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Physics of Animation (Art/Physics 123)

Physics of Animation (Art/Physics 123). Prof. Alejandro Garcia Spring 2010. My Contact Info. Office: Science Bldg. Room 245 Office Phone: (408) 924-5244 Office Hours: Mon. 2:00-3:00pm & Wed., 1:00-2:00pm and also available by appointment. E-mail: algarcia@algarcia.org

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Physics of Animation (Art/Physics 123)

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  1. Physics of Animation(Art/Physics 123) Prof. Alejandro Garcia Spring 2010

  2. My Contact Info • Office: Science Bldg. Room 245 • Office Phone: (408) 924-5244 • Office Hours: Mon. 2:00-3:00pm & Wed., 1:00-2:00pm and also available by appointment. • E-mail:algarcia@algarcia.org • WWW:www.algarcia.org • Course website: http://artphysics123.pbworks.com

  3. Course Website ArtPhysics123.pbworks.com

  4. Course Overview Physics of Animation is an introduction to the principles and concepts of physics relevant to animation and special effects. • Course Outline • Basic Animation • Character Animation • Effects Animation • Lighting and Rendering

  5. Prerequisites Physics of Animation is an Area R course Course prerequisites are completion of core GE, satisfaction of WST, and upper division standing. For students who begin continuous enrollment Fall 2005 or later, courses used to satisfy Areas R, S, and V must be taken from three separate SJSU departments or other distinct academic units. Note that these prerequisites apply to any "SJSU Studies" course

  6. Who Should Take This Course? This course is most interesting for: Animation / Illustration art majors (ideally concurrent with Art 114); Film majors; non-science majors interested in animation and special-effects. This course is less interesting for: Science and engineering majors will probably not find this course to be useful because they cover the same physics in their required courses.

  7. Grades • Two Term Papers (100 points each) • Homework (200 points) • Class Participation (50 points) • Final Exam (50 points) There will also be several opportunities for extra credit.

  8. Homework • Homework will be assigned weekly; see course website for the schedule. • Assignments will include: Shooting video reference; analyzing video using tracking software; creating stop-motion animation; and working with computer animation programs. • You will “turn in” your homework by uploading it to your personal blog.

  9. First Homework Assignment Your first assignment is to set up a personal blog for this course. You may use any system you prefer but I recommend using Blogger, which I will be using (go to artphysics123.blogspot.com). If you already have a personal blog then I want you set up a separate blog exclusively for this course; in Blogger it's very easy to manage multiple blogs.

  10. First Homework Assignment Please use your real name on the blog. It will also be helpful to me if you include a recognizable photo of yourself in your profile. This course blog will mainly be used for posting your homework assignments but you can also post other comments. It's your blog. You are encouraged to read each others blogs, especially if you give each other helpful comments and advice.

  11. First Homework Assignment Once your blog has been set up, create a post entitled "The First Post"; write anything in that first post, it's just a place holder showing me that you're able to use the blog. When your blog is set up, send me an e-mail (algarcia@algarcia.org) with the link. 5 points (First 10 persons to send me their blog get double points.)

  12. Special Topics Textbook / Supplies No textbook. Need a digital camera that can shoot video for homework. Also need a computer on which you can install programs. Disabilities Contact me if you’ve any special needs. Emergencies If we need to leave the room, please take your stuff with you.

  13. Cheating • Don’t.

  14. Demos • Frequent in-class demos to illustrate physics and animation concepts. • Welcome volunteers • Safety comes first • No magic tricks, just physics

  15. Class Demo: Vampire Stake

  16. Introduction to Animation Three basic types of animation: Traditional Computer Stop-motion

  17. Animated Feature Films Three of the top ten films (by domestic gross) of 2009 were animated feature films. Combined domestic gross of nearly $700 million

  18. Live-Action Films Animation is also important in creating special effects for live action films. In 2010? Top two grossing movies of 2009

  19. Compositing Animation is blended into live action films by compositing, which combines two or more separate images into a frame of film. For example, all the green pixels in the left image are replaced with a computer-generated weather map.

  20. Sin City (2005) http://www.youtube.com/watch?v=91SiTspiFoc

  21. King Kong Animation compositing has advanced enormously from the original King Kong to the remakes. 1976 1933 2005

  22. Diversity in Animation Animation is more than just Hollywood CG blockbusters

  23. Video Games The gaming industry is even bigger than Hollywood and animation is very important. Modern Warfare 2 grossed $300 million in first 24 hours.

  24. Good Animation is Hard Even with modern software tools it is difficult to create high quality animation. Something as simple as a bouncing ball isn’t easy to animate believably.

  25. Simple Ball Bounce Animation This is an example of a good ball bounce animation. http://www.youtube.com/watch?v=AL6i_gHsC2E

  26. Rotoscoping Animation is hard so producers have tried alternatives, such as rotoscoping. Scene is filmed and animators trace the images. Used when the motion is too difficult for animators to capture effectively. Patent drawing for Max Fleischer's original rotoscope (1915).

  27. Rotoscoping in Films Rotoscoped animation is very noticeable so typically it’s used sparingly in films. A Scanner Darkly (2006) Cinderella (1950) Rotoscope painters in modern films are mainly used to “white out” elements in a frame so that CG animation can be composited in.

  28. Waking Life (2001) http://www.youtube.com/watch?v=_VxQuPBX1_U

  29. Motion Capture Motion capture is a modern tool in animation. Beowulf (2007) Scene is acted out and data from sensor points is used to assist in creating computer graphics images.

  30. In-Camera Motion Capture (iMoCap) ILM’s motion capture system (iMoCap) was developed for the characters in the Pirates of the Caribbean sequel, Dead Man’s Chest. Motion capture technology continues to advance because directors want to capture actors’ performances.

  31. Final Fantasy: Spirits Within (2001) Compare the facial animation of this film … http://www.youtube.com/watch?v=GnE64DbnUzY

  32. Avatar (2009) …with facial animation using motion capture. http://www.youtube.com/watch?v=cRdxXPV9GNQ

  33. Good News, Bad News Although rotoscoping and motion capture are useful for things like facial animation, they simply can’t match the work of a good animator. That’s the good news. Creating good animation is hard! That’s the bad news. How could it be made easier and better?

  34. Physics and Animation To create realistic animations, animators need to understand principles of mechanics.

  35. Surgeons and Illustrators Surgeons and artists learn anatomy, but for very different purposes. Thomas Eakins Leonardo da Vinci

  36. Architects and Artists A perspective drawing by an architect needs to be highly accurate, with precise measurements. Artists, on the other hand, usually don’t need such mathematical precision. It just has to look right.

  37. Engineers and Animators An engineer’s calculation of motion needs to be highly accurate, with precise measurements. Animators, on the other hand, don’t need mathematical precision. But the motion has to look believable.

  38. Real World & Animated World Understanding the real world helps in creating interesting animated worlds. "Animation follows the laws of physics — unless it is funnier otherwise.“ Art Babbitt, Disney animator, director, and creator of Goofy

  39. Physics Engines Animation and gaming software, such as Maya, have sophisticated physics “engines” that use the laws of physics to compute motion. Easier to use these tools knowing physics.

  40. Four ‘A’s of Animation • In his book, Animation, The Mechanics of Motion, Chris Webster lists the following • four levels for animated motion: • Activity (arbitrary movement) • Action (physical motion) • Animation (purposeful motion) • Acting (motion with personality) These categories are best understood by considering specific examples.

  41. Activity (Level 1) The opening sequence in the Star War’s movies is a good example of activity, the lowest level of animated motion. The motion is arbitrary, without constraint of physical laws.

  42. “Activity” (Level 1) Example http://www.youtube.com/watch?v=Xbv8ECWEsu0

  43. Action (Level 2) Action is the level of animation when objects move according to physical laws, such as a bouncing ball or a waving flag. A good “drop test” has this level of animation.

  44. “Action” (Level 2) Example http://www.youtube.com/watch?v=zwHFJy8X3po

  45. Animation (Level 3) At this level the motion not only follows the physical laws but is also intentional, such as a bird flapping its wings or a human jumping. A walk cycle or a jump test are at this level.

  46. “Animation” (Level 3) Example http://www.youtube.com/watch?v=jwerYsdE9Xs

  47. Acting (Level 4) At this highest level not only is the motion intentional but it also conveys personality. Curiosity Surprise Panic

  48. “Acting” (Level 4) Example http://www.youtube.com/watch?v=d2iqgf-YYtU

  49. Four ‘A’s of Animation (again) 1 - Activity (arbitrary movement) 2 - Action (physical motion) 3 - Animation (purposeful motion) 4 - Acting (motion with personality) Understanding physics helps animators achieve the second and third levels. The highest level, “Acting”, cannot be achieved without first creating animated motion that’s believable.

  50. Next LecturePhysics of Falling By Monday: Complete the 1st homework (Create a personal blog for the course)

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