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by Brian Windsor, Midori Kitagawa
MoCap for Artists
Front Cover
Half Title
Title Page
Copyright
Contents
Acknowledgments
Introduction
Chapter 1: An Overview and History of Motion Capture
1.1 About This Book
1.2 History of Mocap
1.2.1 Early attempts
1.2.2 Rotoscoping
1.2.3 Beginning of digital mocap
1.3 Types of Mocap
1.3.1 Optical mocap systems
1.3.2 Magnetic mocap systems
1.3.3 Mechanical mocap systems
Chapter 2: Preproduction
2.1 Importance of Preproduction
2.2 Pre-capture Planning
2.2.1 Script
2.2.2 Storyboard
2.2.3 Shot list
2.2.4 Animatic
2.3 Preparation for Capture
2.3.1 Talent
2.3.2 Marker sets
2.3.2.1 What are the system limitations?
2.3.2.2 What kind of motion will be captured?
2.3.2.3 Know the anatomy
2.3.3 Capture volume
2.3.4 Shot list
2.3.5 Capture schedule
2.3.6 Rehearsals
2.3.7 Props
2.3.8 Suits and markers
Chapter 3: Pipeline
3.1 Setting up a Skeleton for a 3D Character
3.2 Calibrations
3.2.1 System calibration
3.2.2 Subject calibration
3.3 Capture Sessions
3.3.1 Audio and video references
3.3.2 Organization
3.3.3 Preventing occlusions
3.4 Cleaning Data
3.5 Editing Data
3.6 Applying Motions to a 3D Character
3.7 Rendering and Post-production
Chapter 4: Cleaning and Editing Data
4.1 Cleaning Marker Data
4.1.1 Types of data
4.1.1.1 Optical marker data (translational data)
4.1.1.2 Translational and rotational data
4.1.1.3 Skeletal data
4.1.2 What to clean and what not?
4.1.2.1 What not to clean?
4.1.2.2 What to clean?
4.1.3 Labeling/identifying
4.1.4 Data cleaning methods
4.1.4.1 Eliminating gaps
4.1.4.2 Eliminating spikes
4.1.4.3 Rigid body
4.1.4.4 Filters
4.1.5 When to stop?
4.2 Applying Marker Data to the Skeleton
4.2.1 Actor
4.2.2 Skeleton
4.2.3 Character
Chapter 5: Skeletal Editing
5.1 Retargeting
5.1.1 Reducing need for retargeting
5.1.2 Scaling a skeleton
5.1.3 Fixing foot sliding
5.1.4 Working on the spine
5.2 Blending Motions
5.2.1 Selecting a blending point
5.2.2 Matching positions
5.2.3 Dealing with less than ideal cases
5.3 Inverse Kinematics
5.4 Floor Contact
5.5 Rigid Body
5.6 Looping Motion
5.6.1 Getting motion ready
5.6.2 Setting up the loop
5.6.2.1 Walking down the z-axis
5.6.2.2 Taking out the translation
5.7 Poses
5.7.1 Deciding what to use
5.7.2 Creating a pose
5.7.3 Key-framing a pose
Chapter 6: Data Application – Intro Level: Props
6.1 A Stick with Two Markers
6.1.1 When it fails: Occlusion
6.1.2 When it fails: Rotation
6.2 A Stick with Three Markers
6.2.1 Three markers with equal distances
6.2.2 Three markers on a single straight line
6.2.3 Placement of three markers that works
6.3 Flexible Objects
Chapter 7: Data Application – Intermediate Level: Decomposing and Composing Motions
7.1 Mapping Multiple Motions
7.1.1 Decomposing and composing upper and lower body motions
7.1.2 Synchronizing upper and lower body motions
7.2 Balance
7.3 Breaking Motion Apart
7.3.1 When you don’t need all the motion
7.3.2 Re-use of motion data for non-motion purposes
Chapter 8: Data Application – Advanced Level: Integrating Data with Character Rigs
8.1 Mocap as Forward Kinematics Animation
8.2 Key-frame Animation with Inverse Kinematics
8.2.1 Key-framing
8.2.2 IK
8.3 Integrating Mocap Animation and Key-frame Animation
8.3.1 Why do we want to do that?
8.3.2 Setting up a skeleton for FK and IK
8.3.3 Adding key-frame animation to mocap
Chapter 9: Hand Motion Capture
9.1 Anatomy of a Hand
9.2 Rig and Marker Set for the Hand
9.2.1 Rigid hand
9.2.2 Mitten
9.2.3 Mitten with an independent thumb
9.2.4 Mitten that stretches
9.2.5 Ultimate
9.3 Capturing Hands
Chapter 10: Facial Motion Capture
10.1 Anatomy of a Face
10.2 Camera Setup and Capture
10.3 Facial Rig
10.3.1 Facial rig with discrete joints
10.3.2 Facial rig with muscles
10.3.3 Facial rig with IK
10.4 Marker Set
10.5 Facial Data Stabilization
10.6 Facial Data Editing
Chapter 11: Puppetry Capture
11.1 Background
11.2 Benefits
11.3 Ideas/Inspiration
11.4 Performance
11.5 Projects
11.6 Methods
11.7 Real Time
Chapter 12: Mocap Data and Math
12.1 How Data Is Created
12.1.1 Optical systems
12.1.2 Magnetic systems
12.1.3 Mechanical systems
12.2 Data Types and Formats
12.2.1 C3D
12.2.2 ASF/AMC
12.2.3 BVH
12.2.4 FBX
12.3 Coordinates and Coordinate Systems
12.3.1 2D and 3D coordinate systems
12.3.2 Cartesian, spherical, and cylindrical coordinate systems
12.3.3 Right-handed and left-handed systems
12.3.4 Object space and world space
12.4 Order of Transformation
12.5 Euler Angle
12.6 Gimbal Lock
12.7 Quaternions
Bibliography
Appendix A: Shot List for Juggling Cow
Appendix B: Sample Mocap Production Pipeline and Data Flow Chart
Glossary
Index
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