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Computer Animation: Algorithms and Techniques 3rd edition [Kõva köide]

4.22/5 (31 hinnangut Goodreads-ist)
(Professor Emeritus, Department of Computer Science and Engineering, The Ohio State)
  • Formaat: Hardback, 542 pages, kõrgus x laius: 235x191 mm, kaal: 1250 g, Approx. 125 illustrations; Illustrations, unspecified
  • Ilmumisaeg: 04-Oct-2012
  • Kirjastus: Morgan Kaufmann Publishers In
  • ISBN-10: 0124158420
  • ISBN-13: 9780124158429
Teised raamatud teemal:
Computer Animation: Algorithms and Techniques 3rd editionSuurem pilt
  • Formaat: Hardback, 542 pages, kõrgus x laius: 235x191 mm, kaal: 1250 g, Approx. 125 illustrations; Illustrations, unspecified
  • Ilmumisaeg: 04-Oct-2012
  • Kirjastus: Morgan Kaufmann Publishers In
  • ISBN-10: 0124158420
  • ISBN-13: 9780124158429
Teised raamatud teemal:
Püsilink: https://www.kriso.ee/db/9780124158429.html
Märksõnad:
This text is for advanced undergraduate and beginning graduate students in computer science; it will also be of interest to graphics programmers and digital animators. Coverage is intentionally limited to practical aspects of computer algorithms and programming techniques for specifying and generating motion for graphical objects in 3D computer animation, with no discussion of theory, aesthetics, or production. In some cases, programming examples are complete working code segments in C, which can be copied, compiled, and run to produce examples of the algorithms discussed. Other examples present C-like pseudocode that can be translated into working code. Appendices offer primers and refreshers on rendering issues, vector algebra, and attributes of film, video, and image formats. The text is illustrated with color and b&w images and screenshots. A companion website contains images, code, and figures. Parent teaches at Ohio State University. Morgan Kaufman is an imprint of Elsevier. Annotation ©2013 Book News, Inc., Portland, OR (booknews.com)



Driven by demand from the entertainment industry for better and more realistic animation, technology continues to evolve and improve. The algorithms and techniques behind this technology are the foundation of this comprehensive book, which is written to teach you the fundamentals of animation programming.

In this third edition, the most current techniques are covered along with the theory and high-level computation that have earned the book a reputation as the best technically-oriented animation resource. Key topics such as fluids, hair, and crowd animation have been expanded, and extensive new coverage of clothes and cloth has been added. New material on simulation provides a more diverse look at this important area and more example animations and chapter projects and exercises are included. Additionally, spline coverage has been expanded and new video compression and formats (e.g., iTunes) are covered.

* Includes companion site with contemporary animation examples drawn from research and entertainment, sample animations, and example code * Describes the key mathematical and algorithmic foundations of animation that provide you with a deep understanding and control of technique * Expanded and new coverage of key topics including: fluids and clouds, cloth and clothes, hair, and crowd animation * Explains the algorithms used for path following, hierarchical kinematic modelling, rigid body dynamics, flocking behaviour, particle systems, collision detection, and more

Arvustused

"This text is for advanced undergraduate and beginning graduate students in computer science; it will also be of interest to graphics programmers and digital animators. Coverage is intentionally limited to practical aspects of computer algorithms and programming techniques for specifying and generating motion for graphical objects in 3D computer animation, with no discussion of theory, aesthetics, or production." --Reference and Research Book News, February 2013

Muu info

The best technically oriented animation text gets even better
Preface xiii
About the Author xvii
Chapter 1 Introduction
1(32)
1.1 Motion perception
2(2)
1.2 The heritage of animation
4(5)
1.2.1 Early devices
4(2)
1.2.2 The early days of "conventional" animation
6(1)
1.2.3 Disney
7(1)
1.2.4 Contributions of others
8(1)
1.2.5 Other media for animation
8(1)
1.3 Animation production
9(6)
1.3.1 Principles of animation
10(2)
1.3.2 Principles of filmmaking
12(2)
1.3.3 Sound
14(1)
1.4 Computer animation production
15(7)
1.4.1 Computer animation production tasks
16(2)
1.4.2 Digital editing
18(2)
1.4.3 Digital video
20(1)
1.4.4 Digital audio
21(1)
1.5 A brief history of computer animation
22(7)
1.5.1 Early activity (pre-1980)
22(3)
1.5.2 The middle years (the 1980s)
25(1)
1.5.3 Animation comes of age (the mid-1980s and beyond)
26(3)
1.6 Summary
29(4)
Chapter 2 Technical Background
33(28)
2.1 Spaces and transformations
33(19)
2.1.1 The display pipeline
34(4)
2.1.2 Homogeneous coordinates and the transformation matrix
38(2)
2.1.3 Concatenating transformations: multiplying transformation matrices
40(1)
2.1.4 Basic transformations
40(2)
2.1.5 Representing an arbitrary orientation
42(4)
2.1.6 Extracting transformations from a matrix
46(1)
2.1.7 Description of transformations in the display pipeline
47(1)
2.1.8 Error considerations
48(4)
2.2 Orientation representation
52(8)
2.2.1 Fixed-angle representation
54(2)
2.2.2 Euler angle representation
56(1)
2.2.3 Angle and axis representation
57(1)
2.2.4 Quaternion representation
58(2)
2.2.5 Exponential map representation
60(1)
2.3 Summary
60(1)
Chapter 3 Interpolating Values
61(50)
3.1 Interpolation
61(4)
3.1.1 The appropriate function
62(3)
3.1.2 Summary
65(1)
3.2 Controlling the motion of a point along a curve
65(26)
3.2.1 Computing arc length
66(12)
3.2.2 Speed control
78(2)
3.2.3 Ease-in/ease-out
80(6)
3.2.4 General distance-time functions
86(4)
3.2.5 Curve fitting to position-time pairs
90(1)
3.3 Interpolation of orientations
91(5)
3.3.1 Interpolating quaternions
91(5)
3.4 Working with paths
96(12)
3.4.1 Path following
96(1)
3.4.2 Orientation along a path
96(4)
3.4.3 Smoothing a path
100(6)
3.4.4 Determining a path along a surface
106(2)
3.4.5 Path finding
108(1)
3.5
Chapter summary
108(3)
Chapter 4 Interpolation-Based Animation
111(50)
4.1 Key-frame systems
111(4)
4.2 Animation languages
115(4)
4.2.1 Artist-oriented animation languages
116(1)
4.2.2 Full-featured programming languages for animation
116(1)
4.2.3 Articulation variables
117(1)
4.2.4 Graphical languages
117(1)
4.2.5 Actor-based animation languages
118(1)
4.3 Deforming objects
119(16)
4.3.1 Picking and pulling
119(2)
4.3.2 Deforming an embedding space
121(14)
4.4 Three-dimensional shape interpolation
135(12)
4.4.1 Matching topology
136(1)
4.4.2 Star-shaped polyhedra
137(1)
4.4.3 Axial slices
137(2)
4.4.4 Map to sphere
139(6)
4.4.5 Recursive subdivision
145(2)
4.5 Morphing (two-dimensional)
147(12)
4.5.1 Coordinate grid approach
147(6)
4.5.2 Feature-based morphing
153(6)
4.6
Chapter summary
159(2)
Chapter 5 Kinematic Linkages
161(26)
5.1 Hierarchical modeling
162(9)
5.1.1 Data structure for hierarchical modeling
164(6)
5.1.2 Local coordinate frames
170(1)
5.2 Forward kinematics
171(1)
5.3 Inverse kinematics
172(13)
5.3.1 Solving a simple system by analysis
173(1)
5.3.2 The Jacobian
174(4)
5.3.3 Numeric solutions to IK
178(7)
5.3.4 Summary
185(1)
5.4
Chapter summary
185(2)
Chapter 6 Motion Capture
187(12)
6.1 Motion capture technologies
187(1)
6.2 Processing the images
188(2)
6.3 Camera calibration
190(1)
6.4 Three-dimensional position reconstruction
191(2)
6.4.1 Multiple markers
192(1)
6.4.2 Multiple cameras
192(1)
6.5 Fitting to the skeleton
193(2)
6.6 Output from motion capture systems
195(1)
6.7 Manipulating motion capture data
196(2)
6.7.1 Processing the signals
196(1)
6.7.2 Retargeting the motion
197(1)
6.7.3 Combining motions
197(1)
6.8
Chapter summary
198(1)
Chapter 7 Physically Based Animation
199(52)
7.1 Basic physics---a review
200(2)
7.1.1 Spring-damper pair
202(1)
7.2 Spring animation examples
202(3)
7.2.1 Flexible objects
202(3)
7.2.2 Virtual springs
205(1)
7.3 Particle systems
205(4)
7.3.1 Particle generation
206(1)
7.3.2 Particle attributes
207(1)
7.3.3 Particle termination
207(1)
7.3.4 Particle animation
207(1)
7.3.5 Particle rendering
207(1)
7.3.6 Particle system representation
208(1)
7.3.7 Forces on particles
208(1)
7.3.8 Particle life span
209(1)
7.4 Rigid body simulation
209(26)
7.4.1 Bodies in free fall
210(9)
7.4.2 Bodies in collision
219(13)
7.4.3 Dynamics of linked hierarchies
232(3)
7.5 Cloth
235(9)
7.5.1 Direct modeling of folds
237(3)
7.5.2 Physically based modeling
240(4)
7.6 Enforcing soft and hard constraints
244(5)
7.6.1 Energy minimization
244(3)
7.6.2 Space-time constraints
247(2)
7.7
Chapter summary
249(2)
Chapter 8 Fluids: Liquids and Gases
251(32)
8.1 Specific fluid models
251(19)
8.1.1 Models of water
251(11)
8.1.2 Modeling and animating clouds
262(6)
8.1.3 Modeling and animating fire
268(2)
8.1.4 Summary
270(1)
8.2 Computational fluid dynamics
270(10)
8.2.1 General approaches to modeling fluids
271(1)
8.2.2 CFD equations
272(4)
8.2.3 Grid-based approach
276(1)
8.2.4 Particle-based approaches including smoothed particle hydrodynamics
277(3)
8.3
Chapter summary
280(3)
Chapter 9 Modeling and Animating Human Figures
283(34)
9.1 Overview of virtual human representation
283(7)
9.1.1 Representing body geometry
284(1)
9.1.2 Geometry data acquisition
285(1)
9.1.3 Geometry deformation
286(1)
9.1.4 Surface detail
286(1)
9.1.5 Layered approach to human figure modeling
287(3)
9.2 Reaching and grasping
290(8)
9.2.1 Modeling the arm
290(3)
9.2.2 The shoulder joint
293(1)
9.2.3 The hand
293(2)
9.2.4 Coordinated movement
295(1)
9.2.5 Reaching around obstacles
296(1)
9.2.6 Strength
297(1)
9.3 Walking
298(11)
9.3.1 The mechanics of locomotion
298(5)
9.3.2 The kinematics of the walk
303(1)
9.3.3 Using dynamics to help produce realistic motion
303(5)
9.3.4 Forward dynamic control
308(1)
9.3.5 Summary
308(1)
9.4 Coverings
309(2)
9.4.1 Clothing
309(1)
9.4.4 Hair
309(2)
9.5
Chapter summary
311(6)
Chapter 10 Facial Animation
317(22)
10.1 The human face
317(3)
10.1.1 Anatomic structure
317(2)
10.1.2 The facial action coding system
319(1)
10.2 Facial models
320(7)
10.2.1 Creating a continuous surface model
322(3)
10.2.2 Textures
325(2)
10.3 Animating the face
327(6)
10.3.1 Parameterized models
327(1)
10.3.2 Blend shapes
327(2)
10.3.3 Muscle models
329(3)
10.3.4 Expressions
332(1)
10.3.5 Summary
332(1)
10.4 Lip-sync animation
333(2)
10.4.1 Articulators of speech
333(1)
10.4.2 Phonemes
334(1)
10.4.3 Coarticulation
335(1)
10.4.4 Prosody
335(1)
10.5
Chapter summary
335(4)
Chapter 11 Behavioral Animation
339(26)
11.1 Primitive behaviors
342(10)
11.1.1 Flocking behavior
342(9)
11.1.2 Prey-predator behavior
351(1)
11.2 Knowledge of the environment
352(2)
11.2.1 Vision
352(1)
11.2.2 Memory
353(1)
11.3 Modeling intelligent behavior
354(4)
11.3.1 Autonomous behavior
354(2)
11.3.2 Expressions and gestures
356(1)
11.3.3 Modeling individuality: personality and emotions
357(1)
11.4 Crowds
358(3)
11.4.1 Crowd behaviors
359(1)
11.4.2 Internal structure
359(1)
11.4.3 Crowd control
360(1)
11.4.4 Managing n-squared complexity
360(1)
11.4.5 Appearance
361(1)
11.5
Chapter summary
361(4)
Chapter 12 Special Models for Animation
365(22)
12.1 Implicit surfaces
365(7)
12.1.1 Basic implicit surface formulation
365(2)
12.1.2 Animation using implicitly defined objects
367(1)
12.1.3 Collision detection
368(1)
12.1.4 Deforming the implicit surface as a result of collision
368(3)
12.1.5 Level set methods
371(1)
12.1.6 Summary
372(1)
12.2 Plants
372(10)
12.2.1 A little bit of botany
372(2)
12.2.2 L-systems
374(5)
12.2.3 Animating plant growth
379(2)
12.2.4 Summary
381(1)
12.3 Subdivision surfaces
382(2)
12.4
Chapter summary
384(3)
Appendix A Rendering Issues 387(20)
Appendix B Background Information and Techniques 407(96)
Index 503
Rick Parent is a Professor Emeritus in the Computer Science and Engineering Department of Ohio State University (OSU). As a graduate student, Rick worked at the Computer Graphics Research Group (CGRG) at OSU under the direction of Charles Csuri. In 1977, he received his Ph.D. from the Computer and Information Science (CIS) Department, majoring in Artificial Intelligence. For the next three years, he worked at CGRG first as a Research Associate, and then as Associate Director. In 1980 he co-founded and was President of The Computer Animation Company. In 1985, he joined the faculty of the CIS Department (now the Department of Computer Science and Engineering, or CSE) at Ohio State. Rick's research interests include various aspects of computer animation with special focus on animation of the human figure.