Animation

Lighting , Camera, Texturing,

Skeletal animation
 Part 1
Lighting , Camera, Texturing,
 1-Three-Point Lighting
Most basic type of
lighting setup is the
three-point light
set:
Key light
Fill light
Rim/kicker light(s)
 1-1 Key light

Left Or Right to the camera and above the subject.

This is the strongest light in the setup
casts the majority of the light
 1-2 Fill light
opposite the key light
at the same level or slightly lower than the subject.
The fill light has half of the light intensity of the key light
prevents the shadows of the subject from dropping
down to pure black
 1-3 Rim/background light(s)

• light is behind and above the subject

• to separate subject from the background.
• The rim light’s intensity can be brighter or lower than
the key light if need be.

No Back Light (left), Back Light added (right).

Example
 Camera Movements
1. Pan A pan (Figure 4.40) is a rotation of the
camera side to side, horizontally
2. Tilt A tilt (Figure 4.41) is a rotation of the
camera up or down, vertically.
 Camera Movements (2)
3- Roll This involves rotating the camera on
its side or upside down. This kind of camera
rotation will allow the camera to roll 360
degrees if needed for effect.(See Figure
4.42.)

4- Dolly A dolly (Figure 4.43) can move the

camera forward or backward, toward or away
from the subject. This move can be
completed by hand, but typically the camera
is mounted to a dolly ‫ مزلقان مستقيم‬that is
pushed.
 Camera Movements (3)
5-Track You can move the camera along a track
‫مزلقان بأي شكل‬to follow the subject,
6-Pedestal A pedestal (Figure 4.45) tracks the
height of an object by moving the camera
vertically.
 Camera Movements (4)
6- Crane shot: ‫رافعة‬
film technique where the camera takes a shot from a
crane/drone. A crane enables the camera to traverse
great distances up and down, as well as forward and
backward and from side to side, while flying high in the air.
 Camera Movements (5)
7- Zoom A zoom is different from the other camera
moves because you are not physically moving the
camera, but rather moving the lens to create
movement in the frame.
 Camera Movements (5)
8-Handheld A handheld movement (Figure 4.47) entails
holding the camera and moving freely in any direction
to follow the action. This movement is good for horror
or action films because it allows the viewers to feel as
if they are actually immersed in the action.
But handheld Movement must be used wisely; overuse
can be jarring to the audience. (Example Cloverfield
movie).
 Camera Movements (6)
9-Rack Focus This involves changing the focus of
the camera to push an object that is out of focus
into focus, or vice versa. Figure 4.48 shows an
example. In the 3D animation world, rack focus can
be accomplished in the software’s 3D camera but
is typically achieved in the postproduction stage
with compositing software.
 TOPIC 2
TEXTURING BASIC TERMS

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 1-Texture Mapping
To create a surface that resembles real life you
need to turn to texture mapping.
This process is similar to adding decorative paper
to a white box.

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 Texture Tiling‫تكرار‬
The image exists from (0,0) to (1,1) in texture
space, but that doesn’t mean that texture
coordinates have to be limited to that range
We can define various tiling or wrapping rules to
determine what happens when we go outside
‫ أكبر أو أقل‬of the 0…1 range
 Tiling

(1,1)

y
(0,0)

Texture Space
 2- Shaders
A shader describes the:
1. entire material on an object,
2. how the light is reflected,
3. how Light absorbed ‫أمتصاص‬,
4. transparency
5. and bump maps,
6. Ambience : global light around the objects
7. Reflectivity : reflection of lights
8. Specularity: bright spots cause by light reflections
9. Glow
Shaders and textures can often times be confused, but a texture is
something that gets connected to a shader to give the 3D object its
particular look.
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20
 3- UV Mapping

• A 3D object has many sides and a computer

doesn’t know how to correctly put a 2D texture onto
a 3D object.

• A UV map is basically the 3D model stretched out

into a flat 2D image.

• Each face on your polygon object is tied to a face

on the UV map.

• Now placing a 2D texture onto this new 2D

representation of your 3D object is much easier.
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Examples for UV mapping

+ =
22
 4-Light Maps
‘Multi-texturing’ idea:
pre-render special lighting effects

Reflectance  Light Map = Display texture

Texture (Illumination Texture)
 Light Maps
‘Multi-texturing’ idea: Combine multiple texture maps
to build unified shading (Appearance)

Reflectance  Light Map = Display texture

Texture (Illumination Texture)
 5- Specularity
Specularity defines how a
surface reflects light ‫وصف‬
‫مستويات انعكاس الضوء في كل منطقة‬
.
It is basically the texture’s
reflection of the light source
and creates a shiny look.
For example, a shiny metal
material will have a high
level of reflectivity, whereas
a flat texture like cement will
not. 25
 6- Transparency Maps
grey scale textures that use black and white
values to signify areas of transparency or
opacity on an objects material

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 7- Bump Maps
A bump map gives the illusion of depth or relief on a
texture without greatly increasing render time.

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 Bump Mapping: Example

+ =

Original object Bump map Sphere with

(plain sphere) (height map to bump-mapped
perturb normals
normals - see
next slide )
http://cse.csusb.edu/tongyu/courses/cs520/notes/texture.php
 8- Normal Maps
creates the illusion of detail without having to rely
on a high polygons count.

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 9- Normal Maps VS. Bump Maps

both affect the normals of your geometry and create the illusion of
detail without having to rely on extra geometry
bump maps just encode height information using black and white
values
Black: minimum height delta
White: maximum height delta
normal maps use RGB values to signify the orientation of the
surface normals:
red, green and blue channels = X, Y and Z orientation of the surface
Normal maps can typically get more detailed information onto the
surface

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 10- Displacement Mapping
• Actually move the vertices
along their normals by
looking up height deltas in
a height map
• Displacing the vertices of
the mesh will deform ‫يغير شكل‬
the mesh, producing
different vertex normals
because the face normals
will be different
• Unlike bump/normal
mapping, this will produce
correct silhouettes ‫ ظل‬and
self-shadowing
Displacement map on a plane at different levels of subdivision

http://en.wikipedia.org/wiki/Displacement_mapping
http://www.nvidia.com/object/tessellation.html
https://support.solidangle.com/display/AFMUG/Displacement
 11- Baking
‫حفظ التأثيرات الضوئية بشكل ثابت كصورة‬
To shorten render times you can bake all the
materials, textures and illumination information
into an image file
For instance,
you could bake all the lighting information directly onto
an existing texture, render it once, and then delete
the actual lights used in the scene. This is great for
games because a light would need to be recalculated
in every new frame.

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33
Topic 3- Skeletal Animation
‫الحركة بناءا ً على هيكل عظمي‬
 Skeletons
• Skeleton: A pose-able framework of joints arranged
in a tree structure. The skeleton is used as an
invisible armature to manipulate the skin and other
geometric data of the character
• Joint: A joint allows relative movement within the
skeleton. Joints are essentially 4x4 matrix
transformations. Joints can be rotational,
translational, or some non-realistic types as well
• Bone: Bone is really just a synonym for joint for the
most part. For example, one might refer to the
shoulder joint or upper arm bone (humerus) and
mean the same thing
Bones and Joints
Example Joint
Hierarchy
‫لالطالع‬

https://mocappys.com/how-to-rig-a-character-for-motionbuilder/#.XabjVXFS_Z4
 Joint Limits
• To prevent joints from bending ‫ انحناء‬the
wrong way, you may need to inform the
software exactly what the limits are for a
specific joint.
• Most packages allow for these limits to be
configured on a joint-by-joint and axis-by-axis
basis

• More details http://www.peachpit.com/articles/article.aspx?p=483773

 Skeletal Animation
• Hierarchical animation
1. Mesh vertex is attached to exactly one bone
2. Transform vertex with the inverse of the bone’s
world matrix
• Issues
– Buckling occurs at regions where two bones are
connected
 Why is skeletal animation better?
• Allows you to ‘skin’ meshes
– Matrix Palette Skinning (hardware friendly)
– Multiple bones per vertex (weights)
• Greater flexibility
– Play multiple animations on a single mesh
• combine run animation on legs with salute animation
on arms
– Mix animations together
• overlap walk with run to get a smooth transition
 Degree of Freedom (DOFs)
• Degree of Freedom (DOF): A variable φ describing a
particular axis or dimension of movement within a
joint
• Changing the DOF values ‫ زوايا الدوران‬over time results
in the animation of the skeleton
• Note: in a mathematical sense, a free rigid body has
6 DOFs: 3 for position (x,y,z) and 3 for rotation (x,y,z)
 Kinematics
• Kinematics: The analysis of motion independent of physical
forces. Kinematics deals with position, velocity, acceleration,
and their rotational counterparts, orientation, angular
velocity, and angular acceleration.
• Forward Kinematics: The process of computing world space
geometric data from DOFs
• Inverse Kinematics: The process of computing a set of DOFs
that causes some world space goal to be met (I.e., place the
hand on the door knob…)
 Forward Kinematics
• Forward kinematics (FK) is the default method for manipulating
hierarchies or skeletons. It is rotation based, which means that you
position the joints by rotating them around each other. This is essentially
the way human joints actually work, and it provides a good simulation of
reality.
• If, for example, you want to place a character’s hand on a coffee cup, you
first rotate the shoulder, then the elbow, then the wrist and fingers,
working your way from the top of the hierarchy on down. Each rotation
brings the hand closer to the cup.
• Since forward kinematics is rotation based, you can’t simply pick up the
hand and place it on the cup. This would merely move the hand to the
cup, leaving the wrist behind.
 Inverse Kinematics
• Inverse kinematics (IK) works the opposite way; it’s translation based instead of
rotation based. Inverse kinematics is easy to use: you place the character’s hand
on the coffee cup, and the rest of the arm automatically follows. This simple action
is more complex than you might think, because the software must solve the
rotations for all of the joints in the arm so that the bones remain connected to
each other and look natural.
• there can be many ways of orienting a character’s arm so that the hand rests on
the cup. The computer doesn’t know how the joints of the body are supposed to
move—if it’s just as easy to bend the elbow backward or sideways to make the
arm meet the cup, that’s fine with the computer. This problem can be resolved to
some degree by using parameters such as rotation limits, but IK can still be
unpredictable, particularly when used on limbs with a large range of motion, like
arms.
 Inverse Kinematic (2)
• For example: To move the hand to the cup
using inverse kinematics, simply grab the
hand and move it to the cup.

• The one problem with inverse kinematics is

that there can be more than one solution to
the problem. Here, the arm can take several
positions and the hand will still reach the cup.
 References
• www.roguebasin.com/index.php?title=Dungeon-Building_Algorithm
- www.roguebasin.com/index.php?title=Java_Example_of_Dungeon-
Building_Algorithm
- openprocessing.org/visuals/?visualID=18822
• - www.roguebasin.com/index.php?title=Basic_BSP_Dungeon_generation
- stackoverflow.com/questions/4997642/simple-example-of-bsp-dungeon-
generation
• - pcg.wikidot.com/pcg-algorithm:dungeon-generation
- donjon.bin.sh/dungeon/about/
- www.policyalmanac.org/games/aStarTutorial.htm
 https://unwttng.com/how-does-procedural-generation-work-random-
noise
 http://archive.gamedev.net/archive/reference/programming/features/ran
domriver/
 http://martindevans.me/game-development/2015/12/11/Procedural-
Generation-For-Dummies-Roads/
 References
• http://web.cse.ohio-state.edu/~boggus/3541/Lectures/13%20-
%20Pathfinding.pptx
• https://en.wikipedia.org/wiki/Pathfinding
• http://cs.brown.edu/courses/csci1972/lectures/08.pdf
• http://web.cs.du.edu/~sturtevant/ai-s11/Lecture04.pdf
• http://ccg.doc.gold.ac.uk/teaching/ludic_computing/ludic10.pdf
• http://study.com/academy/lesson/concave-convex-polygons-
definition-examples.html
• http://www.raywenderlich.com/4946/introduction-to-a-pathfinding
• http://weblog.jamisbuck.org/2010/12/27/maze-generation-
recursive-backtracking