MoCap for Artists: Workflow and Techniques for Motion Capture

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  • Edition: CD
  • Format: Nonspecific Binding
  • Copyright: 2008-03-24
  • Publisher: Routledge

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Supplemental Materials

What is included with this book?


Make motion capture part of your graphics and effects arsenal. This introduction to motion capture principles and techniques delivers a working understanding of today?s state-of-the-art systems and workflows without the arcane pseudocodes and equations. Learn about the alternative systems, how they have evolved, and how they are typically used, as well as tried-and-true workflows that you can put to work for optimal effect. Demo files and tutorials provided on the companion CD deliver first-hand experience with some of the core processes. * An accessible introduction to motion capture principles and techniques that does not require a computer science background * A survey of the state-of-the-art hardware and software tools, workflows and techniques. * A CD with sample motion capture data, clips, scripts, and Maya/Motion Builder turorials.

Author Biography

Midori Kitagawa, Ph.D. is an associate professor in the Arts and Technology (ATEC) program at the University of Texas at Dallas (UTD). Dr. Kitagawa teaches 3D computer animation and motion capture and coordinates the animation curriculum in the ATEC program Brian Windsor is a mechanical engineer with the Missile and Space Intelligence Center. Formerly a graphics researcher at the Advanced Computing Center for the Arts and Design (ACCAD) at the Ohio State University, he received the Jim Henson Award for Innovation in 2007

Table of Contents

Acknowledgmentsp. xi
Introductionp. xiii
An Overview and History of Motion Capturep. 1
About This Bookp. 1
History of Mocapp. 2
Early attemptsp. 2
Rotoscopingp. 4
Beginning of digital mocapp. 6
Types of Mocapp. 8
Optical mocap systemsp. 8
Magnetic mocap systemsp. 10
Mechanical mocap systemsp. 11
Preproductionp. 13
Importance of Preproductionp. 13
Pre-capture Planningp. 13
Scriptp. 14
Storyboardp. 15
Shot listp. 15
Animaticp. 16
Preparation for Capturep. 17
Talentp. 17
Marker setsp. 18
What are the system limitations?p. 18
What kind of motion will be captured?p. 19
Know the anatomyp. 19
Capture volumep. 21
Shot listp. 23
Capture schedulep. 24
Rehearsalsp. 25
Propsp. 26
Suits and markersp. 28
Pipelinep. 31
Setting up a Skeleton for a 3D Characterp. 31
Calibrationsp. 33
System calibrationp. 33
Subject calibrationp. 34
Capture Sessionsp. 36
Audio and video referencesp. 36
Organizationp. 37
Preventing occlusionsp. 38
Cleaning Datap. 39
Editing Datap. 40
Applying Motions to a 3D Characterp. 43
Rendering and Post-productionp. 44
Cleaning and Editing Datap. 47
Cleaning Marker Datap. 47
Types of datap. 47
Optical marker data (translational data)p. 47
Translational and rotational datap. 47
Skeletal datap. 48
What to clean and what not?p. 48
What not to clean?p. 48
What to clean?p. 49
Labeling/identifyingp. 49
Data cleaning methodsp. 51
Eliminating gapsp. 51
Eliminating spikesp. 54
Rigid bodyp. 56
Filtersp. 59
When to stop?p. 61
Applying Marker Data to the Skeletonp. 62
Actorp. 63
Skeletonp. 67
Characterp. 69
Skeletal Editingp. 73
Retargetingp. 73
Reducing need for retargetingp. 73
Scaling a skeletonp. 75
Fixing foot slidingp. 76
Working on the spinep. 78
Blending Motionsp. 79
Selecting a blending pointp. 80
Matching positionsp. 86
Dealing with less than ideal casesp. 86
Inverse Kinematicsp. 88
Floor Contactp. 88
Rigid Bodyp. 92
Looping Motionp. 93
Getting motion readyp. 93
Setting up the loopp. 94
Walking down the z-axisp. 94
Taking out the translationp. 95
Posesp. 98
Deciding what to usep. 98
Creating a posep. 98
Key-framing a posep. 100
Data Application - Intro Level: Propsp. 103
A Stick with Two Markersp. 103
When it fails: Occlusionp. 103
When it fails: Rotationp. 105
A Stick with Three Markersp. 105
Three markers with equal distancesp. 105
Three markers on a single straight linep. 106
Placement of three markers that worksp. 108
Flexible Objectsp. 109
Data Application - Intermediate Level: Decomposing and Composing Motionsp. 113
Mapping Multiple Motionsp. 113
Decomposing and composing upper and lower body motionsp. 113
Synchronizing upper and lower body motionsp. 116
Balancep. 118
Breaking Motion Apartp. 119
When you don't need all the motionp. 119
Re-use of motion data for non-motion purposesp. 122
Data Application - Advanced Level: Integrating Data with Character Rigsp. 125
Mocap as Forward Kinematics Animationp. 125
Key-frame Animation with Inverse Kinematicsp. 127
Key-framingp. 128
IKp. 129
Integrating Mocap Animation and Key-frame Animationp. 130
Why do we want to do that?p. 131
Setting up a skeleton for FK and IKp. 131
Adding key-frame animation to mocapp. 134
Hand Motion Capturep. 137
Anatomy of a Handp. 137
Rig and Marker Set for the Handp. 141
Rigid handp. 141
Mittenp. 143
Mitten with an independent thumbp. 144
Mitten that stretchesp. 146
Ultimatep. 146
Capturing Handsp. 149
Facial Motion Capturep. 151
Anatomy of a Facep. 151
Camera Setup and Capturep. 154
Facial Rigp. 155
Facial rig with discrete jointsp. 155
Facial rig with musclesp. 156
Facial rig with IKp. 157
Marker Setp. 159
Facial Data Stabilizationp. 161
Facial Data Editingp. 164
Puppetry Capturep. 167
Backgroundp. 167
Benefitsp. 168
Ideas/Inspirationp. 169
Performancep. 170
Projectsp. 171
Methodsp. 173
Real Timep. 176
Mocap Data and Mathp. 179
How Data Is Createdp. 179
Optical systemsp. 179
Magnetic systemsp. 180
Mechanical systemsp. 180
Data Types and Formatsp. 181
C3Dp. 181
ASF/AMCp. 181
BVHp. 182
FBXp. 183
Coordinates and Coordinate Systemsp. 183
2D and 3D coordinate systemsp. 184
Cartesian, spherical, and cylindrical coordinate systemsp. 184
Right-handed and left-handed systemsp. 185
Object space and world spacep. 186
Order of Transformationp. 186
Euler Anglep. 188
Gimbal Lockp. 190
Quaternionsp. 194
Bibliographyp. 195
Shot List for Juggling Cowp. 197
Sample Mocap Production Pipeline and Data Flow Chartp. 199
Glossaryp. 201
Indexp. 207
Table of Contents provided by Ingram. All Rights Reserved.

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