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April 17 Charles A. Wüthrich 1
Computer Graphics and Animation 1-History
Prof. Dr. Charles A. Wüthrich, Fakultät Medien, Medieninformatik Bauhaus-Universität Weimar caw AT medien.uni-weimar.de
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April 17 Charles A. Wüthrich 2
History (CG)
• Strong interconnection of the histories of
– Computer Graphics – Interactive Computer Games – Computer Animation
• Like many other modern development, Computer Graphics has its roots in hardware development for military applications
MIT Whirlwind (1950)
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April 17 Charles A. Wüthrich 3
History (CG)
• Strong interconnection of the histories of
– Computer Graphics – Interactive Computer Games – Computer Animation
• Like many other modern development, Computer Graphics has its roots in hardware development for military applications
• What is so interesting in this bulky object?
MIT Whirlwind (1950)
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April 17 Charles A. Wüthrich 4
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History (CG)
• Strong interconnection of the histories of
– Computer Graphics – Interactive Computer Games – Computer Animation
• Like many other modern development, Computer Graphics has its roots in hardware development for military applications
• What is so interesting in this bulky object?
MIT Whirlwind (1950)
Input!
Screen!
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April 17 Charles A. Wüthrich 5
History (CG)
• And what is interesting in this?
SAGE (1955)
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April 17 Charles A. Wüthrich 6
History (CG)
• And what is interesting in this?
SAGE (1955)
Lightpen!
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April 17 Charles A. Wüthrich 7
History (CG)
• First games developed end of the ‘50s
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“Tennis for two” on the Whirlwind (Higinbotham 1958)
SpaceWar (DEC PDP-1): 2 users/joystick (Russell 1962)
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April 17 Charles A. Wüthrich 8
History (CG)
• Interactive drawing (CAD)
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“Sketchpad” MIT (Sutherland 1963)
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April 17 Charles A. Wüthrich 9
History (CG)
• PCs came to life
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Apple II, Commodore PET
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April 17 Charles A. Wüthrich 10
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History (CG)
• They made Computer Graphics affordable
• Before PCs, graphics workstations cost hundreds of thousands – Evans&Sutherland – Apollo – Silicon Graphics (SGI)
• Today, fast graphics cards allow real time parallel processing
• Rendering is done on rendering farms: networked PCs
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April 17 Charles A. Wüthrich 11
History (CG)
• Algorithms and Methods for Computer Graphics (60-80)
Modeling: Polygons, Curves, Surfaces
Illumination: Light, Colour, Surface-Light interaction
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April 17 Charles A. Wüthrich 12
History (CG)
• In the 60s and early 70s, light reflection properties were modeled for their use in computers – Shading algorithms
• Flat shading • Phong shading
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April 17 Charles A. Wüthrich 13
History (CG)
• At the same time, special curves were developed for their use in Computer Graphics: splines – Bezier curves – B-splines – NURBs – T-splines
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April 17 Charles A. Wüthrich 14
History (CG)
• Complex modeling programs were developed in the 80s
• Allowing more and more realistic renderings – Raytracing – Radiosity
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April 17 Charles A. Wüthrich 15
History (CG)
• Nowadays there is a whole set of options for doing graphics on computers
• All one needs: – A fast PC – For complex renderings a
cluster of PCs …and of course some good
software
• Every designer knows: – 3D Max – Maya – … all possible variations of
software
– Most of them very expensive • We don’t have much money,so
we will use Open Software: – Blender
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April 17 Charles A. Wüthrich 16
Computer Graphics and Animation 2-Animation history
Prof. Dr. Charles A. Wüthrich, Fakultät Medien, Medieninformatik Bauhaus-Universität Weimar caw AT medien.uni-weimar.de
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Early animation devices
• First experiments with persistence of vision done early 1800
• Animation existed before the camera
• Perhaps simplest device: thaumatrope – Flipping circle with two
drawings
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Early animation devices
• Flipbook – Very common, and
survived till today • Motion through page flipping
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Early animation devices
• Zoetrope: wheel of light • Cylinder
– Inside: drawings – Slits cut between frames
on cylinder – Allow viewer to see only
one frame – Illusion of movement
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Early animation devices
• Phenakistoscope: greek for „spindle viewer“
• Two disks rotating in sync (or one at the mirror) – Back side: drawings – Slits cut between frames
on cylinder – User can see only one
small part of frame at a time
– Illusion of movement
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Early animation devices
• Praxinoscope: greek for „who knows?“
• Here rotating mirrors are used for allowing only the view on one frame at the back of the external cylinder
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„Conventional“ animation
• Filming of two-dimensional handdrawings • Georges Méliès (1896) used camera tricks (multiple cam
exposures, stop motion) to make objects appear, disappear and change shape.
• Emile Cohl produced several vignettes • J. Stuart Blackton animated smoke on a movie (1900) and
created first animated cartoon in 1906.
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„Conventional“ animation
• Windsor Mc Cay, a newspaper cartoonist, produced first animated cartoons – Little Nemo (1911) – Gertie the dinosaur (1914).
• Technique used: – Draw each image on rice paper – Film them individually
• In many of his works, he interacted live with his characters
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„Conventional“ animation
• John Bray started 1910 to work at patenting the animation processes.
• Was joined in 1914 by Earl Hurd, who patented the use of translucent cels to compositing multilayered images
• Bray patented also – The use of grayscale – He then enhanced overlaying to include a peg system for registration
of the layers – Finally he patented drawing on long sheets to allow panning on the
background
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„Conventional“ animation
• Out of Bray‘s studio came following authors: – Max Fleischer
(Betty Boop) – Paul Terry (Terrytoons) – George Stallings (Tom and
Jerry) – Walter Lanz (Woody
Woodpecker)
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„Conventional“ animation
• In 1915 Fleischer patented rotoscoping: draw images on cells by tracing previously recorded live actions
• Bray did experiment also with colour (1920) in the short „The debut of Thomas Cat“
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„Conventional“ animation: arts?
• Technology developed fast • However, the artistic side
struggled for long • First complete character with
personality: – Felix the Cat (Otto
Messmer) very successful in mid 1920s
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Walt Disney
• Walt Disney was the most successful conventional animator
• First to use storyboards for animations
• In 1928, he was the first to add sound to animations in „Steamboat Willie“
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Walt Disney
• Major technical innovation of Walt Disney: – Multiplane camera – Camera mounted on top – Each plane holds an
animation cell – Planes move along 3 axes
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Walt Disney: arts
• Disney preferred to give characters a long lasting personalities
• Focus on character, build stories around it
• Major characters: Mickey Mouse, Pluto, Goofy, Donald Duck
• Studied intensively real life motion
• Developed first „mood pieces“ – Skeleton Dance in 1929 – Fantasia in 1940
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Animation studios
• The success of Walt Disney pushed others to initiate animation studios
• Well known animation studios: Fleischer, Iwerks, Van Beuren, Universal Pictures, Paramount, MGM, Warner Brothers.
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Alternative techniques
• Stop motion techniques have been also very popular: – Clay animation – Puppet animation
• Here figures are moved one frame at a time, and snapshots are taken
• Father of these techniques: Willis O‘Brian (King Kong)
• Ray Harryshausen (Mighty Joe Young) • In Europe: Fusako Yusaki (Fernet Branca)
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What about 3D?
• First movie to make extensive use of 3D animation?
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Computer Animation: examples
• First movie to make extensive use of 3D animation? • Tron, Disney, 1982
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Computer Animation: examples • Finding Nemo: Copyright Pixar (2003) Geri‘s Game: Copyright Pixar (1999)
For the Birds: Copyright Pixar (2001)
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Traditional animation: production
• Production indicates the whole film
• Productions are split in sequences: each sequence is usually identified by an associated staging area. There are 1 to 12 sequences in a production
• A sequence is broken in one or more shots. Each shot is a continuous camera recording
• A shot is broken down into individual frames. A frame is a single image
Production Sequence 1 Sequence 2 Sequence 3
Shot 1 Shot 2 Shot 1 Shot 2 Shot 3 Shot 4 Shot 1 Shot 2 Frames 1 2 n ...
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Traditional animation: production steps
• First a preliminary story is decided
• This includes a script • A storyboard is developed: it lays
out action scenes by sketching representative frames and writing text to it
– A storyboard is used for discussing action
• For each character, model sheets are done. They are drawings of the character in different poses for keeping the characters consistency across animation
• The exposure sheet records all info of each frame (camera moves, sound cues, composing elements)
• The route sheet records stats and responsibility for each scene
• A story reel may be produced: a recording of the keyframes, each for as long as the scene it represents. It helps reviewing the timing of movie
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Traditional animation: production steps
• Once storyboard is decided, work on the detailed story is done (detail in action)
• Keyframes (or extremes) are identified and drawn by master animators
• Assistant animators draw the inbetweens between the keys (inbetweening)
• Test shots are done on short sequences to check rendering and movement
• Sometimes movement can be checked on pencil drawings
• Once sequence is fixed – Inking is done (transferring
contours to the cels) – Opaquing is done (filling with
colour)
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Traditional animation: sound
• Sound is extremely important in animation • Contrary to regular movies, precise timing is possible • Depending on importance of sound, either
– Animation is done first : here a scratch track (or rough sound track) can be built while storyboard is developed
– Sound track is done first e.g. for lipsyncing
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And in Computer Animation?
• Many of the tasks and tools before are used here too: storyboarding, model sheets, keyframing....
• However, computer animation allows more flexibility • Moreover, animators can turn on/off effects to concentrate on
partial aspects • They can even simplify rendering to check for particular aspects • Moreover, even at rendering time certain aspects can be turned
on/off to speed up the process e.g. Which objects cast shadows to where
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Producing a Computer Animation
• Story Dept: Converts screenplay to storyboard and to story reel
• Art Dept: Creates design and color studies, including detailed model description and lighting scenarios
• Modeling Dept: Creates the characters and the world they live. Often parametrizes figures to control movement of figures
• Layout Dept: Implements staging and blocking. Is responsible for taking the film from 2D to 3D
• Shading dept: Adds textures, displace-ment shaders and lighting models
• Animation dept: Responsible for character „life“. Produce gestures and subtle animation detail
• Lighting dept: Assigns teams to each sequence so that lighting is done as the arts department wishes
• Camera dept: renders the frames
Story dept
Art dept
Modeling dept.
Animation dept
Layout dept. Shading dept
Lighting dept.
Camera dept.
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Editing
• Once images are produced, they have to be assembled into the final movie
• Originally, sequences got mixed one after the other linearly in time (the output was linear)
• Later, timestamps were added so that some non linear editing was possible
• Nowadays, almost every PC is capable of non-linear editing
• Here, tracks can be mixed, inserted, overlayed, sound can be added to them at will
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History: early days (60s-70s)
• It all started from Ivan Sutherland‘s interactive machine (MIT 63)
• First animated computer sequence: Ed Jazzac (Bell Labs)
• Early 70s: Univ. of Utah established program of CG (Catmull)
• Early Labs (late 70s): – U. Pennsylvania (N. Badler) – NYIT (Catmull) – Ohio State (De Fanti, Csuri) – U. Montreal (D. And N.
Thalmann) • Animation mostly in Labs
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History: towards maturity (80s)
• Three major events: – Development of graphics
capable hardware (SGI) and rendering
– Development of complex algorithms for modeling
– Appearance of first animation studios and first complex films
• First animated computer film: Tron (Disney 1982)
• Big animation studios at that time: – Digital Pictures – Image West – Cranston-Csuri – Pacific Data Film – Lucasfilm (who became Pixar)
• First animation Oscars won: Tin Toy (1988)
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History: maturity(?) (90s-today)
• Major productions of – Complex special effects – Whole productions – Digital characters in movies
• Two real big players: – Pixar (Star Trek II, Toy
Story, Monsters......) – ILM (Terminator II, The
Abyss, Casper, Jurassic Park, ....)
• Animation big in commercials – Here smaller studios work
• Software available nowadays off the shelf
• Hardware too (despite Pixar‘s Renderfarms)
• Modeling possible at home
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History: maturity(?) (90s-today)
• 3D movies: Avatar.
Courtesy 20th Century Fox © 2009
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Charles A. Wüthrich
Computer animation: the principles
• Animation has its roots in 2D animation, and rules of course have been found out for 2D animation (the grammar of animation)
• These principles are nowadays quite well known. John Lassater (Pixar) outlined these principles in a nice article at Siggraph 87
1. Squash and stretch 2. Timing 3. Anticipation 4. Staging 5. Followthrough and overlapping
action 6. Straight ahead action and pose-to-
pose action 7. Slow in and slow out 8. Arcs 9. Exaggeration 10. Secondary action 11. Appeal
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Charles A. Wüthrich
Principles: squash and stretch
• Example – Used also to avoid strobing in fast movement
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Charles A. Wüthrich
Principles: timing
• Timing: the speed of an action • Not too long (boring) • Not too short (one
sees nothing) • Weight of object is
defined by timing • the heavier, the slower
it accelerates • The lighter, the faster
they accelerate • Big and heavy objects
move slooooowwww
• Emotions can be also expressed through different timings: • Tilting a head with
one inbetween may indicate it has been hit by a bat
• But with seven inbetweens it tries to get a better look at something
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Charles A. Wüthrich
Principles: Anticipation
• Actions are subdivided in 3 parts: – Preparation (anticipation) – the action itself (staging) – its termination.
• Anticipation prepares the action and notifies the viewer something is going to happen
• In nature, it is the same: you can't kick unless you pull the leg backwards
• Anticipation aims at making the viewer look at the right part of the image
• If the viewer knows what to expect, then action itself can be faster
• Exaggerated anticipation can be used to emphasize heavy weights (bending back to lift one)
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Charles A. Wüthrich
Principles: Anticipation
• Actions are subdivided in 3 parts: – Preparation (anticipation) – the action itself – its termination.
• Anticipation prepares the action and notifies the viewer something is going to happen
• In nature, it is the same: you can't kick unless you pull the leg backwards
• Let us make an example
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Charles A. Wüthrich
Principles: Anticipation
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Charles A. Wüthrich
Principles: Staging
• Staging is the presentation of an idea so it is unmistakably clear.
• This can be an action, a personality, an expression, or even a mood
• Staging, anticipation and timing are all integral part to directing the eye.
• Very important is to allow users to see only one thing at a time
• Animators in fact tell a story saying „look at this, then this“
• Staging is mostly done in silhoutte: actions are done outside of the body so as to make them pop out more clearly (e.g. Scratching is done on side)
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Charles A. Wüthrich
Principles: Follow-through and overlapping action
• Follow through is the termination of an action
• Actions usually last longer than their end. Ex: hand throwing ball goes on after
• Actions of parts of an object are not simultaneous. Some parts start before (the lead).
• For example, hips move before legs for walking
• Similarly, appendices would „follow“ the action, and do this according to their weight
• Slight variations are added to loose parts to make action look more interesting (overlapping)
• Actions themselves overlap, just as we curve not by turning promptly but on smooth curves
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Charles A. Wüthrich
• There are mainly two approaches to hand drawn animation – The animator can produce
one pic at a time in sequence (straight ahead)
– The animator can produce key poses and then draw the inbetweens (pose to pose)
– Inbetweens are done knowing the timing necessary for action
– For complex shapes they are difficult to do
• Automatical inbetweening becomes therefore difficult to do
• Moreover, parts of figures may require different keyframe timings
Principles: Follow-through and overlapping action
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Charles A. Wüthrich
Principles: Slow in, slow out
• This deals with the spacing of the inbetween drawings between the extreme poses
• Mathematically it means controlling acceleration
• The animator indicates the inbetweens with a timing chart drawn to the side to specify where the inbetween drawings are placed in the timescale
• Here is an example of a timegraph of a ball bounce:
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Charles A. Wüthrich
Principles: Arcs
• The visual path of action is described by an arc
• All movements follow an arc
• Sometimes, they are on a straight line, but mostly they are on an arc
• Even if characters move on a straight line, they usually rotate on themselves
• Arcs are usually done on 3rd order splines, to be able to control velocity and acceleration
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Charles A. Wüthrich
Principles: Exaggeration and secondary action
• Exaggeration in animation does not mean distorting, just accentuating
• Make sad characters sadder, wild characters frantic
• Balance exaggeration in the scene so all looks „equally exaggerated“
• Do not overdo exaggeration, and keep it „natural“
• Secondary actions are actions resulting directly from another one
• Example: a power chord of a device has its own secondary movement if you move the device itself
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Charles A. Wüthrich
Principles: Appeal
• Appeal is anything the viewer likes to see, or would look at:
– Weak drawing – Too complicated drawing – Akward moves
• Simple rules to avoid flatness of design:
– Do not make characters symmertic: they would look dull
– Think of detail when you develop a character
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Charles A. Wüthrich
Principles: Personality
• Personality is given by the successful application of the above principles
• A story is good when viewers look at the character and at the story
• Animators have full control of every move, but they are good at animating when a character becomes a character
• Questions animators have always present to express a characters personality are:
– What mood is the character in? – How would he move to perform
this action? • No two characters would do an
action the same way • AND the personality of the
character should be familiar to the audience
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+++ Ende - The end - Finis - Fin - Fine +++ Ende - The end - Finis - Fin - Fine +++
End
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April 17 Charles A. Wüthrich 62 62
Thank you!
• Web pages http://www.uni-weimar.de/medien/cg