140 black & white illustrations, 5 black & white tables
2nd Revised edition
Table Of Contents
AN INTRODUCTION TO DIGITAL CHARACTERS Overview Overview of This Book Defining Digital Characters Roles in the Creation of Digital Characters Conclusion Further Reading Contemporary Issues Related to Digital Characters Viewer Perception and the Uncanny Valley How do Style and Use Dictate Setup? Case Studies in the Psychology of Digital Characters Exercise Further Reading Interview: Josh Carey, Rigging Supervisor, Reel FX Creative Studio Bio Q&A History of Digital Characters Introduction The Evolution of Digital Characters History of Digital Characters in Films Overview of Digital Characters in Interactive Media Further Reading Interview: Tim McLaughlin, Associate Professor and Department Head, Department of Visualization, College of Architecture, Texas A&M University Bio Q&A Character Technology and Code Commonalities between Software Programming and Scripting Presentation of Algorithms in This Book Further Reading Interview: Daniel Dawson, Lead Character Technical Director, DreamWorks Animation Bio Q&A CHARACTER TECHNOLOGY Introduction to Character Technology Nomenclature The Pipeline for Digital Character Creation and Maintenance Surface Types of Geometric Meshes Modeling Concerns for Animation Modeling Concerns for Video Games and Real-Time Engines Exercise Further Reading Interview: Wade Ryer, Character Technical Director Bio Q&A Anatomy for Character Setup Character Motion Systems and Anatomy Anatomical Direction Anatomical Terms of Motion Joint Mechanics Comparative Anatomy Further Reading Interview: Lee Wolland, Character Technical Director, Consultant Bio Q&A Motion Systems Matrices and Joints Joint Rotations Rotation Order Euler versus Quaternions Joint Naming and Placement Joint Hierarchies Anatomically Influences Hierarchies Constraints and High-Level Control Forward and Inverse Kinematics Dynamics and Simulation User Interface and Visualizing the Motion System Real-Time Engine Concerns Conclusion Exercise Further Reading Interview: Cara Malek, Character Technology Body Lead, DreamWorks Animation Bio Q&A Deformation Systems Physiology of Muscles The Polygonal Model as Skin Deformation Skinning and Enveloping The Deformation Rig and Pipeline Deformers Layered Deformation Methods Shape Interpolation Dynamics and Simulation Spring Mesh and Relaxation Deformation Methods Deformation Order Real-Time Engine Concerns Conclusion Exercise Further Reading Interview: Robert Helms, Lead Character Technical Director, DreamWorks Animation Bio Q&A Face Setup Introduction Anatomy Psychology behind Facial Expressions Face Shape Library Emotions through Face Shapes Visemes and Lip Syncing Eyes Interfaces for Facial Animation Dynamics and Simulation Real-Time Engine Concerns Conclusion Exercise Further Reading Interview: Nico Scapel, Creative Director, Faceshift Bio Q&A Rig Synthesis Introduction The Rig in a Scene Motion System Inventory Deformation System Inventory Face System Inventory Documentation Real-Time Engine Concerns Conclusion Exercise Further Reading Interview: Stephen Mann, CG Supervisor, Shade VFX Bio Q&A Rig Construction Introduction Rig Building Blocks Referencing Build Systems Example Build System: The Arm Module Constructing Deformations Animation Data Transfer Variation Systems Rig Publishing Conclusion Exercise Further Reading ANIMATION TECHNOLOGY Introduction to Animation Technology Definitions of Animation Integration of Animation Techniques Interfaces for Animation Further Reading Interview: Javier Solsona, Senior Character Technical Director, Sony Imageworks Bio Q&A Traditional Animation Techniques Classic Principles of Animation Curves and Interpolation Driving Versus Driven Motion Clip-Based Animation Sound Real-Time Engine Concerns Exercise Further Reading Interview: Stephen Candell, Lead Character Technical Director, DreamWorks Animation Bio Q&A Motion Capture Marker-Based Motion Capture Motion Capture Data Cleanup Skeletal Solvers Pipelines for Motion Capture Motion R
Rob O'Neill is a Character Technical Director Supervisor at DreamWorks Animation. Prior to joining DreamWorks, he was an Assistant Professor at Pratt Institute where he was Director of the Digital Arts Research Lab, and a founding partner of Kickstand Animation.