MoCap for Artists Workflow and Techniques for Motion Capture

ISBN-10: 0240810007

ISBN-13: 9780240810003

Edition: 2008

List price: $39.95
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Description: 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.

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Book details

List price: $39.95
Copyright year: 2008
Publisher: Taylor & Francis Group
Publication date: 3/24/2008
Binding: Paperback
Pages: 232
Size: 7.50" wide x 9.50" long x 0.50" tall
Weight: 1.232
Language: English

as an associate professor in the Arts and Technology (ATEC) program at the University of Texas at Dallas (UTD) Midori teaches 3D computer animation and motion capture. Prior to joining UTD, she taught at the Ohio State Universitys Advanced Computing Center for the Arts and Design (ACCAD) for 10 years. Prof. Kitagawas former advisees are contributing to the field of computer animation at educational institutions and at leading production companies, such as Pixar, Blue Sky, and PDI. Prof. Kitagawa holds a Ph.D. degree in visualization science from Texas A&M University, a M.A. degree in computer graphics and animation from the Ohio State University, and a B.F.A. degree in painting from Joshibi University in Tokyo, Japan. She has been publishing her research and exhibiting her art works internationally. Prof. Kitagawa has been a contributor, reviewer, jury member, and volunteer committee member for ACM SIGGRAPH since 1990. as a graphics researcher at the Advanced Computing Center for the Arts and Design (ACCAD) at the Ohio State University Brian manages the motion capture lab, teaches a motion capture course, helps students and other departments with motion capture related issues, and works on research in how to use puppetry with motion capture. Prior to joining ACCAD, Brian was the Senior Technical Director for Motion Capture at Giant Studios, and the Senior Manager for Motion Capture at Acclaim Entertainment. Brian has contributed to over 2 dozen video games and 5 features in the past. He has also given numerous lectures, has been published in several journals, and continues to promote motion capture, video game technology, and computer graphics.

An Overview and History of Motion Capture
About This Book
History of Mocap
Early attempts
Beginning of digital mocap
Types of Mocap
Optical mocap systems
Magnetic mocap systems
Mechanical mocap systems
Importance of Preproduction
Pre-capture Planning
Shot list
Preparation for Capture
Marker sets
What are the system limitations?
What kind of motion will be captured?
Know the anatomy
Capture volume
Shot list
Capture schedule
Suits and markers
Setting up a Skeleton for a 3D Character
System calibration
Subject calibration
Capture Sessions
Audio and video references
Preventing occlusions
Cleaning Data
Editing Data
Applying Motions to a 3D Character
Rendering and Post-production
Cleaning and Editing Data
Cleaning Marker Data
Types of data
Optical marker data (translational data)
Translational and rotational data
Skeletal data
What to clean and what not?
What not to clean?
What to clean?
Data cleaning methods
Eliminating gaps
Eliminating spikes
Rigid body
When to stop?
Applying Marker Data to the Skeleton
Skeletal Editing
Reducing need for retargeting
Scaling a skeleton
Fixing foot sliding
Working on the spine
Blending Motions
Selecting a blending point
Matching positions
Dealing with less than ideal cases
Inverse Kinematics
Floor Contact
Rigid Body
Looping Motion
Getting motion ready
Setting up the loop
Walking down the z-axis
Taking out the translation
Deciding what to use
Creating a pose
Key-framing a pose
Data Application - Intro Level: Props
A Stick with Two Markers
When it fails: Occlusion
When it fails: Rotation
A Stick with Three Markers
Three markers with equal distances
Three markers on a single straight line
Placement of three markers that works
Flexible Objects
Data Application - Intermediate Level: Decomposing and Composing Motions
Mapping Multiple Motions
Decomposing and composing upper and lower body motions
Synchronizing upper and lower body motions
Breaking Motion Apart
When you don't need all the motion
Re-use of motion data for non-motion purposes
Data Application - Advanced Level: Integrating Data with Character Rigs
Mocap as Forward Kinematics Animation
Key-frame Animation with Inverse Kinematics
Integrating Mocap Animation and Key-frame Animation
Why do we want to do that?
Setting up a skeleton for FK and IK
Adding key-frame animation to mocap
Hand Motion Capture
Anatomy of a Hand
Rig and Marker Set for the Hand
Rigid hand
Mitten with an independent thumb
Mitten that stretches
Capturing Hands
Facial Motion Capture
Anatomy of a Face
Camera Setup and Capture
Facial Rig
Facial rig with discrete joints
Facial rig with muscles
Facial rig with IK
Marker Set
Facial Data Stabilization
Facial Data Editing
Puppetry Capture
Real Time
Mocap Data and Math
How Data Is Created
Optical systems
Magnetic systems
Mechanical systems
Data Types and Formats
Coordinates and Coordinate Systems
2D and 3D coordinate systems
Cartesian, spherical, and cylindrical coordinate systems
Right-handed and left-handed systems
Object space and world space
Order of Transformation
Euler Angle
Gimbal Lock
Shot List for Juggling Cow
Sample Mocap Production Pipeline and Data Flow Chart
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