Project 4: Animator


Assigned Wednesday, November 18th
Due Wednesday, December 2nd by 10:00 PM
Artifact Due Wednesday, December 9th by 10:00 PM
Help Sessions Friday, November 20th 12:30-1:30pm, Zoom
Project TA
Artifact Turn-in
Artifact Winners Winners

Overview


Description

In this project, you are required to extend a spline-based animation system to support multiple curve types, and implement a particle system simulation engine. After building a working system, you will use your (robust and powerful) program to produce a (compelling and arresting) animation.

Getting Started

Visit here for help checking out code.

The skeleton code provided extends on top of the same architecture as Modeler and Trace, and is designed so that you can re-use your models and/or scenes. (Using your own model(s) is a requirement for this project, but you can make any changes to your previous model that you feel are appropriate, and can add new models that you've developed since Modeler.) 

You can run Animator just like with Modeler and load your .yaml file via File->Open Scene.

Note: If you added additional Lights and/or shaders to Modeler or Trace and want to use those in Animator, you'll have to copy the relevant code over. Let us know early if you run into merging issues or need assistance.

Animator uses the same interface as the Modeler application, with the addition of an Animation tab on the bottom window. This window, along with the Inspector sidebar is where you'll be spending most of your time. The Animation window is where you edit a time-varying curve for each model parameter by adding and moving control points (also known as keyframes). Selecting controls from the left section of the Animation window brings up the corresponding curves in the graph on the right. Here, time in number of frames is plotted on the x-axis, and the value of a given parameter is plotted on the y-axis. This graph display and interface is encapsulated in the AnimationWidget class.

Requirements


Implement the features described below. The skeleton code has comments marked with // REQUIREMENT denoting the locations at which you probably want to add some code.

Animator Widget Interface


After selecting a model parameter in the tree on the left, the parameter's corresponding animation curve is displayed in the graph. The skeleton evaluates each spline as a simple piecewise linear curve that linearly interpolates between control points. Note that when you select a curve, it scales to the max and min value you have set as control points to "fit" into the graph window. You can manipulate the curve as follows:

Command Action
LEFT MOUSE Selects and moves control points by clicking and dragging on them
SHIFT + LEFT MOUSE Selects multiple control points
DRAG LEFT MOUSE Rectangle-selects multiple points
DRAG RIGHT MOUSE Pans the graph
SCROLL Zooms the graph in X and Y dimensions
SHIFT + SCROLL Zooms only the X axis (time in frames)
SHIFT + SCROLL Zooms only the Y axis (parameter value)
F Fits the graph view to the current control points
K Creates a keyframe (control point) at the current time position
DELETE / BACKSPACE Removes the selected control point

 

At the bottom of the window is a simple set of Start, Play, and End buttons, and a time slider that lets you seek in your animation. Along the menu bar of the Animation window, you can change a few settings:

  • Curve Type: Chooses how to interpolate between your control points, or keyframes. The skeleton currently uses linear interpolation for each, which you will have to fix (see below: Skeleton Code for Curves).
  • Wrap Curve: Interpolates between the last and first control points in your graph so that your motion can loop smoothly. Linear curve wrapping is implemented for you; implementing curve-wrapping for the other curve types is a whistle of extra credit each.
  • Loop: Automatically loops playblack of your animation when it reaches the end.
  • Play Realtime: Plays your animation in real-time, skipping frames when necessary.
    • NOTE: this mode cannot play particle systems in a stable manner.
  • Keyframe: Creates a keyframe (control point) at the current time position.
  • Auto-keyframe: This will automatically create a keyframe whenever a property is changed.
    • NOTE: When disabled, your changes at a specific time are not saved until you press Keyframe or the K key.
  • Set Length: Sets the length in seconds.
    • NOTE: If you decrease the length of your animation, any keyframes that were set past that time length are deleted.
  • Set FPS: Sets the frames per second for playback of your animation.
Note: There is a known issue for Mac touchpad users with the Play button, when trying to pause an animation. Use a hard-press on the touchpad as opposed to a soft-press, and it should succeed.

Skeleton Code for Curves


The AnimationWidget object owns a bunch of Curve objects. The Curve class is used to represent the time-varying splines associated with your object parameters.  You don't need to worry about most of the existing code, which is used to handle the user interface.  However, it is important that you understand the curve evaluation model. Each curve is represented by a vector of evaluated points, calculated from a vector of control points.

std::vector<glm::vec2> ctrl_pts_;

The user of your program can manipulate the positions of the control points using the Animation Widget interface. Your code will compute the value of the curve at intervals in time, determining the shape of the curve. Given a set of control points, the system figures out what the evaluated points are based on the curve type.

This conversion process is handled by the CurveEvaluator member variable of each curve. Classes that inherit from CurveEvaluator contain an EvaluateCurve function; this is what you must implement for the required curve evaluators: Bezier, Catmull-Rom, and B-Spline.  C2-Interpolating curves can be added for extra credit. 

In the skeleton, only the LinearCurveEvaluator has been implemented, and each other evaluator currently acts as a linear curve. Consequently, the curve drawn is composed of line segments directly connecting each control point.  Use LinearCurveEvaluator as a model to implement the other required curve evaluators. 

CurveEvaluator

The constructor takes in two parameters: animation_length and wrap. These are used to set the member fields:

max_x--set to animation_length. It is the largest time, in seconds, for which a curve may be defined (i.e., the current "movie length")
wrap_y--set to wrap. A flag indication whether or not the curve should be wrapped from end to beginning (wrapped can be implemented for extra credit)
extend_x_--set to true for non-null curves. A flag indication whether or not to draw a curve at all from the last control point to the end of the time graph

CurveEvaluator::EvaluateCurve

This function returns a vector of the evaluated points and takes the following parameters:

ctrl_pts--a collection of control points that you specify in the curve editor
density--how many times to sample between control points; i.e. the smoothness of the evaluated curve

For Bezier curves (and the splines based on them), it is sufficient to sample the curve at fixed intervals of time. The adaptive de Casteljau subdivision algorithm presented in class may be implemented for an extra bell.

Catmull-Rom and B-spline curves should be endpoint interpolating. This can be done by doubling the endpoints for Catmull-Rom and tripling them for B-spline curves.

You do not have to sort the control points or the evaluated curve points. This has been done for you. Note, however, that for an interpolating curve (Catmull-Rom), the fact that the control points are given to you sorted by x does not ensure that the curve itself will also monotonically increase in x. You should recognize and handle this case appropriately.  One solution is to return only the evaluated points that are increasing monotonically in x.

Also, be aware that the evaluation function will linearly interpolate between the evaluated points to ensure a continuous curve on the screen.  This is why you don't have to generate infinitely many evaluated points.

Particle System Simulation


UI

The particle system as a whole, sphere colliders, and plane colliders have been added to the Animator UI as SceneObjects. You may add them to your scene the same way you add 3D Objects, and their properties will appear in the right-hand Inspector window. For particle systems, sliders are included for Period, controlling how often particles are emitted, and Restitution, the constant you should use in calculating collision force attenuation.

You'll also notice Sphere properties in the Inspector. The skeleton currently uses sphere primitives as the Geometry component for particles. If you'd like to change that, modify what component is added inside the Scene::CreateParticleSystem method.

Skeleton Code

The skeleton code has a very high-level framework in place for running particle simulations that is based on Witkin's Particle System Dynamics.  In this model, there are three major components:

  1. Particle objects (which have physical properties such as mass, position and velocity)
  2. Forces
  3. An engine for simulating the effect of the forces acting on the particles that solves for the position and velocity of each particle at every time step

You are responsible for coming up with a representation for particles and forces. You will be computing the forces acting on each particle and updating their positions and velocities based on these forces using Euler's method. Make sure you thus model particles and forces in some way that allows you to perform this update step at each frame.

The skeleton provides a very basic outline of a simulation engine, encapsulated by the ParticleSystem class within scene/components.  The model_matrix_ field is provided for you to use in converting local coordinates to world space. The skeleton also already includes PlaneCollider and SphereCollider objects, but you will need to implement the collision detection code within the ParticleSystem class.

Note that the ParticleSystem declaration is by no means complete.  As mentioned above, you will have to figure out how you want to store and organize particles and forces, and as a result, you will need to add member variables and functions. If you want to provide further UI controls or more flexibility in doing some very ambitious particle systems, you can also search for how the interface is used and re-organize the code. Bells and whistles will be awarded for super cool particle systems, proportional to the effort expended.

Resources


Turn-in Information


Please follow the general instructions here. More details below:

Artifact Submission

You will eventually use your program to produce an animated artifact for this project (after the project due date – see the top of the page for artifact due date). Each group should turn in one artifact that they created together. We may give extra credit to those that are exceptionally clever or aesthetically pleasing. Try to use the ideas discussed in the John Lasseter article. These include anticipation, follow-through, squash and stretch, and secondary motion. 

Just like in Modeler, you may not use outside models/meshes. However, you are allowed to use the models we have provided to you in the assets folder.

Also, take a look at the Student Gallery of past animations! You may be inspired by something there.

SAVE FREQUENTLY! Animator, unfortunately, still has bugs, so save frequently if you do not want to lose your hard work!

Camera Set-up: When creating your animation, you'll be using the Render Camera in the scene, or you may also go to SceneObject->Create Camera to add other render cameras to your scene. The view from this camera is what will be rendered out when you save movie frames. Set properties like the Resolution via the right-hand Inspector window, and look through the camera by changing the view from Perspective to your Scene Camera via the scene's menu bar. You can manipulate the position and angle of the camera like any object (and you can also key it in the Animation window!), but not via controlling the view while you are looking through the camera. You may instead find it useful to open a New View and then have both view windows open, one in Perspective and one in your Scene Camera.

Timing: Finally, plan for your animation to be 30 seconds long (60 seconds is the absolute maximum).  We recommend dividing this time into separate shots, and saving a .yaml file for each. The .yaml file contains the spline curves you use for each model property, so you'll want to keep an original scene file to build off of when creating your shots. Plan out your animation - you will find that 30 seconds is a very small amount of time.  We reserve the right to penalize artifacts that go over the time limit and/or clip the video for the purposes of voting.

Exporting: When you're ready, under the File menu of the program, there is a Save Movie Frames option, which will let you specify a base filename for a set of movie frames.  Each frame is saved as a .png, with your base filename plus some digits that indicate the frame number. Use a program like Adobe Premiere or Blender (installed in the labs) to compress the frames into a video file. Refer to this Blender guide for creating the final submission (an H.264 MP4 file). You can use different programs or play with the settings to produce different encodings for your own purposes, but the final submission must be an H.264 MP4.

  • Absolute time limit: 60 seconds...shorter is better!
  • Animation will count toward final grade on animator project.
  • The course staff will grade based on technical and artistic merit.

You must turn in a representative image (snapshot) of your model/scene and your completed artifact (as a video) using the artifact turn-in interface. See due dates/times at the top of this page.  Do not be late!

Important: Compile executable in Release Mode! There is an increase in performance by compiling and creating your artifact in release mode vs debug mode. Also, Save As often, and create multiple shots! There is no undo button.

Bells and Whistles


Bells and whistles are extra extensions that are not required, and will be worth extra credit. You are also encouraged to come up with your own extensions for the project. Run your ideas by the TAs or Instructor, and we'll let you know if you'll be awarded extra credit for them. If you do decide to do something out of the ordinary (that is not listed here), be sure to mention it in a readme.txt when you submit the project.

Come up with another whistle and implement it.  A whistle is something that extends the use of one of the things you are already doing. It is part of the basic model construction, but extended or cloned and modified in an interesting way. Ask your TAs to make sure this whistle is valid.

Enhance the required spline options. Some of these will require alterations to the user interface, which involves learning Qt and the UI framework.  If you want to access mouse events in the graph window, look at the CurvesPlot function in the GraphWidget class.  Also, look at the Curve class to see what control point manipulation functions are already provided.  These could be helpful, and will likely give you a better understanding of how to modify or extend your program's behavior.  A maximum of 3 whistles will be given out in this category.

Let the user control the tension of the Catmull-Rom spline.

Implement one of the standard subdivision curves (e.g., Lane-Riesenfeld or Dyn-Levin-Gregory).

Add options to the user interface to enforce C1 or C2 continuity between adjacent Bezier curve segments automatically. (It should also be possible to override this feature in cases where you don't want this type of continuity.)

Add the ability to add a new control point to any curve type without changing the curve at all.

The linear curve code provided in the skeleton can be "wrapped," which means that the curve has C0 continuity between the end of the animation and the beginning. As a result, looping the animation does not result in abrupt jumps. You will be given a whistle for each (nonlinear) curve that you wrap.

Modify your particle system so that the particles' velocities get initialized with the velocity of the hierarchy component from which they are emitted. The particles may still have their own inherent initial velocity. For example, if your model is a helicopter with a cannon launching packages out if it, each package's velocity will need to be initialized to the sum of the helicopter's velocity and the velocity imparted by the cannon.

Particles rendered as points or spheres may not look that realistic.  You can achieve more spectacular effects with a simple technique called billboarding.  A billboarded quad (aka "sprite") is a textured square that always faces the camera.  See the sprites demo.  For full credit, you should load a texture with transparency (sample textures), and turn on alpha blending (see this tutorial for more information).  Hint:  When rotating your particles to face the camera, it's helpful to know the camera's up and right vectors in world-coordinates.

Use the billboarded quads you implemented above to render the following effects.  Each of these effects is worth one whistle provided you have put in a whistle worth of effort making the effect look good.

Fire (example) (You'll probably want to use additive blending for your particles -glBlendFunc(GL_SRC_ALPHA,GL_ONE);)

Snow (example)

Water fountain (example)

Fireworks (example)

Add baking to your particle system.  For simulations that are expensive to process, some systems allow you to cache the results of a simulation.  This is called "baking."  After simulating once, the cached simulation can then be played back without having to recompute the particle properties at each time step.  See this page for more information on how to implement particle baking.    

Euler's method is a very simple technique for solving the system of differential equations that defines particle motion.  However, more powerful methods can be used to get better, more accurate results.  Implement your simulation engine using a higher-order method such as the Runge-Kutta technique.  ( Numerical Recipes, Sections 16.0, 16.1) has a description of Runge-Kutta and pseudo-code.

Implement adaptive Bezier curve generation: Use a recursive, divide-and-conquer, de Casteljau algorithm to produce Bézier curves, rather than just sampling them at some arbitrary interval. You are required to provide some way to change the flatness parameter and maximum recursion depth, with a keystroke or mouse click.  In addition, you should have some way of showing (a debug print statement is fine) the number of points generated for a curve to demonstrate your adaptive algorithm at work. 

To get an extra whistle, provide visual controls in the UI (i.e. sliders) to modify the flatness parameter and maximum recursion depth, and also display the number of points generated for each curve in the UI.

Extend the particle system to handle springs. For example, a pony tail can be simulated with a simple spring system where one spring endpoint is attached to the character's head, while the others are floating in space.  In the case of springs, the force acting on the particle is calculated at every step, and it depends on the distance between the two endpoints.  For one more bell, implement spring-based cloth.  For 2 more bells, implement spring-based fur.  The fur must respond to collisions with other geometry and interact with at least two forces like wind and gravity.

Allow for particles to bounce off each other by detecting collisions when updating their positions and velocities.  Although it is difficult to make this very robust, your system should behave reasonably.

Implement the "Hitchcock Effect" described in class, where the camera zooms in on an object, whilst at the same time pulling away from it (the effect can also be reversed--zoom out and pull in). The transformation should fix one plane in the scene--show this plane. Make sure that the effect is dramatic--adding an interesting background will help, otherwise it can be really difficult to tell if it's being done correctly.

Implement a "general" subdivision curve, so the user can specify an arbitrary averaging mask  You will receive still more credit if you can generate, display, and apply the evaluation masks as well.  There's a site at Caltech with a few interesting applets that may be useful.

Perform collision detection with more complicated shapes.  For complex scenes, you can even use the accelerated ray tracer and ray casting to determine if a collision is going to occur.  Credit will vary with the complexity shapes and the sophistication of the scheme used for collision detection.

If you find something you don't like about the interface, or something you think you could do better, change it!  Any really good changes will be incorporated into the next Animator.  Credit varies with the quality of the improvement.

If you'd like, go back and implement any of the extra credit for Modeler in your Animator project. You'll receive half of the stated credit (so one whistle instead of one bell, etc.). Obviously, you'll only receive credit for features that you didn't originally implement for Modeler.

x2

If you implemented billboarded quads with transparent textures, you may notice issues with the alpha blending. OpenGL renders objects out in a certain order and for proper alpha blending, you must render out all opaque objects first before you draw any objects that have transparency, which should then be drawn from farthest to closest to the camera. Do this with your billboards for the additional two bells.

x2

Currently, the code makes a draw call for each particle in the system, which is really expensive. A more performant way of doing this is using "instanced rendering", which is rendering a single mesh more than one time using a single draw call. Draw Particle Systems using Instanced Rendering in glrenderer.cpp to see much better performance.

x2

Add flocking behaviors to your particles to simulate creatures moving in flocks, herds, or schools.  A convincing way of doing this is called "boids"  (see here for a short flocking guide made by 457 staff, and here for a demo and for more information).  For full credit, use a model for your creatures that makes it easy to see their direction and orientation (as a minimal example, you could show this with colored pyramids, oriented towards the direction in which the creatures are pointing).  For up to one more bell, make a realistic creature model and have it move realistically according to its motion path.  For example, a bird model would flap its wings to gain speed and rise in the air, and hold its wings outstretched when turning or gliding.

x2

Implement a C2-Interpolating curve.  You'll need to add it to the drop-down selection. See this handout.

x2

Add the ability to edit Catmull-Rom curves using the two "inner" Bezier control points as "handles" on the interpolated "outer" Catmull-Rom control points. After the user tugs on handles, the curve may no longer be Catmull-Rom.  In other words, the user is really drawing a C1 continuous curve that starts off with the Catmull-Rom choice for the inner Bezier points, but can then be edited by selecting and editing the handles.  The user should be allowed to drag the interpolated point in a manner that causes the inner Bezier points to be dragged along.  See PowerPoint and Illustrator pencil-drawn curves for an example.

x3

An alternative way to do animations is to transform an already existing animation by way of motion warping (animations). Extend the animator to support this type of motion editing.

x4

Incorporate rigid-body simulations into your program, so that you can correctly simulate collisions and response between rigid objects in your scene.  You should be able to specify a set of objects in your model to be included in the simulation, and the user should have the ability to enable and disable the simulation either using the existing "Simulate" button, or with a new button.   

Monster Bells


Disclaimer: please consult the course staff before spending any serious time on these. They are quite difficult, and credit can vary depending on the quality of your method and implementation.

Inverse kinematics

The hierarchical model that you created is controlled by forward kinematics; that is, the positions of the parts vary as a function of joint angles. More mathematically stated, the positions of the joints are computed as a function of the degrees of freedom (these DOFs are most often rotations). The problem is inverse kinematics is to determine the DOFs of a model to satisfy a set of positional constraints, subject to the DOF constraints of the model (a knee on a human model, for instance, should not bend backwards).

This is a significantly harder problem than forward kinematics. Aside from the complicated math involved, many inverse kinematics problems do unique solutions. Imagine a human model, with the feet constrained to the ground. Now we wish to place the hand, say, about five feet off the ground. We need to figure out the value of every joint angle in the body to achieve the desired pose. Clearly, there are an infinite number of solutions. Which one is "best"?

Now imagine that we wish to place the hand 15 feet off the ground. It's fairly unlikely that a realistic human model can do this with its feet still planted on the ground. But inverse kinematics must provide a good solution anyway. How is a good solution defined?

Your solver should be fully general and not rely on your specific model (although you can assume that the degrees of freedom are all rotational). Additionally, you should modify your user interface to allow interactive control of your model though the inverse kinematics solver. The solver should run quickly enough to respond to mouse movement.

If you're interested in implementing this, you will probably want to consult the CSE558 lecture notes.

Interactive Control of Physically-Based Animation

Create a character whose physics can be controlled by moving a mouse or pressing keys on the keyboard.  For example, moving the mouse up or down may make the knees bend or extend the knees (so your character can jump), while moving it the left or right could control the waist angle (so your character can lean forward or backward).  Rather than have these controls change joint angles directly, as was done in the modeler project, the controls should create torques on the joints so that the character moves in very realistic ways.  This monster bell requires components of the rigid body simulation extension above, but you will receive credit for both extensions as long as both are fully implemented..  For this extension, you will create a hierarchical character composed of several rigid bodies.   Next, devise a way user interactively control your character.  

This technique can produce some organic looking movements that are a lot of fun to control.  For example, you could create a little Luxo Jr. that hops around and kicks a ball.  Or, you could create a downhill skier that can jump over gaps and perform backflips (see the Ski Stunt example below).

SIGGRAPH paper - http://www.dgp.toronto.edu/~jflaszlo/papers/sig2000.pdf

Several movie examples - http://www.dgp.toronto.edu/~jflaszlo/interactive-control.html

Ski Stunt - a fun game that implements this monster bell - Information and Java applet demo - Complete Game (win32)

If you want, you can do it in 2D, like the examples shown in this paper (in this case you will get full monster bell credit, but half credit for the rigid body component).