WICED: Eurographics Workshop on Intelligent Cinematography and Editing

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Browsing WICED: Eurographics Workshop on Intelligent Cinematography and Editing by Subject "Animation"

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    CaMor: Screw Interpolation between Perspective Projections of Partial Views of Rectangular Images
    (The Eurographics Association, 2017) Raghuraman, Gokul; Barrash, Nicholas; Rossignac, Jarek; William Bares and Vineet Gandhi and Quentin Galvane and Remi Ronfard
    CaMor is a tool for generating an animation from a single drawing or photograph that represents a partial view of a perspective projection of a planar shape or image that contains portions of only 3 edges of an unknown rectangle. The user identifies these portions and indicates where the corresponding lines should be at the end of the animation. CaMor produces a non-affine animation of the entire plane by combining (1) a new rectification procedure that identifies the orientation in 3D of a rectangle from the partial image of its perspective projection, (2) a depth adjustment that ensures that the two rectified rectangles are congruent in 3D, (3) a screw motion that interpolates in 3D between the two congruent shapes, and (4) at each frame, a perspective projection of a user-selected portion of the original image. The animation may be modified interactively by adjusting the final positions of the lines or the focal length. We suggest applications to the animation of hand-drawn scenes, to the morph between two photographs, and to the intuitive design of camera motions for indoor and street scenes.
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    Contact Visualization
    (The Eurographics Association, 2016) Marvie, Jean-Eudes; Sourimant, Gael; Dufay, A.; M. Christie and Q. Galvane and A. Jhala and R. Ronfard
    We present in this paper a production-oriented technique designed to visualize contact in real-time between 3D objects. The motivation of this work is to provide integrated tools in the production workflow that help artists setting-up scenes and assets without undesired floating objects or inter-penetrations. Such issues can occur easily and remain unnoticed until shading and/or lighting stages are set-up, leading to retakes of the modeling or animation stages. With our solution, artists can visualize in real-time contact between 3D objects while setting-up their assets, thus correcting earlier such misalignments. Being based on a cheap post-processing shader, our solution can be used even on low-end GPUs.
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    La Caméra Enchantée
    (The Eurographics Association, 2017) Rossignac, Jarek; William Bares and Vineet Gandhi and Quentin Galvane and Remi Ronfard
    A rich set of tools have been developed for designing and animating camera motions. Most of them optimize some geometric measure while satisfying a set of geometric constraints. Others strive to provide an intuitive graphical user interface for manipulating the camera motion or the key poses that control it. We will start by reviewing examples of such tools developed by the speaker and his collaborators and students. These include a 6 DoF GUI for moving a MiniCam over a floor plan of the set, arguing the benefits of Screw Motions for interpolation key poses, using HelBender to smoothen piecewise helical interpolating motions, and controlling the camera by moving on the screen the location of feature points tracked by the camera, and scene graph extensions that support smooth transitions between tracked objects. Then, we will ask harder questions: What is the best way for the user to specify the objectives, the constraints, and the camera motion style? How do we define and program such a style? Is the objective to make the motion so natural that it is not noticed by the viewer or is should we strive to support aesthetic qualities and artistic camera actions? And finally, how do we define and program responsive camera behaviors for interactive environments? Author's prior publications referenced in the talk include: [SBM 95], [RK01], [KR03], [PR05], [RKS 07], [PR08], [RS08], [RV11], [RK12], [RLV12].
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    Stylistic Patterns for Generating Cinematographic Sequences
    (The Eurographics Association, 2015) Wu, Hui-Yin; Christie, Marc; W. Bares and M. Christie and R. Ronfard
    For film editors, the decision of how to compose and sequence camera framings is a question pertaining to a number of elements involving the semantics of shots, framings, story context, consistency of style, and artistic value. AI systems have brought a number of techniques to create procedural generative systems for game animation and narrative content. However, due to its computational complexity, current automated cinematography relies heavily on constraint and rule-based systems, or pre-calculated camera positions and movements that implement well-known idioms from traditional cinematography. Existing dynamic systems only have limited reaction to complex story content and cannot bring affective emotional depth to the scenario. Yet in actual filmmaking, directors often employ camera techniques, which are arrangements of shots and framings, to convey multiple levels of meanings in a sequence. In this paper we propose a language for defining high-level camera styles called Patterns, which can express the aesthetic properties of framing and shot sequencing, and of camera techniques used by real directors. Patterns can be seen as the semantics of camera transitions from one frame to another. The language takes an editors view of on-screen aesthetic properties: the size, orientation, relative position, and movement of actors and objects across a number of shots. We illustrate this language through a number of examples and demonstrations. Combined with camera placement algorithms, we demonstrate the language's capacity to create complex shot sequences in data-driven generative systems for 3D storytelling applications.
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    Using ECPs for Interactive Applications in Virtual Cinematography
    (The Eurographics Association, 2017) Wu, Hui-Yin; Li, Tsai-Yen; Christie, Marc; William Bares and Vineet Gandhi and Quentin Galvane and Remi Ronfard
    This paper introduces an interactive application of our previous work on the Patterns language as creative assistant for editing cameras in 3D virtual environments. Patterns is a set of vocabulary, which was inspired by professional film practice and textbook terminology. The vocabulary allows one to define recurrent stylistic constraints on a sequence of shots, which we term ''embedded constraint pattern'' (ECP). In our previous work, we proposed a solver that allows us to search for occurrences of ECPs in annotated data, and showed its use in automated analysis of story and emotional elements of film. This work implements a new solver that interactively propose framing compositions from an annotated database of framings that conform to the user-applied ECPs. We envision this work to be incorporated into tools and interfaces for 3D environments in the context of film pre-visualisation, film or digital arts education, video games, and other related applications in film and multimedia.