Search

Motion capture is increasingly used in games and movies, but often requires editing before it can be used, for many reasons. The motion may need to be adjusted to correctly interact with virtual objects or to fix problems that result from mapping the motion to a character of a different size or, beyond such technical requirements, directors can request stylistic changes. Unfortunately, editing is laborious because of the low-level representation of the data. While existing motion editing methods accomplish modest changes, larger edits can require the artist to “re-animate” the motion by manually selecting a subset of the frames as keyframes. In this paper, we automatically find sets of frames to serve as keyframes for editing the motion. We formulate the problem of selecting an optimal set of keyframes as a shortest-path problem, and solve it efficiently using dynamic programming. We create a new simplified animation by interpolating the found keyframes using a naive curve fitting technique. Our algorithm can simplify motion capture to around 10% of the original number of frames while retaining most of its detail. By simplifying animation with our algorithm, we realize a new approach to motion editing and stylization founded on the time-tested keyframe interface. We present results that show our algorithm outperforms both research algorithms and a leading commercial tool.

Deformation transfer is a type of retargeting method that operates directly on the mesh and, by doing so, enables reuse of animation without setting up character rigs and a mapping between the source and target geometries. Deformation transfer can potentially reduce the costs of animation and give studios a competitive edge when keeping up with the latest computer animation technology. Unfortunately, deformation transfer has limitations and is yet to become standard practice in the industry. This survey starts by introducing Sumner and Popovic’s [18] seminal work and highlights key issues for industry settings. We then review related work in sections, organized by these key issues. After surveying related work, we discuss how their advances open the door to several practical applications of deformation transfer. To conclude, we highlight areas of future work.

We propose an interactive video completion method aiming for practical use in a digital production workplace. The results of earlier automatic solutions often require a considerable amount of manual modifications to make them usable in practice. To reduce such a laborious task, our method offers an efficient editing tool. Our iterative algorithm estimates the flow fields and colors in space-time holes in the video. As in earlier approaches, our algorithm uses an $L^1$L1 data term to estimate flow fields. However, we employ a novel $L^2$L2 data term to estimate temporally coherent color transitions. Our graphics processing unit implementation enables the user to interactively complete a video by drawing holes and immediately removes objects from the video. In addition, our method successfully interpolates sparse modifications initialized by the designer. According to our subjective evaluation, the videos completed with our method look significantly better than those with other state-of-the-art approaches.

Despite the popularity of three-dimensional (3D) animation techniques, the style of 2D cel animation is seeing increased use in games and interactive applications. However, conventional 3D toon shading frequently requires manual editing to clean up undesired shadows or add stylistic details based on art direction. This editing is impractical for the frame-by-frame editing in cartoon feature film post-production. For interactive stylised media and games, post-production is unavailable due to real-time constraints, so art-direction must be preserved automatically. For these reasons, artists often resort to mesh and texture edits to mitigate undesired shadows typical of toon shaders. Such edits allow real-time rendering but are limited in resolution, animation quality and lack detail control for stylised shadow design. In our framework, artists build a “shading rig,” a collection of these edits, that allows artists to animate toon shading. Artists pre-animate the shading rig under changing lighting, to dynamically preserve artistic intent in a live application, without manual intervention. We show our method preserves continuous motion and shape interpolation, with fewer keyframes than previous work. Our shading shape interpolation is computationally cheaper than state-of-the-art image interpolation techniques. We achieve these improvements while preserving vector quality rendering, without resorting either to high texture resolution or mesh density.