Simulating cartoon style animation

Chenney, Stephen; Pingel, Mark; Iverson, Rob; Szymański, Marcin

doi:10.1145/508551.508553

Cited by 12 publications

(13 citation statements)

References 0 publications

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“…The visual nature of speed-lines has also led to their application in motion summarization via reverse story-boarding [22] visualized using a mosaic constructed from the video frames. Chenney et al [12] presented the earliest work exploring automated deformation of objects to emphasize motion. This work introduced the 'squash and stretch' effect, scaling 3D objects along their trajectories and applying the inverse scale upon surface impact.…”

Section: Segmentation For Motion Stylizationmentioning

confidence: 99%

Temporally Coherent Video Stylization

Bénard

Thollot

Collomosse

2012

Computational Imaging and Vision

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Section: Segmentation For Motion Stylizationmentioning

confidence: 99%

Temporally Coherent Video Stylization

Bénard

Thollot

Collomosse

2012

Computational Imaging and Vision

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“…Chenney et al 9 have presented a mixed dynamic and kinematic model for simulating cartoon style squashand-stretch motions in real time. They allow designer to easily specify particular styles of the motion.…”

Section: Related Workmentioning

confidence: 99%

PASCAL: physics augmented space canvases for animating locomotion

Fei

Lee²,

Xin³

et al. 2009

Computer Animation & Virtual

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We describe an animation creation system called PASCAL that supports sketch-based modeling and physics augmented locomotion simultaneously. The system uses sketches and reconfigurable space canvases as basic modeling primitives and uses physics to improve the expressiveness and efficiency of several animation techniques to obtain controllable and plausible locomotion animation. The usability evaluation of the system was conducted both with professional and novice animators.

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“…A limited range of motion emphasis effects have been produced from three dimensional computer graphics models [5,6], by motion capturing cartoons [7], or interactively from drawings [8] and video [9]; see [10] for a wider review. Of greatest relevance to this paper is previous work by the authors addressing the production of both augmentation cues and deformation cues in real video [11].…”

Section: Introductionmentioning

confidence: 99%