The Motion List Process
48(12)
The Wish List
54(2)
Reducing the List
56(4)
Excerpt from the CARRION Motion List
60(1)
The Cinematic Motion List
61(3)
Storyboard Breakdown
62(2)
Conclusion
64(3)
CHAPTER 4 FLOWCHARTS AND MOTION DIAGRAMS 67(16)
Greater State flowcharts
69(8)
Motion Set Flowcharts
77(3)
Motion Diagrams
80(2)
Conclusion
82(1)
CHAPTER 5 THE MOTION DATABASE 83(22)
Types of Databases
85(17)
The In-Game Database
85(3)
Database Sheet Explanation
88(7)
The Cinematic Database
95(4)
Planning Cinematic Sequence
99(3)
Conclusion
102(3)
CHAPTER 6 DIRECTORY STRUCTURE AND FILENAMING CONVENTION 105(22)
Directory Structure
107(9)
The Backup Directory
108(2)
The Characters Directory
110(1)
The Documents (Docs) Directory
111(1)
The motions Directory
112(3)
The Utilities (Utils) Directory
115(1)
Filenaming Convention
116(9)
The CARRION Naming Convention
117(7)
Unix- and Linux-Based Organization Considerations
124(1)
Conclusion
125(2)
CHAPTER 7 MARKERS AND MARKER CONFIGURATION 127(14)
Markers
128(11)
Body Markers
131(2)
Marker Placement
133(6)
Conclusion
139(2)
CHAPTER 8 SELECTING A MOTION CAPTURE STUDIO 141(32)
Basic Features and Services to Look For in a Motion Capture Studio
142(4)
Additional Features and Services a Motion Capture Studio May Provide
145(1)
Capture Session Bids
146(8)
Basic Types of Bids
146(1)
Getting a Bid for Your Project
147(7)
The Preproduction Meeting or Conference Call
154(5)
The Contract
159(11)
Areas to Pay Particular Attention to in the Contract
170(1)
Conclusion
171(2)
CHAPTER 9 MOTION PERFORMERS, STUNT COORDINATION, AND DIRECTING 173(22)
Types of Motion Performers
174(9)
Animal Performers
175(2)
Athletic Motion Performers
177(2)
Character Motion Performers
179(1)
Stunt Motion Performers
180(1)
The Ultimate Motion Performer
181(2)
Performer Auditions
183(1)
Motion Performer Safety and Comfort
184(4)
Stunt Coordination
188(1)
Directing a Capture Session
189(3)
Paying Motion Performers
191(1)
Conclusion
192(3)
CHAPTER 10 FINAL PREPARATIONS BEFORE THE CAPTURE SESSION 195(12)
Reference Material
196(1)
Props
197(1)
The Capture Session Team
198(2)
The Daily Shot List
200(4)
Miscellaneous Issues
204(1)
Conclusion
205(2)
CHAPTER 11 THE MOTION CAPTURE SESSION 207(16)
What a Typical Capture Day May Consist Of
208(5)
Job Responsibilities During the Capture
213(1)
Client's Capture Responsibilities
214(8)
Conclusion
222(1)
CHAPTER 12 POST PRODUCTION 223(30)
Frame Range Selections
225(6)
How to Make Frame Range Selections
228(3)
Updating the Database
231(1)
Getting the Motions Back from the Motion Studio
231(1)
Editing the Core Motions
232(12)
Idle Motions
233(6)
Cycle Motions
239(3)
Pinned Motions
242(2)
After the Core Motions Are Edited
244(4)
The Animation Meeting
244(3)
Starting to Edit
247(1)
Re-edits and Directory Maintenance
248(2)
Acknowledgments and Credits
250(2)
Conclusion
252(1)
CHAPTER 13 THE CARRION PROJECT 253(20)
Background Information
254(1)
Handling the Animation
254(2)
Stage 1: Preparing for the Capture Session
256(8)
The Motion List
257(1)
Flowcharts
258(1)
Contacting and Selecting a Motion Capture Studio
258(2)
The Motion Database
260(1)
Selecting Motion Performers and a Stunt Coordinator
260(1)
Coordinating and Making Props
261(1)
Assembling the Capture Team
262(1)
Preparing the Reference Material
262(1)
Travel Arrangements
263(1)
Stage 2: The Capture Session
264(3)
Stage 3: The Post Capture Session
267(4)
Conclusion
271(2)
CONCLUSION 273(2)
APPENDIX A MOTION CAPTURE STUDIOS 275(2)
APPENDIX B MOTION CAPTURE CONSULTANTS, PERFORMERS, AND COORDINATORS 277(2)
APPENDIX C OPTICAL MOTION CAPTURE SYSTEM MANUFACTURERS 279(2)
GLOSSARY 281(14)
BIBLIOGRAPHY 295(2)
INDEX 297