3 Principles

CPSC 587/687
Fundamentals of
Computer Animation
Principles of Traditional Animation
How to create maximum impact
University of Calgary GraphicsJungle Project
CPSC 587 2005
page 1
How to create maximum impact
CPSC 587/687
Early animators worked

from scratch to analyze
and improve upon silence
live action films.
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Conventional Animation
Draw each frame of the animation
great control
tedious
Reduce burden with cel animation
layer
keyframe
inbetween
cel panoramas (Disneys Pinocchio)
...
ACM 1997 Multiperspective panoramas for cel

animation
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Traditional Techniques
ACM 1997 Multiperspective panoramas for cel animation
A multiperspective panorama incorporates many

perspectives into a single locally coherent image
A moving window slides across the panorama,
selecting frames for the animation
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Computer-Assisted Animation
Keyframing
automate the inbetweening
good control
less tedious
creating a good animation still
requires considerable skill and talent
Procedural animation
ACM 1987 Principles of traditional animation

applied to 3D computer animation
describes the motion algorithmically

express animation as a function of small number of
parameteres
Example: a clock with second, minute and hour hands
hands should rotate together

express the clock motions in terms of a seconds variable
the clock is animated by varying the seconds parameter
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Computer-Assisted Animation
Physically Based Animation

Assign physical properties to objects
(masses, forces, inertial properties)
Simulate physics by solving equations
Realistic but difficult to control
Motion Capture
Captures style, subtle nuances and realism
You must observe someone do something
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Computer Animation
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ACM 1988 Spacetime Constraints
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KEYS & Inbetweens
Animators first draw key drawings, follow by

inbetween drawings to keep the continuity of
action in shape and form.
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Keyframing
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ACM 1987 Principles of traditional animation applied to 3D

computer animation
s(t )
Describe motion of objects as a function of

time from a set of key object positions. In
short, compute the inbetween frames.
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Computer Animation as Animation
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Lassiter, John
"Principles of Traditional Animation Applied to 3D Computer
Animation,
SIGGRAPH '87, pp. 35-44.
(check web site)
Thomas, F. and Johnson, O.,

"The Illusion of Life,"
Abbeville Press, 1981.
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Simulating Physics
1. Squash & Stretch

2. Timing
3. Secondary Actions
4. Slow In & Slow Out
5. Arcs
The visual path of action for natural movement Motion in straight
lines is not organic. Most human motion happens on curved
trajectories or arcs
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Simulating Physics 1. Squash & Stretch
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defining the rigidity and mass of an object by distorting its shape during an action
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Squash: flatten an
object or character by
pressure or by its own
power
Stretch: used to
increase the sense of
speed and emphasize
the squash by
contrast
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Here is an example
where the ball on the
right has been
stretched and so
looks more "natural".
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Squash and stretch

Human bodies squash
and stretch when
performing different
actions.
Heavier characters
Squash more than thin
ones.
Squashing and
stretching gives the
character a sense of
weight.
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Characters move at different speeds
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Tall guys move slowly

than short guys
fat characters slower
than thin ones.
Small characters will
have to take more
steps to keep up with
taller characters.
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Simulating Physics 2. Timing
Timing affects weight:
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Spacing actions to define the weight
and size of objects and the
personality of characters
Light object move quickly

Heavier objects move slower
Timing completely changes the

interpretation of the motion.
Because the timing is critical, the
animators used the draw a time
scale next to the keyframe to
indicate how to generate the inbetween frames.
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Simulating Physics 2. Timing & Motion
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If the ball rebounds from the box, and the box is

unmoved, we have the illusion that the box is
much heavier than the ball clip
If the ball knocks the box aside, then the effect is
that the box is much lighter than the ball clip
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Simulating Physics 3. Secondary Actions
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The action of an object resulting from another action
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Simulating Physics 3. Secondary Actions
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A secondary action is an action that results

directly from another action.
Important in heightening interest and adding a
realistic complexity to the animation.
The secondary action of Luxo Jr's forward motion is the rippling of his power cord.
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Secondary action
A secondary action is like a chain reaction.

Secondary actions are a beat behind the
main action.
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Simulating Physics 4. Slow In & Slow Out
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The spacing of the

inbetween frames to
achieve subtlety of timing
and movement.
Rather than having a
uniform velocity for an
object, it is more
appealing, and
sometimes more realistic,
to have the velocity vary
at the extremes.
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Simulating Physics 4. Slow In & Slow Out
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The ball on the left moves

at a constant speed with
no squash/stretch.
The ball in the center
does slow in and out with
a squash/stretch.
The ball on the right
moves at a constant
speed with
squash/stretch.
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Simulating Physics 5. Arcs
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Visual path should be an arc

Rather than a straight line
Can be a problem for typical computer

methods:
Fast movement = straight lines
Solution:
Use independent curves for position
interpolation and speed control
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Designing Aesthetic Actions
1. Exaggeration
Accentuating the essence of an idea via the design and the action
2. Appeal
Creating a design or an action that the audience enjoys watching
3. Follow Through/Overlapping Action

Follow through is the termination part of an action. Overlapping
establishes the next action's relationship by starting it before
the first action has completely finished. This keeps the interest
of the viewer, since there is no dead time between actions.
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Designing Aesthetic Actions
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3. Follow Through
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Follow through
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Follow through is when a secondary

action runs its course.
For example the pooch with long ears
leans forwards and stop but the ears
continue swinging back and forth.
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Overlapping Action
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Effective Presentation of Actions
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1. Anticipation
The preparation for an action
2. Staging
Presenting an idea so that it
is unmistakably clear.
This idea can be an action, a
personality, an expression, or
a mood.
An important objective of
staging is to lead the viewers
eye to where the action will
occur so that they do not
miss anything.
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Anticipation
An action breaks down into:
Anticipation
Action
Reaction
Anatomical motivation: a muscle

must extend before it can
contract. Prepares audience for
action so they know what to
expect. Directs audiences
attention. Amount of anticipation
can affect perception of speed
and weight.
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Anticipation-1-17 Frames
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Anticipation-2- 3 to 10Frames
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Anticipation-3- 3 Frames
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Production Technique
1. Straight Ahead Action

In hand drawn animation is when the animator starts at the first
drawing in a scene and then draws all of the subsequent
frames until he reaches the end of the scene. This creates very
spontaneous and zany looking animation and is used for wild,
scrambling action.
2. Pose to Pose Action

Is when the animator carefully plans out the animation, draws a
sequence of poses, i.e., the initial, some in-between, and the final
poses and then draws all the in-between frames (or another artist or
the computer draws the inbetween frames). This is used when the
scene requires more thought and the poses and timing are important.
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Interpolation
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Many parameters can be interpolated to

generate animation
Position
Color
Orientation
Shape
Camera
.
More complicated inbetweening will require a

more complicated model of animated object and
simulation
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Interpolation
Interpolating splines are smooth curves that
interpolate their control points
Perfect for keyframe animation
Typically, time is directly associated with the
parameter value, controlling speed
2
3
1
Keyframes
Animation
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More Interpolation
Anything can be keyframed and interpolated

Position, Orientation, Scale, Deformation, Patch
Control Points (facial animation), Color, Surface
normals
Special interpolation schemes for things like

rotations
Use quaternions to represent rotation and interpolate
between quaternions
Control of parameterization controls speed of

animation
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Animation of a Juggler
use of:
overlapping action,
anticipation
follow-through techniques
The clown is tossing the ball with his right hand in cel
7*, catching it with his left in cel 5, and transferring it
back to the right hand in cel 3.
The cycle has only one toss and catch, yet the clown
is juggling two balls, because at least one ball is
always held.
Can you see the anticipation and follow-through used
in each action?
Little touches like the tapping foot and the loose hat
add a lot of life to the piece.
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Use in Computer Games
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Use of:
Ease-in/out
Timing
overlapping action,
anticipation
follow-through
techniques
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page 39

3 Principles

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CPSC 587/687

University of Calgary GraphicsJungle Project

CPSC 587 2005

How to create maximum impact

Early animators worked

University of Calgary GraphicsJungle Project

CPSC 587 2005

Reduce burden with cel animation

ACM 1997 Multiperspective panoramas for cel

University of Calgary GraphicsJungle Project

CPSC 587 2005

ACM 1997 Multiperspective panoramas for cel animation

A multiperspective panorama incorporates many

CPSC 587 2005

ACM 1987 Principles of traditional animation

describes the motion algorithmically

hands should rotate together

University of Calgary GraphicsJungle Project

CPSC 587 2005

Physically Based Animation

University of Calgary GraphicsJungle Project

CPSC 587 2005

ACM 1988 Spacetime Constraints

University of Calgary GraphicsJungle Project

CPSC 587 2005

KEYS & Inbetweens

Animators first draw key drawings, follow by

University of Calgary GraphicsJungle Project

CPSC 587 2005

ACM 1987 Principles of traditional animation applied to 3D

Describe motion of objects as a function of

CPSC 587 2005

Computer Animation as Animation

Thomas, F. and Johnson, O.,

University of Calgary GraphicsJungle Project

CPSC 587 2005

1. Squash & Stretch

University of Calgary GraphicsJungle Project

CPSC 587 2005

Simulating Physics 1. Squash & Stretch

University of Calgary GraphicsJungle Project

CPSC 587 2005

Simulating Physics 1. Squash & Stretch

University of Calgary GraphicsJungle Project

CPSC 587 2005

Simulating Physics 1. Squash & Stretch

University of Calgary GraphicsJungle Project

CPSC 587 2005

Squash and stretch

University of Calgary GraphicsJungle Project

CPSC 587 2005

Characters move at different speeds

Tall guys move slowly

University of Calgary GraphicsJungle Project

CPSC 587 2005

Simulating Physics 2. Timing

Timing affects weight:

Light object move quickly

Timing completely changes the

CPSC 587 2005

Simulating Physics 2. Timing & Motion

If the ball rebounds from the box, and the box is

University of Calgary GraphicsJungle Project

CPSC 587 2005