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Skeletal animation

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used to animate (pose and keyframe) the mesh. While this technique is often used to animate humans and other organic figures, it only serves to make the animation process more intuitive, and the same technique can be used to control the deformation of any object—such as a door, a spoon, a building,
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Rigging is making our characters able to move. The process of rigging is we take that digital sculpture, and we start building the skeleton, the muscles, and we attach the skin to the character, and we also create a set of animation controls, which our animators use to push and pull the body
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is the product of its parent transform and its own transform. So moving a thigh-bone will move the lower leg too. As the character is animated, the bones change their transformation over time, under the influence of some animation controller. A rig is generally composed of both
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or a galaxy. When the animated object is more general than, for example, a humanoid character, the set of "bones" may not be hierarchical or interconnected, but simply represent a higher-level description of the motion of the part of mesh it is influencing.
149:(or other articulated object) is represented in two parts: a polygonal or parametric mesh representation of the surface of the object, and a hierarchical set of interconnected parts (called joints or bones, and collectively forming the skeleton), a virtual 186:
This technique constructs a series of bones (which need not correspond to any real-world anatomical feature), sometimes also referred to as rigging in the noun sense. Each bone has a three-dimensional transformation from the default
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Joints or bones (in green) used to pose a hand. In practice, the joints themselves are often hidden and replaced by more user-friendly objects or simply toggled invisible. In this example from the open source project
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is created for each bone which, when applied to the vertex, first puts the vertex in bone space then puts it back into mesh space. After applying a matrix to the vertex, it is scaled by its corresponding weight. This
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parts that may interact with each other. Skeletal animation is referring to the forward kinematics part of the rig, where a complete set of bone configurations identifies a unique pose.
231:. The movement of skin near the joints of two bones, can therefore be influenced by both bones. In most state-of-the-art graphical engines, the skinning process is done on the 354:
which automatically calculate physics of motion and resistance with skeletal frames. Virtual anatomy properties such as weight of limbs, muscle reaction, bone strength, and
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Magnenat-Thalmann, Nadia; Laperrière, Richard; Thalmann, Daniel (6–10 June 1988). "Joint-Dependent Local Deformations for Hand Animation and Object Grasping".
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Skeletal animation is the standard way to animate characters or mechanical objects for a prolonged period of time. It is commonly used by
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A bone can only represent a set of vertices (or some other precisely defined object), and is not more abstract or conceptual.
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An animation can be defined by simple movements of the bones, instead of vertex by vertex (in the case of a polygonal mesh).
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For a polygonal mesh, each vertex can have a blend weight for each bone. To calculate the final position of the vertex, a
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is called matrix-palette skinning or linear-blend skinning, because the set of bone transformations (stored as transform
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Each bone in the skeleton is associated with some portion of the character's visual representation (the
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A bone represents a set of vertices (or some other object which represents something, such as a leg),
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may be added for realistic bouncing, buckling, fracture, and tumbling effects.
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Some popular software packages within which rigs may be created include
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The animator needs to control fewer characteristics of the model,
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movement and skin motion. Possible solutions to this problem:
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As described in an instructional article by Josh Petty:
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realism with more thorough virtual anatomy simulations.
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List of animated television series by episode count
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"Skeletal animation"
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Blender
computer animation
character
armature
Nadia Magnenat Thalmann
Daniel Thalmann
inverse kinematics
bind pose
hierarchy
child node
forward kinematics
inverse kinematics
mesh
polygonal mesh
vertices
vertex weights
blend weights
GPU

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