A Few New Principles for 3D Computer Animation

A few of the new issues that need to be addressed by new principles of three-dimensional computer animation include: visual styling, blending cartoon physics with real world physics, using cinematography, mastering facial animation, and optimizing user-controlled animation.

13- Visual styling in three-dimensional computer animation means more than just how things are supposed to look. Visual styling also has a significant impact on rendering, on animation techniques, and overall production complexity. As we develop a visual look we must keep in mind that it is feasible to produce within the boundaries of the project. A certain look for the skin of a beast, for example, might look cool but might also require too complex a rig, too detailed a model and too complex an animation process.

14- It is possible today to blend motion from different sources, and we need to develop a clear approach for blending cartoon with realistic motion. Before production starts it is necessary to define clear guidelines for a variety of motion/animation styles including cartoon physics, realistic cartoon, realistic human motion and rotoscoping. Above all, we must direct live performers when capturing their motion to add intention to their movements.

15- Since we have absolute control over camera positions and movement in three-dimensional computer animation, we should make the cinematography a crucial component of our animation, not just an afterthought. The composition, lighting, and sequencing of our moving images has a huge impact on storytelling. Most of this work can crystallize during previsualization and the assembly of the three-dimensional animatics. The lighting style needs to be addressed separately, since it impacts both the look and the rendering pipeline

16- Most of the thoughts and emotions of characters are expressed on their faces. Three-dimensional computer animation offers more facial animation control than ever before, including the subtle motion of eyelids and eyeballs. Establishing early in the process the level of facial control and techniques has a positive effect on the styling of the character and the design of the production flow. Building a catalog of facial morph targets or blend shapes for production and reuse is today as essential as building walk cycles.

17- Computer and platform games put much of the animation control in the hands of gamers. This poses the challenge to create great animation that works regardless of what move the gamer decides to make. Games are a combination of user-controlled animation and preset/narrative animation. One of the creative animation challenges is to find a balance between the narrative and the improvisational aspect of the game. Look at the model of participatory street theater (different from traditional stage theater) for ideas on how to constraint the gamer-action to establish strong staging. User-controlled animation relies on strong animation cycles with built-in anticipation that are able to branch smoothly into reaction shots. Fortunately many of today's game engines have built-in intelligence that can smooth transitions between animation cycles. The combination of preset and dynamic user-controlled cameras is also unique to games.