Monday, May 14, 2012

Creating Stereoscopic 3D Images





 Please use the Green and Magenta 3D glasses for all of these images and the video.

Glenn studying alone in the Hugh Douglas Hall

SJSU Game Dev Club room

SJSU University Theatre

Maya

Stop-Motion

Because Blogger converted the video into low res, the 3D effect is barely visible. So here is the image frames:

Tuesday, May 1, 2012

Building a Scene in Maya

 G and P

One-Point Lighting

Two-Point Lighting

Three-Point Lighting

Tuesday, April 24, 2012

Science Fact or Cinematic Fiction


Introduction

Giant and tiny scaled characters have differences in their motion of movement.  Additionally, the environment, such as buildings, around them are key references.  Some medias use special effects to create slow-motion on their subject to show the difference in scale.  The medias defy the physic of scale despite the usage of special effects to show scale, but their scaled reference appeared to be physically inaccurate.  I will use the examples from Johnnie Walker, Shuffle! Memories, and Media Impact.


Johnnie Walker's catwalk commercial

In one of Johnnie Walker’s commercial, there are female models in gigantic scale strutting through the city in a catwalk fashion.  If we observe the scenes more closely, the sizes of the women are inconsistent in different scenes, at some point they are smaller and sometimes they are bigger. Despite their size, they strut in normal speed as if they are not giants.  This commercial records the women’s walk and use green screen record of the real life city.  The green screen city building is an instant point of reference to perceive these women are giants.  However, in another perspective, since they were meant to perceive to be giants, by making them walk in a normal walking motion speed of a normal size human, the scenes may feel like they are walking on a tiny city in a tiny land.  To create an effect for both perspectives to be correct, the commercial would have to make the women feel really giant scale by using size measurement and slowing down the motion speed.

First, we need to find their actual scale in each scene by using their city as a frame of reference and make sure their sizes are consistent.  There are some measurable scene references, assuming most business buildings are 10 feet tall per windows.  Base on the first scene of the city's 16 feet tall commercial building, they are about 150 feet tall.  The fifth city, they are about 70 feet tall.  In Paris city, their height are somewhere at the Eiffel Tower's top floor, which is 896 feet tall.  They are about 900 feet tall in that scene.  In the New York scene, based on the orthogonal I measured, they are somewhat at 80% height of the Empire State Building, which means they are about 1000 feet tall.

Assuming that the women do change sizes each city scene they cross; their speed in different scenes will differ in slower motion.  We can assume their height is 5.6 feet.  Their common full strut cycle with both right and left foot is about 1 second.  Their strut speed assumes to be 0.5 mile per hour (mph).  We can use the city building height reference to divide by 5.6 feet.   In the first city, 150 divided by 5.6 equals to about 28.  Size equals speed, area equals scale.  28 divided by 3 equals about 9.  Their strut cycle motion should look about 9 times slower to make a realistic feeling of 150 feet.  Despite that, their stride still cover larger distance and speed than the normal size.  In the fifth city, 50 divided by 5.6 equals to about 13.  13 divided by 3 equals to about 4.  Their strut cycle motion would look about 4 times slower in that scene.  In Paris, 900 divided by 5.6 equals to about 161.  161 divided by 3 equals to about 54.  Their strut cycle motion looks about 54 times slower.  In New York, 1000 divided by 5.6 equals to about 179.  179 divided by 9 equals to about 60.  Their strut cycle motion looks about 60 times slower.  The latter calculation may make the women looks super slow, but they their stride moves in a large area.  At least it would perceive how truly giant they are instead of them walking on realistic miniature models.  Interestingly, there is an animation, Shuffle! Memories, does the opposite effect of this Johnny Walker commercial.


Shuffle! Memories. Episode 12

Shuffle! Memories is a Japanese animation.  In episode 12, most of the characters were shrunk to presumably 3 inches by a culprit, an ancient mirror.  While the majority of the casts shrunk, one of the teenage girl characters, the red hair girl, remains in her normal-size which is about 5 feet tall.  The shrunk boy must try to gain attention with the red-hair girl by jumping above her on the right time wherever she approaches beside them.  Unfortunately, the shrunk boy miscalculates his fall and fell into the red-hair girl’s chest, which stalled their time from striking back at the culprit.

The scale of motion speed is not realistically correct.  In the shrunk characters’ point of view, their motions are in normal speed.  The shrunk boy's fall is very slow compared to the frame he takes to fall from one point to another.  When they see the red-hair girl, she moves in super-slow motion and her voice has very low frequency than her usual high pitch voice.  In the red-hair girl’s point of view, all the motion speed is normal world speed.  Even if she sees the shrunk boy, he is in normal speed.  Awkwardly, the shrunk characters does not gesture any faster.

In perception, the sequence is physically wrong because the girl is not a giant to begin with.  Without knowing the content of the story, we can easily perceive that the characters went to the giants’ world like “Jack-and-the-Beanstalk” trope.  The red hair girl's scale is normal-size of about 5 feet.  Therefore, she should still remain moving and speaking in her usual normal speed, not in super slow-motion.  Perhaps because the other characters were shrunk, the red-hair girl’s voice amplitude is wider.  It might be fine that she sound low pitch, but not talking slow to the shrunk characters.

There is hardly an accurate reference to measure the shrunk characters.  However, we can measure the scale from the red-hair girl.  If the red-hair girl is a giant, we can measure the scale in reverse.  The red-hair girl is about 5 feet tall.  5 feet divided by 9 equals to about 0.5, this makes the shrunk characters are around 3 inches.  The shrunk boy can fall down faster or slower depending on how their world’s mass work.  It is most likely that their mass is small when they were shrunk.  If that is true, the boy would fall slowly because of air resistance.  Furthermore, he spreads his arms and legs while falling.  However, both point of views between the red-hair girl and the shrunk boy should remain the same.  The red-hair girl should see the shrunk boy fall in certain speed; likewise, the shrunk boy sees himself fall in that same certain speed as the red-hair girl sees him.

            When we fast forward the animation 3 times faster, the red-hair girl actually walks in normal motion.  If the red-hair girl is a giant, she is simply 9 times taller of the normal-size, in which, she is 45 feet tall.  We can assume why the animators decided this effect to exaggerate how enormous the normal-size red-hair girl is to the shrunk characters.


Media Impact's Massive series

In Media Impact’s Massive series, in all their series, the entire female actresses roam on a paper, plastic, miniature models with some water to serve as lake and river.  Unlike the Johnnie Walker commercial, the background scenes were not recorded from real life buildings.  These films are done by several private media studios and community in joint collaboration using small props, special effects for collapsing debris, water lake splash, and explosions in certain motion speed to make the women feel really colossal as possible.  Despite the special effect of destruction, the reference scale is not correct.  The destruction are slowed in motion, but the giant's movement and their building drop speed remains in normal-size speed.

In most perceptions, the series seem to be about adult women playing with toy buildings and creating an illusion of being large in scale.  This include their special effects looking like decorations.  To get most of the perception of both women and buildings to be large, we must first measure their scale.  According to the average paper buildings' window, most buildings are 100 feet tall.  The women tends be more than 10 times bigger than the buildings.  Therefore, the women are about 1000 feet.  Assuming most of the women are 5.6 feet tall in normal size, they should move 60 times slower.  For the buildings, they fall like a normal-size brick drop.  The buildings should fall slower.  The collapsing debris and explosion should be slower with the buildings.  Almost all debris flies out of their explosion are 0.5 seconds pass double of the building’s height.  Even if the effects are slower than the falling buildings, it is still too fast.  This is the same for the lake splash; the water should splash up slowly and should not shoot straight up like a geyser. 


Conclusion

Both Johnnie Walker and Media Impact left their giant characters in normal-size human speed might have intended to show that giant women are strong enough to move in normal motion.  Especially, Media Impact is to emphasize the strength in the women's scale using many special effects to slow destruction.  In Shuffle! Memories, the animation might try to emphasize how huge the normal-size girl is in comparison to the shrunk characters by making the normal-size moves and talks super slow.  All three media in common show massive strength and size of the female character in either scale by defying the physical scale with effects.


Tuesday, April 17, 2012

Science Fact or Cinematic Fiction Outline

Science Fact or Cinematic Fiction Outline

Introduction
Giant and tiny scaled characters has a difference in motion of movement.  Additionally, the environment, such as buildings, around them are key reference.  Some media use special effects to slow-motion the subject to show the difference in scale.  However, some media may defy the physic of scale despite the usage of special effects to show scale.

Johnnie Walker's catwalk commercial.
  • The female models in giant scale strut through the city.  Although, the women's size are inconsistent in different scenes.  At some point they are smaller and sometimes they are bigger.  Despite their size, they strut in normal speed as if they are not giant.
  • There are some measurable scene reference.  First city's 16 feet commercial building, about 160 feet.  Eifel Tower's top floor, 896 feet, 80% tall of Empire State Building, 1000 feet.
  • Assuming that the women does change sizes, their speed in different scenes will differ in slower motion.
Shuffle! Memories.  Episode 12.
  • In the animation, most of the characters was shrunk to about 1 inch while one of the girl character remain about 5 feet of her normal-size.
  • Physically, the shrunk character may fall faster. The normal-size girl should still remain move and speak in her usual normal speed, not in super slow-motion.
  • In the shrunk character's point of view, they fall slow; the normal-size girl moves in super-slow movement and her voice has very low frequency than usual.  In the normal-size girl's point of view, the shrunk characters and herself are at normal speed motion.  Awkwardly, the shrunk characters does not gesture any faster.
Media Impact's Massive series.
  • All the female actress roams on a paper, plastic, miniature models with some water to serve as lake and river.  There are special effects for collapsing debris and explosions. 
  • According to the average paper buildings' window, most buildings are 100 feet tall.  The women tends be more than 10 times bigger than the building.  Therefore, the women are about 1000 feet.
  • The special effects are slowed in motion, but the giant's movement and their building drop speed remain as normal-size speed.
Conclusion
Both Johnnie Walker and Media Impact left their giant characters in normal-size human speed might have to show the women are strong enough to move in normal motion.  Specically, Media Impact is to emphasize the strength in the women's scale.  In Shuffe!, the animation might try to emphasize how huge the normal-size girl in comparison to the shrunk characters by making the normal-size moves and talks super slow.  All three media in common show massive strength and size of the female character in either scale by defying the physical scale with effects.

Monday, April 9, 2012

Stop-Motion Character Animation

The Mighty Duck and Lego Technic Show

 

     My brother John and I picked out two toys that have many torques as possible that can pose.  One is a toy of Check "Grin" Hardwing from Disney's Mighty Ducks.   The other is a LEGO Technic figurine of an ice skater possibly a snow native tribe character from the Bionicle series.

     John had to deal with some rotoscoping for Grin's walking since it was difficult to balance him in some movements since his legs are unsymmetrical.  The rotoscoping isn't perfect so it could be obvious to figure out which frames was edited.

     I worked on the ideas and snapping shots for the characters' movement.  John worked on moving the characters to pose the gestures according to my ideas, in a sense the two characters meet and begin their dance performance on the same stage like the theater play.   Afterwards, he compiled all the images in Adobe Photoshop and compiled them into clips in Adobe Premiere to make the music video.

Wednesday, March 21, 2012

Reverse Video Reference of Walking

Clip A
"Yes, yea, yes, yea!"

Clip B
"I'm on guard patrol."

Clip C
"Be very wery quiet, I'm hunting wabbit."
 

Clip D
"Cha lala lala!"

Reverse Video Reference of Walking - Fukkireta
The several fast forward takes of my mistakes in the rain and wind!
The first 4 already shown above, the soda cans were my distance reference.

Monday, March 12, 2012

1st Term Paper

   
1st Term Paper: Laws of Physics in an Animation Universe

Ragnarok Battle Offline

            The continent of Rune Midgar is filled with adventurers.  Many begin their lives as a weak novice and want to become as strong as they can be by ridding hostile monsters.  Why?  That is because they are stuck in a world that only allows them to beat stuff up to gain upward mobility.  Ragnarok Battle Offline (RBO) is a doujin (Japanese fan-based) beat-em-up side-scroller satire of the Massive Multiplayer Online Role-Playing Game (MMORPG), Ragnarok Online.  The game have interesting adaptions of a side-scrolling action with a 2D fighting game physic system by having its own jumping action, the influence of agility, and its suspended force.

Jump Action

Many characters’ jumping height varies.  I will use Female Acolyte as our sample character as she is between the lowest and highest jump, having straight side-view pose, and has magic ability to manipulate Agility among other characters.

Let’s assume Female Acolyte is 6 feet tall, her straight up jump height is about 9 feet at the apex in the air.  However, her jumping height is lower if she jumps forward or backward.  Her moving jump is 7 feet.  In both jumping case, the vertical velocity slows down as she reaches to her apex height, then the vertical velocity accelerates downward until she touch the ground.   For moving jump, the horizontal velocity stays with centripetal force with no slowing acceleration from the ground moving to jump.  She cannot change her horizontal velocity while in the air because of the centripetal force, however, she can still turn around her body as much as she wants.

Female Acolyte can also jump once more while in air, this is called “air jump.”  When she attempt air jump, it creates a blue repulsive wave below her feet, resetting all velocities to 0.  The velocity reset caused by Female Acolyte’s body exerting high air pressure towards her, while low pressure around her push outward causing a blue wave effect.   Which means no matter she is in the middle of jumping upward or falling, the air jump make her as if she was jumping from the ground again.  The air jump gives her an additional 9 feet in the air.  If she jumps in the apex of the regular and air jumps, her total jump height is about 18 feet.  Likewise, the moving air jump is additional 7 feet.   Having both moving jump apex is total of 14 feet.  Therefore, if Female Acolyte chose straight up jump and then forward air jump or vise versa, that is 9 feet plus 7 feet equals 16 feet.

Another feature that all characters can perform is called “air recovery.”  These feats normally appear when the characters are attempting to take action while being staggered or hurt during airborne.  The character releases their inner energy releasing low pressures from the attacker’s blow.  The low air pressure allows the high air pressure wreath the character.  This causes a harmless blue shockwave ring effect and the falling vertical velocity resets to 0, which the character will do an additional 3 feet jump.

There are several characters that have their own jumping feat.  Such as Male Thief has “air dash,” he crouch his body in mid-air and pushes his legs backward to create the air pressure’s reaction while his upper torso pushes ahead allowing his action tilts forward.  The pressure can be seen as the air makes a blue air barrier-like effect that concaves his direction.  His air dash also resets all vertical velocity to 0 and allows him to have a forward horizontal velocity.  The gravity increases the falling vertical velocity after he pushed himself forward.  He can only perform this feat once in the air without interrupting his available air jump.

            Other characters, Male Archer and Female Archer, have a unique “air hop” feature while firing arrows from their bow in air.  Male Archer always shoots horizontally straight.  As he pulls the bowstring, the string forces the arrow straight.  Once the arrow is fired, it gives an air pressure that keeps Male Archer momentarily hover in the air and recoil him backward.  Female Archer always shoots downward-diagonal.  She is pushed backward diagonal by the arrow release pressure, which gives her addition 1 foot above the air.  Both archers resets their vertical velocity once their pull their bowstring before they release their arrow.  They can air hop shooting at any time as long they are in the air with more than 1 arrow in their inventory and it does not deplete their force for attempting the single air jump.  Lastly, the archers can nearly stay in the air as long they keep pulling their bowstring quick enough.

Influence of Agility

Most speed of actions in RBO’s world of Rune Midgar is based on the characters’ Agility statistic parameter.  It is one of the valuable feats that determine the nimbleness, jumping speed, mobility, attacking, passive evasion, and spell casting.  Generally, the higher Agility the faster vertical and horizontal velocity, acceleration, friction, and attack motion.  In terms of jumping and falling, the Agility determines the mass no matter how fat, thin, giant, or tiny the characters and monsters are.

Agility influences how quick the vertical velocity and acceleration towards the character’s jump height apex.  Higher Agility causes the character to jump and fall down faster.  When Female Acolyte decides a straight up jumping with only 1 point of Agility, it takes 750 milliseconds to reach to the apex and 750 milliseconds to fall on the ground.  That is total of 1.5 seconds in the air.  Female Acolyte with 50 points of Agility, it takes 500 milliseconds to the apex and 500 milliseconds to the ground, totaling 1 second.  If she has 60 points of Agility, it takes 250 milliseconds to the apex and 250 milliseconds to the ground, totaling 0.5 second.  Agility seems to have some sort of ratio, as it takes 50 Agility cut down 0.5 second from the 1.5 seconds of 1 Agility point, but from 50 to 60 Agility cuts 0.5 seconds as well.  Agility within the character has a terminal nimbleness with their body.  The character with 80 Agility hardly any difference from having 90 Agility.

Suspended Force

When the attacker strikes a victim from either ground or air, both attacker and victim are frozen in time for less than a second.  Everything and the environment around them remain in constant motion.  The striking force is equally balanced with the impacted force for about 200 milliseconds.  All motions are suspended, for attacker, their motion and velocity is halted, while the victim becomes the staggered state and their velocity resets to 0.  After being suspense time for about 200 milliseconds, both attacker and victim return to their normal motion of the world, the attacker’s attack motion and velocity continues from where it was suspended; whereas the victim continues the velocity given from their staggering state.

In a case where both attacker and the victim are in the air, both are still suspended for about 200 milliseconds in the air.  As the attacker strikes the victim, both receives each other’s action and reaction force, causing both stay in the hair until the pressure passes after 200 milliseconds.  Characters and monsters takes advantage of suspended force in air, as long they are the attacker they can keep their rhythm of attack.  This aerial suspended force attacks are usually known as “air combos.”

However, if another victim runs into the attacker’s suspended motion, the new victim will also become suspended in a staggered state and the attacker continues to be suspended because the striking inertia still taken place.  If the victims are parading towards the attacker’s suspended strike, the attacker is stuck in the attacking pose until all the victims are staggering away.  Keep in mind that the attacker in the suspended attacking pose is still vulnerable to any incoming attacks as the environment outside of the attacker and the victims are still in constant motion.

Conclusion


            Ragnarok Online, in which Ragnarok Battle Offline based their satire on, was a standard 3D symmetrical grid world with RPG system combating monsters.  Ragnarok Battle Offline gives a different gameplay aspect of it.  RBO combines the basic attack and jump feature from the typical 2D beat-em-up side-scroller genre.  It adds air jump, air dash, air hop, and suspended force that give a pause time that featured in most Asian 2D fighting games for players who wants more tastes of beating monsters for fun with air combos and such.  It lastly retains the statistic parameters, such as Agility, from the MMORPG system that actually had its functions that matters in a side-scroller game.  Those systems together in RBO make jumping height and velocity does matter on how the players want to manage their air control for evasion or aerial attacks.  The game physics maybe visually funny and weird, but the flow of the gameplay feels fluid as it seems to be part of their world rather than being jumbled and clunky.  The combination is the necessity to makes the feeling of both game genre look and at least to feels like playing all those features.

Left: Female Acolyte's jump height.  Top-Mid: Male Thief's air dash.  Top-Right: Female Archer's air hop.
Bottom-Mid: Female Acolyte's air recovery.  Bottom-Right: Female Acolyte's air combo.



Monday, March 5, 2012

Outline of 1st Term Paper

 Ragnarok Battle Offline
Intro
            The continent of Rune Midgar is filled with adventurers.  Many begin their lives as a weak novice and want to become as strong as they can be by ridding hostile cute-looking monsters.  Why?  That is because they are stuck in a world that only allows them to beat stuff up to gain upward mobility.  Ragnarok Battle Offline (RBO) is a doujin (fan-based) beat-em-up side-scroller satire game of Ragnarok Online.  The game has interesting adaption of a side-scrolling action with a 2D fighting game physic system by having its own jumping action, the influence of agility, and stiff time.
1)     Jumping Action and Falling Force
a)     Most characters can jump above 3 bodies of themselves.  The gravity fall forces will constantly adding downward velocity.
b)    The jumping character cannot change their air motion direction when they already determined their direction while on the ground.  However, they can still turn around their body.
c)     Most characters can double jump, jump once more in thin air by exerting a last force upward.  The downward velocity restarts back to 0 and begin adding downward velocity once more.  At this point, the character can change their jumping direction.
d)    Archers who shoots arrow with their bow suspense themselves in the air momentarily by balancing their tension with the gravity, but they are push back by the backward force from pulling the bowstring.

2)     Influence of Agility
a)     Agility is a character’s statistic for their nimble feats.  The higher agility the faster their attack, movement, acceleration, and friction.
b)    The speed of jumping up and falling down determined by the character's agility no matter how heavy the characters are.  The more nimble the character whether moving in the air or not, the upward and downward force increases and decreases dramatically.

3)     Stiff Time and Exertive Inertia
a)     When the attacker strikes a victim from either ground or air, both attacker and victim are frozen in time for less than a second.  Everything and the environment around them remain in constant motion.  The striking force is equally balanced with the impacted force for about 100 milliseconds, all motions are suspended.
b)    After being stiff in time for 100 milliseconds, both attacker and victim return to their normal motion of the world.
c)     However, if another victim runs into the attacker’s stiffed motion, the new victim will also become stiffed and the attacker continues to be stiffed because the striking inertia still taken place.

Conlcusion
            As Ragnarok Battle Offline combines both beat-em-up side-scroller and 2D fighting system, it makes their game physics looks funny, but it a necessity to makes the feeling of both game genre look and feels right.

Sunday, February 26, 2012

Stop Motion Animation of Falling

Pikachu's Arc Throw!
The objects that are used in this animation is a stuffed Pikachu, stress reliever football, and a toilet roll. The background is wooden tile floor and an edge of a green rug.

Graph: The ranges of 75 (red), 45 (lime green), and 15 (yellow orange) degree arcs. The blue dots indicates the falling object. The cyan dot is where the 45 degree object toss will collide with the falling object. The 75 and 15 degree toss does not have enough range to hit the falling object.

After the cast and arcs are planned out, the shots are made. The images are imported in Photoshop and placed together into an animation and exported as a movie clip. Then edited the clip in Premiere. The two music are Home-Run Contest and Pokemon Victory from the soundtrack of Super Smash Bros. Brawl.

Monday, February 20, 2012

Video Analysis of Path of Action

Path of Action Image:

Tracker Frame Video:

Video Reference:

Fukkireta with the Tracker!!!  Inspired by the hula class demonstration.
:D

Monday, February 13, 2012

Tracker Video Analysis of Falling

Episode 2012: The Fall of Pikachu!

Tracker Drop Screenshot:

Tracker Animated GIF:
Photobucket

Video Drop Reference:

Monday, February 6, 2012

Wednesday, February 1, 2012

My Mini-Portfolio

Hi, my major is Animation.  I like creating characters, stories, games, and game scripting.  Ultimately, I became great interests in making games.  I use game as my art tool, because it is the best I could think of to make the characters and the story interactive for the audience.
In SJSU, I intake the basic drawing, game studies, and philosophy classes.  These classes broadens the idea to me that game is art from drawing and scripting.  It allows everyone and me to create the world from our imaginations and physics to exists.  People from our reality, with just the basic human perception, can visit the dimensional-plane inside our artwork.

Nevertheless, here are the 2 images and 1 video that is required to post:

My game, Alti 0.4 (2011), in Game Maker 8.0. Art104 (2011).
Materials use from my sketch, Adobe Photoshop, and Flash.
My game, Alti, allows you play either two screnarios: A 50-miles tall girl comes down to the planet, scavenging natural resource to fix her space scooter, while unaware of the inhabitant.  Or the Advanced Meteorologist Aircraft (AMA) uses the Weather Protection Neutralization Systen (WPNS) to stabilize the hazardous atmosphere that the 50-miles tall girl causes.  The concept of the game is about altitude of stuff studies based on Earth.

One of my pencil rendering of a forest. Art113B (2010).
This illustration was later used for acrylic color render.
Most of my family and friends liked my pencil and color rendered forest illustions.  I personally like pencil art more than color.  I often have more strength in black and white work around the year of 2010.


A Japanese anime music video (AMV) that I gave the idea for my little brother John to practice with Adobe Premiere.  It may look like a typical AMV, but this is one of our personal studies about screen transitions feel with the music rhythm using non-mainstream anime and Mandarin pop song.

Thursday, January 26, 2012

The First Post

The first blog placeholder for Ani123, Physics in Animation class.

Today, in class we have a class demonstration called the "Vampire Stake."  The hammer hit the stake on a tile breaks, whereas it does not harm the victim without the tile.

The lecture is about the 3 basic of animations: tradition, computer, stop-motion.
The other types to composing animation to live-action: compositing, rotoscoping, motion caption.
The 4 "A's" levels of Animation: Activity (arbitrary movement), Action (follow physical law), Animation (intention), Acting (convey personality).