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The word literally means “.” Animation can be thought of as the process of making objects move and creating an [124]. The animator is the person who directs and composes this movement. Since movements of objects and creatures in an animation are generally inspired by how they move in real life, animation is easy, in principle. But as the famous Disney animator Bill Tytla once said, “There is no particular mystery in animation⋯ it’s really very simple, and like anything that is simple, it is about the hardest thing in the world to do.”

In the previous chapter we have seen that an animation is generated as a consequence of some action captured from a desired camera. In a moving-camera character animation, the character’s pose depicting an action or motion needs to be defined in tandem with the camera. We provide a framework that embodies the concept of camera and character pose association.

In Chapter 2, we introduced a framework for representing view-dependent animations. The view space (see Section 2.2) captures all the information necessary to generate a view-dependent animation. This view space, however, has to be physically realized from the inputs available to the animator. In this chapter we present the use of sketches to create such a view space and generate a view-dependent animation [25]. Before we explain this technique, we discuss the prior work that exists in the area of creating animation from sketches.

In this chapter we present techniques for generating view-dependent animations from multimodal inputs. We have already seen in Chapter 2 the theoretical framework used to represent view-dependent animations. In the preceding chapter, we presented the complete pipeline to generate moving-camera character animations from sketches. Animators, however, use many different kinds of inputs to create an animation, such as video and motion capture. We wish to harness the various input methods, either separately or in combination, to generate better view-dependent animations.

We are now in a position to appreciate the challenges and difficulties faced in creating a moving-camera character animation. We can create view-dependent animations from a variety of inputs using the framework (as seen in Chapters 2 to 4). Here, we consider the different view-dependent animations created by changing the rendering camera, as stylistic variations of each other. We are interested in reusing these variations to synthesize novel animations. We call this process . The view-dependent stylizations can be put to myriad uses in order to synthesize a novel animation.

In this book, we have presented a framework for creating moving-camera character animations. It is often arduous for the animator to manually stage a character’s action when the point of view changes in each frame. We have shown that view-dependent animation offers a natural solution to this problem. Since in view-dependent animation the character’s action on the view, the camera and character pose association, once specified by the animator, is maintained throughout the animation. In the course ofdesigning a general framework that encapsulates the rich diversity offered by moving-camera animations, we have solved many challenging problems.