Computer animation is the process used for digitally generating moving images. The more general term computer-generated imagery (CGI) encompasses both still images and moving images, while computer animation only refers to moving images. Modern computer animation usually uses 3D computer graphics.
A simulation is an imitative representation of a process or system that could exist in the real world. In this broad sense, simulation can often be used interchangeably with model. Sometimes a clear distinction between the two terms is made, in which simulations require the use of models; the model represents the key characteristics or behaviors of the selected system or process, whereas the simulation represents the evolution of the model over time. Another way to distinguish between the terms is to define simulation as experimentation with the help of a model. This definition includes time-independent simulations. Often, computers are used to execute the simulation.
Motion capture is the process of recording the movement of objects or people. It is used in military, entertainment, sports, medical applications, and for validation of computer vision and robots. In films, television shows and video games, motion capture refers to recording actions of human actors and using that information to animate digital character models in 2D or 3D computer animation. When it includes face and fingers or captures subtle expressions, it is often referred to as performance capture. In many fields, motion capture is sometimes called motion tracking, but in filmmaking and games, motion tracking usually refers more to match moving.
Crowd simulation is the process of simulating the movement of a large number of entities or characters. It is commonly used to create virtual scenes for visual media like films and video games, and is also used in crisis training, architecture and urban planning, and evacuation simulation.
Skeletal animation or rigging is a technique in computer animation in which a character is represented in two parts: a polygonal or parametric mesh representation of the surface of the object, and a hierarchical set of interconnected parts, a virtual armature used to animate 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, 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.
Computer facial animation is primarily an area of computer graphics that encapsulates methods and techniques for generating and animating images or models of a character face. The character can be a human, a humanoid, an animal, a legendary creature or character, etc. Due to its subject and output type, it is also related to many other scientific and artistic fields from psychology to traditional animation. The importance of human faces in verbal and non-verbal communication and advances in computer graphics hardware and software have caused considerable scientific, technological, and artistic interests in computer facial animation.
Facial motion capture is the process of electronically converting the movements of a person's face into a digital database using cameras or laser scanners. This database may then be used to produce computer graphics (CG), computer animation for movies, games, or real-time avatars. Because the motion of CG characters is derived from the movements of real people, it results in a more realistic and nuanced computer character animation than if the animation were created manually.
Digital puppetry is the manipulation and performance of digitally animated 2D or 3D figures and objects in a virtual environment that are rendered in real-time by computers. It is most commonly used in filmmaking and television production but has also been used in interactive theme park attractions and live theatre.
The Jack human simulation system was developed at the Center for Human Modeling and Simulation at the University of Pennsylvania in the 1980s & 1990s under the direction of Professor Norman Badler. Conceived as an ergonomic assessment and virtual human prototyping system for NASA space shuttle development, it soon gathered funding from the U.S. Navy and U.S. Army for dismounted soldier simulation, from the U.S. Air Force for maintenance simulation, and from various other government and corporate users for their own applications. In 1996 the software was spun off into a privately held company and is now sold as an ergonomic human simulation toolkit by Siemens. The research and development of the Jack system have led to such standards as H-anim and MPEG4 Body Animation Parameters.
3D computer graphics, sometimes called CGI, 3-D-CGI or three-dimensional computer graphics, are graphics that use a three-dimensional representation of geometric data that is stored in the computer for the purposes of performing calculations and rendering digital images, usually 2D images but sometimes 3D images. The resulting images may be stored for viewing later or displayed in real time.
A virtual human, virtual persona, or digital clone is the creation or re-creation of a human being in image and voice using computer-generated imagery and sound, that is often indistinguishable from the real actor.
Gregory Peter Panos is an American writer, futurist, educator, strategic planning consultant, conference / event producer, and technology evangelist in augmented reality, virtual reality, human simulation, motion capture, performance animation, 3D character animation, human-computer interaction, and user experience design.
The history of computer animation began as early as the 1940s and 1950s, when people began to experiment with computer graphics – most notably by John Whitney. It was only by the early 1960s when digital computers had become widely established, that new avenues for innovative computer graphics blossomed. Initially, uses were mainly for scientific, engineering and other research purposes, but artistic experimentation began to make its appearance by the mid-1960s – most notably by Dr. Thomas Calvert. By the mid-1970s, many such efforts were beginning to enter into public media. Much computer graphics at this time involved 2-D imagery, though increasingly as computer power improved, efforts to achieve 3-D realism became the emphasis. By the late 1980s, photo-realistic 3-D was beginning to appear in film movies, and by mid-1990s had developed to the point where 3-D animation could be used for entire feature film production.
Computer-generated imagery (CGI) is a specific-technology or application of computer graphics for creating or improving images in art, printed media, simulators, videos and video games. These images are either static or dynamic. CGI both refers to 2D computer graphics and 3D computer graphics with the purpose of designing characters, virtual worlds, or scenes and special effects. The application of CGI for creating/improving animations is called computer animation, or CGI animation.
Nadia Magnenat Thalmann is a computer graphics scientist and robotician and is the founder and head of MIRALab at the University of Geneva. She has chaired the Institute for Media Innovation at Nanyang Technological University (NTU), Singapore from 2009 to 2021.
Prof. Daniel Thalmann is a Swiss and Canadian computer scientist and a pioneer in Virtual humans. He is currently Honorary Professor at EPFL, Switzerland and Director of Research Development at MIRALab Sarl in Geneva, Switzerland.
Visual computing is a generic term for all computer science disciplines dealing with the 3D modeling of graphical requirements, for which extenuates to all disciplines of the Computational Sciences. While this is directly relevance to the software visualistics of Microservices, Visual Computing also includes the specializations of the subfields that are called Computer Graphics, Image Processing, Visualization, Computer Vision, Computational Imaging, Augmented Reality, and Video Processing, upon which extenuates into Design Computation. Visual computing also includes aspects of Pattern Recognition, Human-Computer Interaction, Machine Learning, Robotics, Computer Simulation, Steganography, Security Visualization, Spatial Analysis, Computational Visualistics, and Computational Creativity. The core challenges are the acquisition, processing, analysis and rendering of visual information. Application areas include industrial quality control, medical image processing and visualization, surveying, multimedia systems, virtual heritage, special effects in movies and television, and ultimately computer games, which is central towards the visual models of User Experience Design. Conclusively, this includes the extenuations of large language models (LLM) that are in Generative Artificial Intelligence for developing research around the simulations of scientific instruments in the Computational Sciences. This is especially the case with the research simulations that are between Embodied Agents and Generative Artificial Intelligence that is designed for Visual Computation. Therefore, this field also extenuates into the diversity of scientific requirements that are addressed through the visualized technologies of interconnected research in the Computational Sciences.
Rendez-vous in Montreal is a 1987 animated film that used advanced computer techniques to achieve such effects as modelling the film stars Marilyn Monroe and Humphrey Bogart. The film was directed by Nadia Magnenat Thalmann and Daniel Thalmann and produced with a team of 10 people. Specific interactive software [1] was developed that allowed designers to interactively use commands to generate the sequences. The main purpose of Rendez-vous in Montreal was to show that true synthetic actors can be created. This film represented a technological breakthrough both on the software side and the film itself.
Nadine is a gynoid humanoid social robot that is modelled on Professor Nadia Magnenat Thalmann. The robot has a strong human-likeness with a natural-looking skin and hair and realistic hands. Nadine is a socially intelligent robot which returns a greeting, makes eye contact, and can remember all the conversations had with it. It is able to answer questions autonomously in several languages, simulate emotions both in gestures and facially, depending on the content of the interaction with the user. Nadine can recognise persons it has previously seen, and engage in flowing conversation. Nadine has been programmed with a "personality", in that its demeanour can change according to what is said to it. Nadine has a total of 27 degrees of freedom for facial expressions and upper body movements. With persons it has previously encountered, it remembers facts and events related to each person. It can assist people with special needs by reading stories, showing images, put on Skype sessions, send emails, and communicate with other members of the family. It can play the role of a receptionist in an office or be dedicated to be a personal coach.
