Computer Animation Algorithms and Techniques Third Edition.pdf-资料库

d0527c7a-ce23-4af7-843f-8683dfb8e565.pdf-第1页.png

第1页 / 共490页

d0527c7a-ce23-4af7-843f-8683dfb8e565.pdf-第2页.png

第2页 / 共490页

d0527c7a-ce23-4af7-843f-8683dfb8e565.pdf-第3页.png

第3页 / 共490页

d0527c7a-ce23-4af7-843f-8683dfb8e565.pdf-第4页.png

第4页 / 共490页

d0527c7a-ce23-4af7-843f-8683dfb8e565.pdf-第5页.png

第5页 / 共490页

d0527c7a-ce23-4af7-843f-8683dfb8e565.pdf-第6页.png

第6页 / 共490页

d0527c7a-ce23-4af7-843f-8683dfb8e565.pdf-第7页.png

第7页 / 共490页

d0527c7a-ce23-4af7-843f-8683dfb8e565.pdf-第8页.png

第8页 / 共490页

Computer Animation Algorithms and Techniques Rick Parent Ohio State University T hird Edit io n

Table of Contents Title page Copyright Dedication Preface Overview Organization of the Book Acknowledgments About the Author Chapter 1. Introduction 1.1 Motion perception 1.2 The heritage of animation 1.3 Animation production 1.4 Computer animation production 1.5 A brief history of computer animation 1.6 Summary References Chapter 2. Technical Background 2.1 Spaces and transformations 2.2 Orientation representation 2.3 Summary References Chapter 3. Interpolating Values 3.1 Interpolation 3.2 Controlling the motion of a point along a curve 3.3 Interpolation of orientations 3.4 Working with paths 3.5 Chapter summary References Chapter 4. Interpolation-Based Animation 4.1 Key-frame systems 4.2 Animation languages 4.3 Deforming objects 4.4 Three-dimensional shape interpolation 4.5 Morphing (two-dimensional) 4.6 Chapter summary References Chapter 5. Kinematic Linkages 5.1 Hierarchical modeling 5.2 Forward kinematics 5.3 Inverse kinematics 5.4 Chapter summary References Chapter 6. Motion Capture

6.1 Motion capture technologies 6.2 Processing the images 6.3 Camera calibration 6.4 Three-dimensional position reconstruction 6.5 Fitting to the skeleton 6.6 Output from motion capture systems 6.7 Manipulating motion capture data 6.8 Chapter summary References Chapter 7. Physically Based Animation 7.1 Basic physics—a review 7.2 Spring animation examples 7.3 Particle systems 7.4 Rigid body simulation 7.5 Cloth 7.6 Enforcing soft and hard constraints 7.7 Chapter summary References Chapter 8. Fluids: Liquids and Gases 8.1 Specific fluid models 8.2 Computational fluid dynamics 8.3 Chapter summary References Chapter 9. Modeling and Animating Human Figures 9.1 Overview of virtual human representation 9.2 Reaching and grasping 9.3 Walking 9.4 Coverings 9.5 Chapter summary References Chapter 10. Facial Animation 10.1 The human face 10.2 Facial models 10.3 Animating the face 10.4 Lip-sync animation 10.5 Chapter summary References Chapter 11. Behavioral Animation 11.1 Primitive behaviors 11.2 Knowledge of the environment 11.3 Modeling intelligent behavior 11.4 Crowds 11.6 Chapter summary References Chapter 12. Special Models for Animation 12.1 Implicit surfaces

12.2 Plants 12.3 Subdivision surfaces 12.4 Chapter summary References APPENDIX A: Rendering Issues APPENDIX B: Background Information and Techniques B.1 Vectors and matrices B.2 Geometric computations B.3 Transformations B.4 Denevit and Hartenberg representation for linked appendages B.5 Interpolating and approximating curves B.6 Randomness B.7 Physics primer B.8 Numerical integration techniques B.9 Optimization B.10 Standards for moving pictures B.11 Camera calibration Index

Copyright Acquiring Edit o r: St even Ellio t Develo pment Edit o r: Ro byn Day Pro ject Manager: Paul Go t t ehrer Designer: Jo anne Blank Morgan Kaufmann is an imprint of Elsevier 225 Wyman Street, Waltham, MA 02451, USA © 2012 Elsevier Inc. All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage and retrieval system, without permission in writing from the publisher. Details on how to seek permission, further information about the Publisher’s permissions policies and our arrangements with organizations such as the Copyright Clearance Center and the Copyright Licensing Agency, can be found at our website: www.elsevier.com/permissions. This book and the individual contributions contained in it are protected under copyright by the Publisher (other than as may be noted herein). Notices Knowledge and best practice in this field are constantly changing. As new research and experience broaden our understanding, changes in research methods or professional practices, may become necessary. Practitioners and researchers must always rely on their own experience and knowledge in evaluating and using any information or methods described herein. In using such information or methods they should be mindful of their own safety and the safety of others, including parties for whom they have a professional responsibility. To the fullest extent of the law, neither the Publisher nor the authors, contributors, or editors, assume any liability for any injury and/or damage to persons or property as a matter of products liability, negligence or otherwise, or from any use or operation of any methods, products, instructions, or ideas contained in the material herein. Library o f Co ngress Cat alo ging-in-Publicat io n Dat a Application submitted Brit ish Library Cat alo guing-in-Publicat io n Dat a A catalogue record for this book is available from the British Library. ISBN: 978-0-12-415842-9 Printed in the United States of America 12 13 14 16 16 10 9 8 7 6 5 4 3 2 1 For information on all MK publications visit our website at http://store.elsevier.com

Dedication To Kim and John, for teaching me to keep things in perspective. And to my wife, Arlene, for her attention-to-detail approach to life, especially when juxtaposed to my ‘big picture’ way of doing things.

Preface

It should come as no surprise to anyone reading this book that activity in Computer Animation has exploded in recent years - as a research area, as an academic field of study, as a career, and even as a hobby. Feature length films are now often stored digitally and incorporate digital special effects (often referred to as computer generated imagery and abbreviated CGI). As listed by the Internet Movie Database (imdb.com) [1] as of March 2012, all of the top 10 U.S. films (All-Time U.S. Box Office) depend on extensive use of CGI. Computer animated films have become top box office attractions - according to the same movie database, 2 of the top 10 feature length films are computer animations (Shrek 2 and Toy Story 3) with a third having a significant computer animation component (Avatar). Recent Technical Achievement and Scientific and Engineering awards from the Motion Picture Academy of Arts and Sciences have been for digital image technology including render queue management, facial motion retargeting, tools to review digital effects, and efficient rendering of volumetric effects, just to name a few [2]. And, of course, the computer game industry has exploded. The Entertainment Software Association estimate that, in 2010, consumers spent $25.1 billion on video games, hardware and accessories [3]. Computer animation is more accessible that ever. Desktop, high-quality, computer animation is now possible because of sophisticated off-the-shelf animation software, cheap CPU cycles, and cheap storage coupled with digital video recording. Many technical programs and computer science departments now offer courses in computer animation and the proliferating artistic programs train digital artists in the use of off-the-shelf animation software. There are now major technical conferences and journals that archive developments in computer animation and video game algorithms and techniques. This book addresses practical issues, provides accessible techniques, and offers straightforward implementations. Purely theoretical discussions have been avoided except to point out avenues of current and future research. In some cases, programming examples are complete working code segments—in C, which can be copied, compiled, and run to produce basic examples of the algorithms discussed; other programming examples are C-like pseudocode that can be translated into working code. C was chosen because it forms the common basis for languages such as C++ and Java, and it lends itself to illustrating the step- by-step nature of algorithms. The Appendixes cover basic material that the reader may find useful as a refresher as well as specific algorithms for use in implementations. Overview This book surveys computer algorithms and programming techniques for specifying and generating motion for graphical objects, that is, computer animation. It is primarily concerned with is advanced undergraduate or beginning graduate students in Computer Science. Computer graphics programmers who want to learn the basics of computer animation programming and artists who use software packages to generate computer animation (digital animators) who want to better understand the underlying computational issues of animation software will also benefit from this book. three-dimensional (3D) computer animation. The main audience This text is not intended for animators using off-the-shelf animation software (except to the extent that it might help in understanding the underlying computations required for a particular technique). It does not attempt to cover the theory of computer animation, address the aesthetics of computer animation, or discuss the artistic issues involved in designing animations. It does not detail the production issues in the actual commercial enterprise of producing a finished piece of animation. And, finally, it does not address the issue of computer- assisted animation, which, for our purposes, is taken to mean the computerization of conventional hand-drawn techniques; for the most part, that area has its own set of separate issues [4] [5]. The book does concentrate on full 3D computer animation and identifies the useful algorithms and techniques that animators and programmers can use to move objects in interesting ways. While 3D techniques are the emphasis, 2D is not completely ignored. The fundamental objective of computer animation programming is to select techniques and design tools that are expressive enough for animators to specify what they intend, yet at the same time are powerful enough to relieve animators from specifying any details they are not interested in. Obviously, no one tool is going to be right for every animator, for every animation, or even for every scene in a single animation. The appropriateness of a particular animation tool depends on the effect desired and the control required by the animator. An artistic piece of animation will usually require tools different from those required by an animation that simulates reality or educates a patient. In this spirit, alternative approaches are presented whenever possible.

资料库

Computer Animation Algorithms and Techniques Third Edition.pdf

相关推荐

行业

热门标签

最新资料