Tim McLaughlin

A framework for evidence based visual style development for serious games

In this paper, we describe a framework for connecting computer graphics techniques and visual style in video game design with targeted learning outcomes for students. The relationship is organized on a table depicting Blooms taxonomy of the cognitive domain and categories of computer graphics imagery from simplified to realistic. This framework is presented as a useful way to economize design development efforts and incorporate visual development in addition to player immersion as an indicator of expected effectiveness for serious games.

Character rigging, deformations, and simulations in film and game production

This course focuses on rigging, deformations, dynamics, and production practices in animation, visual effects and game development. Topics include analysis of performance requirements, motion system set-up, procedural rigging for secondary animation, and efficient extension of techniques over a wide range of primary and secondary characters.

The morphology of digital creatures

Whether realistic or based upon novel combinations of known morphologies the articulation and animation of digital creatures is informed by understanding of human and animal anatomy. This course connects the biomechanics and environmental adaptations of living and extinct organisms to computer graphics techniques used to represent bone, muscles, and skin of digital creatures.

Taxonomy of digital creatures: interpreting character designs as computer graphics techniques: Copyright restrictions prevent ACM from providing the full text for this work.

ion, in artistic terms, is the process of taking known elements and turning them into new forms. Abstract art can also sometimes be described as non-representational. That is not how the term is used here. Abstract design, as it relates to creature design style, describes digital creatures whose forms are composed of physically plausible elements, but in which those elements have been proportioned or combined in not found in nature. Abstract digital creatures are heavily represented in feature film production. Most often the reason for creating a creature effect in computer graphics is because the forms are physically implausible to model or animate practically. It is not uncommon to hear that the idea of using an actor in makeup and a prosthetic suit was considered for a project but the limb proportions or mass prevented the idea from proving sensible for the performance required.digital creatures are heavily represented in feature film production. Most often the reason for creating a creature effect in computer graphics is because the forms are physically implausible to model or animate practically. It is not uncommon to hear that the idea of using an actor in makeup and a prosthetic suit was considered for a project but the limb proportions or mass prevented the idea from proving sensible for the performance required. When considering abstract designs in term of computer graphics techniques it is important to stay rooted in the real world. Abstract creatures should create the visual impression that they are believably organic. Texturing and shading, in particular, should have the material quality (reflectance, refraction, displacement and color detail) that real world creatures of that size possess. Similarly, forms and deformations should bring to the viewer?s mind the same degree of physical believability that a real world creature would present.

AR browser for points of interest in disaster response in UAV imagery

This work in progress describes AerialAR, a global positioning system (GPS) augmented reality (AR) application for mobile devices that automatically labels points of interest (POI) in unmanned aerial vehicle (UAV) imagery. This has important implications for assisting emergency responders. Existing AR applications for UAVs provide the pilot with navigational situational awareness such as terrain features; AerialAR locates and labels mission-relevant points such as schools that may need to be evacuated or hospitals to transport victims to. Locating POI in UAV imagery poses more challenges than those addressed by typical AR browsers on smartphones. The UAV operates at different altitudes as opposed to handheld devices and the UAV camera can tilt over a wide range of angles rather than simply facing forward. AerialAR overcomes these issues by developing a set of equations that translate UAV telemetry and field of view (fov) into a projection onto a Google Map. The map can then be queried for categories of POI. The current version calculates the POI distance and angles with an average error of 0.04% as compared to the Haversine and Rhumb line equations for the distance between the UAV location projected on the ground and the POI on the Google Map. Future work will complete AerialAR by processing UAV video in real-time on mobile devices.

Multi-institutional collaboration in delivery of team-project-based computer graphics studio courses

Effective use of computer graphics for technical and artistic exploration often requires the participation of multiple teams representing specific knowledge domains though these teams may be separated by both geography and time zones. This paper reports on the introduction of a project organized by four academic institutions oriented around collaborative technical and visual problem solving among non-co-located students. The project was developed to match the curricular requirements of existing courses. Participants included undergraduates at two U.S. universities and U.S. students studying in Western Europe, as well as a group of U.S. high school students. This paper specifically details the organizational issues, curricular alignments, and employment of affordable information technology for both workflow coordination and communication among team members. The results indicate that the project economically utilized course time, contributed to learning objectives aligned with work force trends in the animation industry, and levied commonalities of existing computing infrastructure along with commodity computing services for positive effect.

Lions and tigers and bears: investigating cues for expressive creature motion

A digital creatures performance can be thought of as a combination of specifically defined motion and form; a combination that allows the viewer to comprehend the creatures action and intent. Computer graphics offers a variety of methods for defining motion including key-frame animation, data-driven action, rule-based and physically-based motion. However, all of these methods can be complex and time-consuming to implement. Essentially, most computer animation methods force the animator to think about motion at a low-level of abstraction. To create animation tools that simplify the process of creating expressive motion, we need to allow animators to work at a high-level of abstraction. We need determine the minimal elements of form and motion that visually communicate a maximal amount of information about an actors identity or intentions. By attaching small reflective objects to joint pivot locations and recording at high contrast [Johansson 1973] developed a method for isolating motion from form as a collection of particles, now commonly known as a Point-Light Display (PLD). Manipulating this minimized visual information can even affect the perceived gender of PLD walkers. Cutting [1978] found that exaggerating the movement of points representing the hips and shoulders can bias gender recognition. The goal of our study was to investigate whether viewers use similar visual information to recognize expressive characteristics in animal motion PLDs as when viewing full representations and discover how it might be possible to use that visual information to influence the viewers perception.

Connecting the dots: discovering what's important for creature motion

We present an experiment designed to reveal some of the key features necessary for conveying creature motion. The ultimate goal is to find the minimal representation necessary to communicate recognizable locomotion or traits that may be communicated to the viewer through motion such as size and attitude. Motion and form are separable for digital characters and each contributes to viewer comprehension of action and intent. Advances in motion capture techniques have increased the amount and fidelity of data available to recreate performances digitally. However, even minimal information contained in point light displays can be sufficient for human gait perception [Johansson 1973]. Manipulating this minimal information can even affect the perceived gender of point light movement. For example, exaggerating the movement of points representing hips or shoulders can bias gender recognition [Cutting et al. 1978]. Minimal representation of animal motion could benefit animators in a number of ways. Creature animators often use animal motion video as visual reference. However, video does not disclose precise anatomical detail, especially when compared to motion capture data. For wild animals MoCap is generally not a viable option. Therefore, such motion must be created through manual key-framing. Even with a well-built rig, this is not efficient or intuitive for defining motion. To build a better system, we need to determine what level of detail of motion information from reference video is required for recognition and, conversely, what details can be safely ignored. To develop a new way of creating and managing animation and animation controls, a better understanding of how we perceive motion itself is necessary. This work takes a first step toward improving our understanding of animal motion and how it can be mapped to controlling creature motion.