Exploring 3D Playblast-To-2D Animation Rotoscoping Techniques
Abstract
Rotoscoping can produce believable 2D animation and movements when the process is done correctly. However, not all live-action footage can be easily rotoscoped due to scenes or fictional designs that are impossible to shoot. To overcome this technical challenge, 3D playblast can be used as footage for an alternative source for rotoscoping. This research aims to explore and evaluate two rotoscoping techniques of transforming 3D playblast into 2D animation. Two different animation software (Adobe Animate CC and Toon Boom Harmony) were used to explore those rotoscoping techniques. The method began by designing a storyboard with dynamic camera angles. Then, animated 3D models were developed based on the storyboard as footage for rotoscoping. Then, those animated 3D models were rotoscoped frame by frame using ‘Toon Boon Harmony’ and ‘Adobe Animated CC’. The rotoscope outputs were evaluated for their effectiveness and weaknesses. Findings show that rotoscoping frame by frame is viable for both software with some nuances. Nevertheless, the proposed rotoscope techniques can maintain consistency between each frame without losing the proportion of anatomy and style when animating in an extreme and distorted scene.
References
A-ha. (2010, January 7). A-ha - Take On Me (Official Video) [Remastered in 4K]. Retrieved September 15, 2021, from https://www.youtube.com/watch?v=djV11Xbc914
Adi Satria, D. (2019). Analisis Penggunaan Puppet Pin Rigging Pada Pergerakan Karakter Animasi 2D. Ejournal.Upbatam.Ac.Id, (0274). Retrieved from http://ejournal.upbatam.ac.id/index.php/jif/article/view/1346
Adobe. (2021, May 16). Animating with Puppet tools in After Effects. Retrieved September 14, 2021, from https://helpx.adobe.com/in/after-effects/using/animating-puppet-tools.html
Agarwala, A., Hertzmann, A., Salesin, D. H., & Seitz, S. M. (2004). Keyframe-based tracking for rotoscoping and animation. ACM SIGGRAPH 2004 Papers, SIGGRAPH 2004, 1(212), 584-591.
https://doi.org/10.1145/1186562.1015764
Blake, A., & Isard, M. (1998). CONDENSATION - Conditional Density Propagation for Visual Tracking. International Journal of Computer Vision, 29(1), 5-28. Retrieved from http://www.springerlink.com/index/xl887466h454318k.pdf
https://doi.org/10.1023/A:1008078328650
Bratt, B. (2011). Rotoscope Technique and tools for the Aspiring Artist (Vol. 148).
https://doi.org/10.4324/9780240817057
Callum May, & Kim Morrissy. (2018, January 11). Interview: Yuichi Terao, Chief of Ufotable's Digital Team - Anime News Network:SEA. Retrieved September 12, 2021, from https://www.animenewsnetwork.com/feature/2018-01-10/interview-yuichi-terao-chief-of-ufotable-digital-team/.125658
Coulthard, P. (2020, April 17). Blender Grease Pencil - Storyboard Animatic Tutorial - 6 of 6 - Rotoscoping in 3D space, import FBX. Retrieved September 16, 2021, from https://www.youtube.com/watch?v=D9_kXQFeQ2w
Eriya, & Zhafiri, F. A. (2017). Pembuatan Film Animasi "TEMAN" Menggunakan Teknik Puppet Pin dan Duik sebagai Media Edukasi Anak. Multinetics, 3(1), 32.
https://doi.org/10.32722/multinetics.v3i1.1113
Gabe, M. (2014). CAMERA ANGLES: the Art of Manipulation. Retrieved from http://www.elementsofcinema.com/cinematography/camera-angles-and-composition/
Gossman, R. (2012). The Animation Production Process, 1-8.
Heiderich, T. (2012). Cinematography Techniques : The Different Types of Shots in Film. Videomaker, 1-17.
Irani, M. (2002). Multi-frame correspondence estimation using subspace constraints. International Journal of Computer Vision, 48(3), 173-194.
https://doi.org/10.1023/A:1016372015744
Jaran, S. (2015). History Of The Rotoscoping Technique - Brattle Theatre Film Notes. Retrieved September 11, 2021, from https://www.brattleblog.brattlefilm.org/2015/09/11/history-of-the-rotoscoping-technique-2-3231/
Johnson, P. (2014, June 13). Rotoscoping over 3D reference. Retrieved September 15, 2021, from https://www.youtube.com/watch?v=X0taAlZ_MxA
Johnson, P. (2018, November 10). How To Animate an 80s Anime Ship. Retrieved September 15, 2021, from https://www.youtube.com/watch?v=MMUcafde5A4&t=0s
Karpathyova, I. (2017). Rotoscoping Design for Bodily Technique and Interdisciplinary Research on Animation as Embodied Practice. OCAD University, 4, 9-15.
Kitahata, K., & Sakamoto, Y. (2018). Evaluation of reducing three-dimensionality of movement to create 3DCG Animation looks more like 2D Animation. SIGGRAPH Asia 2018 Posters, SA 2018, 1, 2017-2018.
https://doi.org/10.1145/3283289.3283300
Lucas, T. (2019). Exploring the effect of realism at the cognitive stage of complex motor skill learning. E-Learning and Digital Media, 16(4), 242-266. https://doi.org/10.1177/2042753019835893
https://doi.org/10.1177/2042753019835893
Pav, N. (2021, March 21). Adobe Animate Review: Best for Hobbyists or Creative Pros? Retrieved September 14, 2021, from https://www.softwarehow.com/adobe-animate-review/
Riverman Media. (n.d.). From 2D to 3D and Back: Rotoscoping in Pizza Vs. Skeletons. Retrieved from https://rivermanmedia.com/from-2d-to-3d-and-back-rotoscoping-in-pizza-vs-skeletons/
Ruddell, C. (2012). "Don't box me in": Blurred lines in waking life and a Scanner Darkly. Animation, 7(1), 7-23.
https://doi.org/10.1177/1746847711429632
Sabiston, B. (2017, June 1). Waking Life: Rotoscoping (HOW THE MOVIE WAS MADE). Retrieved September 15, 2021, from https://www.youtube.com/watch?v=UJwjSV6VEpc
Spot Ceres. (2012, April 16). SPOT CERES - LA CITTÀ HA BISOGNO DI EROI (spot 2012). Retrieved September 15, 2021, from https://www.youtube.com/watch?v=e9Zm7AqA0G4
Swarbrick, R. (2021, April 30). Rotoscope: The dark art of animation | shots. Retrieved September 15, 2021, from https://shots.net/news/view/rotoscope-the-dark-art-of-animation
Team Miracles. (2020, March 17). Rotoscoping Over 3D Animation with Grease Pencil | Blender 2.81. Retrieved September 15, 2021, from https://www.youtube.com/watch?v=o6w-oWr-AvA
Torresani, L., & Bregler, C. (2002). Space-Time Tracking. Lecture Notes in Computer Science (Including Subseries Lecture Notes in Artificial Intelligence and Lecture Notes in Bioinformatics), 2350, 801-812.
https://doi.org/10.1007/3-540-47969-4_53
Ufotable. (2013). ufotable digitalteam demoreel on Vimeo. Retrieved from https://vimeo.com/77675596
Uğur, U. Y. (2014). Ultimate Rigs for FREE on Behance. Retrieved September 12, 2021, from https://www.behance.net/gallery/17774421/Ultimate-Rigs-for-FREE
Copyright (c) 2021 UNIMAS Publisher
This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License.
Copyright Transfer Statement for Journal
1) In signing this statement, the author(s) grant UNIMAS Publisher an exclusive license to publish their original research papers. The author(s) also grant UNIMAS Publisher permission to reproduce, recreate, translate, extract or summarize, and to distribute and display in any forms, formats, and media. The author(s) can reuse their papers in their future printed work without first requiring permission from UNIMAS Publisher, provided that the author(s) acknowledge and reference publication in the Journal.
2) For open access articles, the author(s) agree that their articles published under UNIMAS Publisher are distributed under the terms of the CC-BY-NC-SA (Creative Commons Attribution-Non Commercial-Share Alike 4.0 International License) which permits unrestricted use, distribution, and reproduction in any medium, for non-commercial purposes, provided the original work of the author(s) is properly cited.
3) For subscription articles, the author(s) agree that UNIMAS Publisher holds copyright, or an exclusive license to publish. Readers or users may view, download, print, and copy the content, for academic purposes, subject to the following conditions of use: (a) any reuse of materials is subject to permission from UNIMAS Publisher; (b) archived materials may only be used for academic research; (c) archived materials may not be used for commercial purposes, which include but not limited to monetary compensation by means of sale, resale, license, transfer of copyright, loan, etc.; and (d) archived materials may not be re-published in any part, either in print or online.
4) The author(s) is/are responsible to ensure his or her or their submitted work is original and does not infringe any existing copyright, trademark, patent, statutory right, or propriety right of others. Corresponding author(s) has (have) obtained permission from all co-authors prior to submission to the journal. Upon submission of the manuscript, the author(s) agree that no similar work has been or will be submitted or published elsewhere in any language. If submitted manuscript includes materials from others, the authors have obtained the permission from the copyright owners.
5) In signing this statement, the author(s) declare(s) that the researches in which they have conducted are in compliance with the current laws of the respective country and UNIMAS Journal Publication Ethics Policy. Any experimentation or research involving human or the use of animal samples must obtain approval from Human or Animal Ethics Committee in their respective institutions. The author(s) agree and understand that UNIMAS Publisher is not responsible for any compensational claims or failure caused by the author(s) in fulfilling the above-mentioned requirements. The author(s) must accept the responsibility for releasing their materials upon request by Chief Editor or UNIMAS Publisher.
6) The author(s) should have participated sufficiently in the work and ensured the appropriateness of the content of the article. The author(s) should also agree that he or she has no commercial attachments (e.g. patent or license arrangement, equity interest, consultancies, etc.) that might pose any conflict of interest with the submitted manuscript. The author(s) also agree to make any relevant materials and data available upon request by the editor or UNIMAS Publisher.
