Release. Pressure. Animate.

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companies have also discovered about straight mocap. Same principle, different medium. (Kelly in Freeman, 2011a, shaunfreeman.com) Also, Masahiro Mori, a Japanese researcher, introduced the hypotheses for something that was called the uncanny valley effect. It states that the audience‟s empathy will increase as an anthropomorphic entity becomes more humanlike but will decrease significantly when the entity becomes close to human, effectively becoming creepy. This sharp decline in empathy was strong in pictures, but is magnified three-fold in movement, thus affecting animation even more. Adapted from Mashiro Mori and Karl MacDorman. The image depicts the empathy of the audience on basis of the human likeness of the entity in still and moving images. (Autodesk Whitepaper – The New Art of Virtual Moviemaking, 2009, autodesk.com, p. 9) “Neuroscientists have used fMRI scans to observe the human brain‟s response to various types of computer-animated characters confirming both the effect and its correlation to increasing anthropomorphism…” (Autodesk Whitepaper – The New Art of Virtual Moviemaking, 2009, autodesk.com, p. 9) Motion Capture nowadays offers more finesse where a „floaty‟ result often becomes less of a problem than with original 2D rotoscopy. Even more, as likeliness is possible to increase even more as technology advances; the creepy effect could be overcome. The current detail in motion already seems to fill (most) gaps of believability. But still it has its own distinct style and for now – also because of the rendering techniques – still isn‟t real. For me, this isn‟t really a problem as its just one wonderful new medium that delivers amazing aesthetics that has a 2. The difference in Animation fields 4 8
ecognizable style on its own, but for others it‟s still the devils‟ rotoscope and has its own distance from the audience in effect. With the coming of the Kinect for Xbox 360 we are being introduced to new ways of gaming, but also consumer priced technology capable of motion capture that is now already widely used inside consumer‟s houses (for gaming.) This shift from expensive hardware to a relatively low-cost electronical peripheral for a gaming console makes for interesting new opportunities. There are many communities that are already „hacking‟ the hardware for use on a PC to record motion data at home. Even more, Microsoft already released the SDK for Windows recognizing the Kinect‟s uses for PCs. The coming of cheaper hardware that can register human movements doesn‟t mean Motion Capture studios soon will become redundant. As quality of the resulting data from such cheaper hardware is often inaccurate and can‟t compare to data coming from professional motion capture equipment and one that has set up a pipeline for it through the years, like Motek Entertainment. Though, it could be used by animators as three dimensional references for animation instead of just recording themselves with a webcam. This data could be imported into the 3D software and can introduce new ways of analyzing and using references for animators. Using it as quick reference to build from can increase the animators speed for finding the essence, though he should still be aware not to only rotoscope on top of the reference, but exaggerate the essence of what should be progressing the story – as discussed with traditional animation rotoscoped animation will appear to be off. Or it could simply be used for an animatic as previz of the characters‟ motion and can help with figuring out the timing in a scene. Among one of the technical advancements with the Kinect is Jasper Brekelmans‟ technique to introduce real-time streaming into software like Motion Builder and thus it can easily be used to capture this data to 3D software already. (Brekelmans, Jasper. 2011) Overall, the development is rather new but can help animators gain more insight into human motion, timing and introduce new workflows in an overall production with benefits in the area of previz and reference footage as we‟ll see next in the discussion of the mid-range priced Xsens system. As said, for the better results a rather high price ticket still is to be paid for hardware. Another downside of the optical system (which is most often used) is its mobility. The setup needs many pricy cameras (around 12 for good results) and good lighting conditions (no interference). A new innovation from Dutch grounds which solves most of this is the development by Xsens towards – what they call – a wireless inertial motion capture system. (http://xsens.com, June, 2011) Instead of optical sensors it works on MEMS inertial sensors, which are often used in the airbags of the cars nowadays. Since MEMS are in mass-production, thanks to the use in airbags, price has gone down and the system is becoming relatively affordable. (Bartelson, 2009) Xsens customers include ILM, 2. The difference in Animation fields 4 9
Page 1 and 2:
PRESSURE. RELEASE. ANIMATE. How to
Page 3 and 4: “Art challenges technology. Techn
Page 5 and 6: Table of Contents Table of Contents
Page 7 and 8: Introduction Not a very long time a
Page 9 and 10: This is all evolving around the mai
Page 11 and 12: There are two difficulties in discu
Page 13 and 14: 1.2 How can a flow be maintained or
Page 15 and 16: this piece of art - posing the char
Page 17 and 18: You know that feeling when you watc
Page 19 and 20: without any reference or sketching.
Page 21 and 22: 2.1 Animating like a puppeteer. (St
Page 23 and 24: ond with the character often create
Page 25 and 26: everything done smoothly at the mom
Page 27 and 28: same, hence a „tick‟ of the lig
Page 29 and 30: This paragraph is about what in gen
Page 31 and 32: “Too much action spoils the actin
Page 33 and 34: working clean and keeping your head
Page 35 and 36: think in the ways of those strong p
Page 37 and 38: the motion and action of the charac
Page 39 and 40: this can be a reliable way for „i
Page 41 and 42: It‟s hard to have a clear distinc
Page 43 and 44: the background. Any distraction at
Page 45 and 46: or the mixed approach as described
Page 47 and 48: customizing and tweaking the whole
Page 49 and 50: as the character parts don‟t actu
Page 51 and 52: As with traditional animation and m
Page 53: example you could divide the pipeli
Page 57 and 58: issue. “While early production mo
Page 59 and 60: There‟s a need for a strict goal
Page 61 and 62: Simplicity is what animators seem t
Page 63 and 64: Simple thinking Complex effects Ful
Page 65 and 66: creating a thorough plan that doesn
Page 67 and 68: Because using the early computer sy
Page 69 and 70: work you‟re looking at, regardles
Page 71 and 72: we‟ll see. According to a job des
Page 73 and 74: day polishing splines, arcs and spa
Page 75 and 76: It‟s important to allow supervisi
Page 77 and 78: doesn‟t. For him they were mainly
Page 79 and 80: - Discuss with supervisor. - Animat
Page 81 and 82: the animator (like reviews by the s
Page 83 and 84: By now I‟ve presented the importa
Page 85 and 86: the final movie too. They might see
Page 87 and 88: progression of the shot before star
Page 89 and 90: In management I‟ve noticed while
Page 91 and 92: already know exactly what pose happ
Page 93 and 94: (Autodesk Whitepaper - The New Art
Page 95 and 96: with a limited amount of informatio
Page 97 and 98: information to be (possibly) presen
Page 99 and 100: for. Sometimes it is necessary to a
Page 101 and 102: pop out is simplicity. For every ta
Page 103 and 104: goals (based off of storyboard and
Page 105 and 106:
up and shut it down instead of a co
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development 22 . Since the tracking
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The same accounts for playing the a
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animation studios, and if it were u
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on it, as well as use it automatica
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offer functionality for this in a r
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guessing right away what the best t
Page 119 and 120:
to focus on only these parts and ma
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een developed through the years for
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data to handle through the years se
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applying it to your objects animati
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allows you to quickly sculpt tweaks
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quickly and easily check your anima
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without worrying about what and whe
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viewing and commenting accordingly
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stimulation might interfere with ac
Page 137 and 138:
A picture depicting an overview of
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of the animating) could need this t
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tools that really helped with the c
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never really ended up using it as f
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But looking at the character from t
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otate around his head took me at mo
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As stated we worked faster and were
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Conclusion The main focus of my res
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management, start using it and twea
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Reference Sources Animation Mentor
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Hoffman, Hans; T. Weeks, Sara; H. H
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1. Workflow and Pipeline clarificat
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