Computer Science Workbench is a monograph series which will provide you with an in-depth working knowledge of current developments in computer technology. Every volume in this series will deal with a topic of importance in computer science and elaborate on how you yourself can build systems related to the main theme. You will be able to develop a variety of systems, including computer software tools, computer gra phics, computer animation, database management systems, and compu ter-aided design and manufacturing systems. Computer Science Work bench represents an important new contribution in the field of practical computer technology. TOSIYASU L. KUNII Preface to the Second Edition Computer graphics is growing very rapidly; only computer animation grows faster. The first edition of the book Computer Animation: Theory and Practice was released in 1985. Four years later, computer animation has exploded. Conferences on computer animation have appeared and the topic is recognized in well-known journals as a leading theme. Computer-generated film festivals now exist in each country and several thousands of films are produced each year. From a commercial point of view, the computer animation market has grown considerably. TV logos are computer-made and more and more simulations use the technique of computer animation. What is the most fascinating is certainly the development of computer animation from a research point-of-view.
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1. Introduction.-
2. Conventional Animation.- 2.1 Basic Principles of
Conventional Animation.- 2.2 How Are Cartoon Animated Films Made?.- 2.3
Multiplane and Shooting Phase.- 2.4 Some Techniques and Special Camera
Effects.- 2.5 Bar, Route, Model, and Exposure Sheets.- 2.6 Postproduction.-
2.7 Historical Background.- 2.8 Applications of Animation.-
3. Computer
Animation.- 3.1 The Role of the Computer in Animation.- 3.2 How to Classify
Computer Animation Systems?.- 3.3 Real-time vs Frame-by-frame.- 3.4 Frame
Buffer Animation and Real-time Playback.- 3.5 Systems vs Languages.-
4. The
Development of Computer Animation in Various Organizations.- 4.1 The Early
Systems: BEFLIX and EXPLOR.- 4.2 Picture-driven Animation: GENESYS.- 4.3
Analog Systems: SCANIMATE and CAESAR.- 4.4 ANIMATOR, ARTÄ, and MOP.- 4.5
Computer Animation at the National Research Council of Canada.- 4.6 Computer
Animation at Ohio State University.- 4.7 From GRASS to ZGRASS.- 4.8 New York
Institute of Technology, Lucasfilm, and Pixar.- 4.9 MAGI/Synthavision, Robert
Abel, Triple I, and Digital Effects.- 4.10 And the Others?.-
5. Keyframe and
Painting Systems.- 5.1 Computer-assisted Animation.- 5.2 The Input of
Drawings.- 5.3 In-between Calculations.- 5.4 The Laws of Animation.- 5.5
Skeleton Techniques.- 5.6 The Path of Motion and P-curves.- 5.7 In-betweening
Using Moving Point Constraints.- 5.8 Coloring Techniques.- 5.9 Paint
Systems.- 5.10 Color Simulation and Dithering.- 5.11 Gradation Techniques.-
6. Object Modeling in 3D Animation.- 6.1 What Is 3D Animation?.- 6.2 Object
Representation.- 6.3 Surface Modeling.- 6.4 Object Creation.-
7. Motion
Control in 3D Animation.- 7.1 A Classification of 3D Computer Animation
Methods.- 7.2 A Unified View.- 7.3 A Comparison of Methods.- 7.4
Three-dimensional ShapeInterpolation.- 7.5 A Case Study: The Multiple Track
Animator System.- 7.6 Parametric Keyframe Animation.- 7.7 The Use of Splines
in Keyframe Animation.- 7.8 Principles of Algorithmic Animation.- 7.9 Motion
Specification will Synchronization.-
8. Hidden Surfaces, Reflectance, and
Shading.- 8.1 Hidden Surfaces.- 8.2 Light Reflection Models.- 8.3 Surface
Shading.- 8.4 Rendering of Parametric and Patch Surfaces.- 8.5 Complex Light
Sources.-
9. Transparency, Texture, Shadows, and Anti-aliasing.- 9.1
Ray-tracing Algorithms.- 9.2 Ray-tracing Problems.- 9.3 Optimization
Techniques for Ray-tracing.- 9.4 Transparency.- 9.5 Texture.- 9.6 Fractals.-
9.7 Fuzzy Objects Modeling and Particle Systems.- 9.8 Shadows.- 9.9 Spatial
Anti-aliasing.- 9.10 Motion Blur and Temporal Anti-aliasing.-
10. Human
Modeling and Animation.- 10.1 Stick, Surface, and Volume Models.- 10.2 The
NUDES System.- 10.3 The Badler Bubbleman.- 10.4 Labanotation.- 10.5
Parametric Keyframe Animation of Articulated Bodies.- 10.6 Body Deformations
and JLD Operators.- 10.7 Hand Animation.- 10.8 Facial Animation.- 10.9 A
Three-level Approach Based on Abstract Muscles.-
11. Object-oriented and
Actor Languages and Systems.- 11.1 Classes, Modules, and Processes.- 11.2
Kays Work and SMALLTALK.- 11.3 Hewitts Actor Theory.- 11.4 LOGO and the
DIRECTOR Actor-based Animation Language.- 11.5 AS AS: The Actor/Scriptor
Animation System.- 11.6 CINEMIRA: A Language Based on Actor and Camera Data
Types.- 11.7 MĻRANIM: An Extensible Director-oriented 3D Animation System.-
12. Automatic Motion Control.- 12.1 Mechanics, Robotics, and A.I. in Computer
Animation.- 12.2 First Step: Positional Constraints and Inverse Kinematics.-
12.3 Second Step: Motion Control Using Dynamics.- 12.4 Third Step: Impact of
the Environment.- 12.5Fourth Step: Task Planning.- 12.6 Fifth Step:
Behavioral Animation.-
13. Case Studies of Computer-generated Films.- 13.1
The Film Dream Flight.- 13.2 The Film Rendez-vous ą Montréal.- 13.3 The Film
Eglantine.- 13.4 The Film Galaxy Sweetheart.- References.- Appendix:
Computer-generated Films.
