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E-grāmata: Synthetic Actors: in Computer-Generated 3D Films

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  • Formāts: PDF+DRM
  • Sērija : Computer Science Workbench
  • Izdošanas datums: 06-Dec-2012
  • Izdevniecība: Springer-Verlag Berlin and Heidelberg GmbH & Co. K
  • Valoda: eng
  • ISBN-13: 9783642754531
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Synthetic Actors: in Computer-Generated 3D FilmsPalielināt
  • Formāts: PDF+DRM
  • Sērija : Computer Science Workbench
  • Izdošanas datums: 06-Dec-2012
  • Izdevniecība: Springer-Verlag Berlin and Heidelberg GmbH & Co. K
  • Valoda: eng
  • ISBN-13: 9783642754531
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This book presents the making of computer-generated films using three-dimensional synthetic actors. It is based mainly on the production of the film Rendez-vous a Montreal, an animated film that uses advanced computer techniques to achieve such effects as reincarnating film stars Humphrey Bogart and Marilyn Monroe. The main purpose of Rendez-vous a Montreal is to show that true synthetic actors can be created. This fllm represents a technological breakthrough which opens up new vistas in motion pictures, television, and advertising. With this technique, it will now be possible to produce short fllms or motion pictures featuring any celebrity in any situation. The book explains in detail how such a film can be produced using numerous drawings and color pictures. In particular, the following topics are presented: - Preparation of object construction: documentation search, and plaster models preparation - Object construction: digitizing and modeling - Body animation - Hand animation and object grasping - Facial animation: expressions, phonemes and emotions - Choreography: decors, actors, cameras, and lights - Realism: colors, lights, shading, shadows, and textures - Image recording: special effects Finally, an extensive appendix describes in detail the HUMAN FACTORY system.

Papildus informācija

Springer Book Archives
1 How to Make a Film with Synthetic Actors
1.1 Computer Animation and Synthetic Actors
1(3)
1.1.1 The Role of Synthetic Actors
1(1)
1.1.2 Scenario and Storyboard
1(1)
1.1.3 Decors and Actors
2(1)
1.1.4 Motion
2(1)
1.1.5 Types of Animation
2(1)
1.1.6 Cameras and Lights
3(1)
1.1.7 Choreography and Recording
4(1)
1.2 The Film Rendez-vous a Montreal
4(5)
1.2.1 The Film
4(1)
1.2.2 The Scenario
4(1)
1.2.3 The Storyboard
5(2)
1.2.4 The History of Rendez-vous a Montreal
7(2)
2 Three-Dimensional Construction of Synthetic Actors
2.1 Planning and Preparation of Models for 3D Reconstruction
9(3)
2.1.1 Planning
9(1)
2.1.2 Model and Documentation Search
9(2)
2.1.3 Guidelines for Choosing or Constructing Objects to be Digitized
11(1)
2.2 How to Enter the Shapes
12(5)
2.2.1 Input Scanning, Digitizing, and 3D Reconstruction
12(1)
2.2.2 3D Reconstruction from 2D Plans or Photographs
12(1)
2.2.3 The Steps of Construction by Digitizing
13(1)
2.2.4 Cross-section Methods
13(1)
2.2.5 Plaster Models Preparation
13(1)
2.2.6 Planar Polygonal Facet Representation
14(2)
2.2.7 Choice of Facets and Vertices
16(1)
2.3 Photographs
17(4)
2.3.1 Principles
17(1)
2.3.2 Turntable
18(1)
2.3.3 Camera
18(1)
2.3.4 Choice of Photo Angles
19(1)
2.3.5 Marking Vertices, Facets, and Edges on Photos
19(1)
2.3.6 Step-by-Step 3D Digitizing Procedure
19(2)
2.4 Object Composition
21(4)
2.4.1 The Composition Operation
21(1)
2.4.2 An Example: The Complete Composition of Marilyn Monroe
22(3)
3 Human Prototyping
3.1 Local Transformations of Existing Synthetic Actors
25(1)
3.1.1 Introduction
25(1)
3.1.2 Local Transformations
25(1)
3.2 Shape Interpolation Between Human Faces
26(5)
3.2.1 Introduction
26(1)
3.2.2 Grid Generation
27(1)
3.2.3 Inbetween Calculation
28(3)
4 Body Animation of Synthetic Actors
4.1 Principles of Body Animation
31(1)
4.2 Skeleton Definition and Positioning
32(4)
4.2.1 Skeleton Definition
32(1)
4.2.2 Fixed Points
33(1)
4.2.3 Actor Sections
33(1)
4.2.4 Procedure for Skeleton Positioning
34(2)
4.3 Skeleton Animation
36(9)
4.3.1 Key Positions
36(1)
4.3.2 Spline Interpolation
36(1)
4.3.3 Definition and Manipulation of Key Values
37(4)
4.3.4 An Example
41(4)
5 Hand Animation, Object Grasping, and Foot Animation
5.1 Hand Skeleton and Surface
45(1)
5.1.1 Hand Skeleton
45(1)
5.1.2 Hand Surface
46(1)
5.2 Hand Animation
46(3)
5.3 Object Grasping and Manipulating
49(5)
5.3.1 The Action of Grasping an Object
49(1)
5.3.2 Determination of Joint Angles for Object Grasping
49(1)
5.3.3 Object Association
50(1)
5.3.4 A Case Study from Rendez-vous a Montreal
50(1)
5.3.5 Flower Grasping
51(3)
5.4 Foot Animation
54(1)
6 Facial Animation of Synthetic Actors
6.1 A Three-Level Approach to Facial Animation
55(2)
6.1.1 How to Animate the Face of a Synthetic Actor
55(1)
6.1.2 Parameter, Expression, and Script Levels
55(2)
6.2 The Facial Parameters
57(2)
6.2.1 The Structure of a Human Face
57(1)
6.2.2 A Human Face Model for Animation
57(1)
6.2.3 Constraints on Faces of a Synthetic Actor
57(1)
6.2.4 The Role of Facial Parameters
58(1)
6.2.5 Installation of the Face of a New Synthetic Actor
59(1)
6.2.6 Lip Facial Parameters
59(1)
6.3 The Expressions: Phonemes and Emotions
59(5)
6.3.1 The Expression Level
59(4)
6.3.2 Phonemes
63(1)
6.3.3 Emotions
64(1)
6.4 The Script Level
64(2)
6.4.1 Scripts for Facial Animation
64(1)
6.4.2 Key Values and Inbetweening
64(1)
6.4.3 The Role of Multiple Tracks
65(1)
6.4.4 Speech Timing
65(1)
6.4.5 The Use of Splines
65(1)
6.5 A Script Example from the Film Rendezvous a Montreal
66(1)
6.6 Interpolating Facial Parameters and Expressions Between Two Different Human Faces
66(5)
6.6.1 Shape Level
66(1)
6.6.2 Parameter Level
66(3)
6.6.3 Expression Level
69(1)
6.6.4 Script Level
69(2)
7 Color, Reflectance, Transparency, and Texture
7.1 Colors
71(3)
7.1.1 Drawing Style
71(1)
7.1.2 How to Color a Synthetic Actor
71(1)
7.1.3 The RGB System
71(1)
7.1.4 The HLS System
72(2)
7.2 Reflectance
74(1)
7.2.1 Definition
74(1)
7.2.2 A User Interface, for Reflectance
74(1)
7.2.3 Reflectance and Highlight for Synthetic Actors
74(1)
7.3 Transparency and Textures
75(4)
7.3.1 Transparency
75(2)
7.3.2 Textures
77(2)
8 Cameras, Lights, and Shadows
8.1 Cameras
79(1)
8.1.1 The Animation Environment
79(1)
8.1.2 Synthetic Cameras
79(1)
8.1.3 Eye, Interest Point, Viewing Angle, and Viewport
79(1)
8.2 Lights
80(4)
8.2.1 Introduction to Illumination
80(1)
8.2.2 Surface Shading
81(2)
8.2.3 How to Select Light Parameters
83(1)
8.3 Shadows
84(3)
9 Choreography
9.1 Decors and Actors
87(2)
9.1.1 Scene and Script
87(1)
9.1.2 Decors
87(1)
9.1.3 Non-Human Actors
87(2)
9.2 Cameras and Lights
89(3)
9.2.1 The Role of Synthetic Cameras in Computer-Animated Films
89(1)
9.2.2 Characteristics of an Animated Camera
89(1)
9.2.3 Wipe Effects and Multiple Synthetic Movie Camera Effects
90(2)
9.2.4 Animation of Lights and Spots
92(1)
9.3 Camera and Light Paths
92(7)
9.3.1 Introduction
92(1)
9.3.2 Paths Defined by a Law
92(1)
9.3.3 Camera Assigned to an Actor
93(1)
9.3.4 Graphical Input of Path
93(1)
9.3.5 How to Design a Camera Spline
93(1)
9.3.6 Spline for the Camera Motion in the Film Eglantine
94(5)
Appendix: The Human Factory Software
A.1 The Architecture of the Human Factory System
99(2)
A.1.1 Introduction
99(1)
A.1.2 Interfaces for the Human Factory Programs
100(1)
A.1.3 The Hierarchical Structure
101(1)
A.2 The DIGIT3D Program
101(1)
A.3 The SABRINA System
102(3)
A.4 The BODY_PARTS System
105(2)
A.4.1 Active Figure and Cameras
107(1)
A.4.2 Current Vectors and Sets
107(1)
A.5 The BODY_MOVING System
107(7)
A.5.1 An Overview of the BODY_MOVING System
107(2)
A.5.2 Definition of Key Values
109(2)
A.5.3 Manipulation of Key Values
111(2)
A.5.4 A User Interface for Object Grasping
113(1)
A.6 The FACE_MOVING System
114(3)
A.6.1 An Overview of the FACE_MOVING System
114(1)
A.6.2 Lip Facial Parameters
115(2)
A.7 The MIRANIM System
117(3)
A.8 The DISPLAY Program
120(3)
Bibliography 123(4)
Subject Index 127
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