RESEARCH PAPER
Keyframe or Motion Capture? Reflections on Education of Character Animation
More details
Hide details
1
National Pingtung University, TAIWAN
Publication date: 2018-10-24
EURASIA J. Math., Sci Tech. Ed 2018;14(12):em1649
KEYWORDS
ABSTRACT
In character animation education, the training process needs diverse domain knowledge to be covered in order to develop students with good animation ability. However, design of motion also requires digital ability, creativity and motion knowledge. Moreover, there are gaps between animation education and industry production which motion capture is widely applied. Here we try to incorporate motion capture into education and investigate whether motion capture is supportive in character animation, especially in creativity element. By comparing two kinds of motion design method, traditional keyframe and motion capture, we investigated students’ creativity in motion design. The results showed that in originality factor, keyframe method had slightly higher performance support for designing unusual motions. Nevertheless, motion capture had shown more support in creating valid actions in quantity which implied fluency factor of creativity was achieved. However, in flexibility factor, although motion capture created more emotions in amount, keyframe method actually offered higher proportion of sentiment design. Participants indicated that keyframe was helpful to design extreme poses. While motion capture provided intuitive design tool for exploring possibilities. Therefore, we propose to combine motion capture technology with keyframe method in character animation education to increase digital ability, stimulate creativity, and establish solid motion knowledge.
REFERENCES (50)
1.
Amabile, T. M. (1983). The social psychology of creativity: A componential conceptualization. Journal of personality and social psychology, 45(2), 357.
https://doi.org/10.1037/0022-3....
2.
Amabile, T. M. (1996). Creativity in context: Update to the social psychology of creativity: Hachette UK.
4.
Baer, J., & McKool, S. S. (2009). Assessing creativity using the consensual assessment technique. In Handbook of research on assessment technologies, methods, and applications in higher education (pp. 65-77): IGI Global.
https://doi.org/10.4018/978-1-....
5.
Baer, J., Kaufman, J. C., & Gentile, C. A. (2004). Extension of the consensual assessment technique to nonparallel creative products. Creativity Research Journal, 16(1), 113-117.
https://doi.org/10.1207/s15326....
6.
Block, B. (2007). The Visual Story: Creating the Visual Structure of Film, TV and Digital Media (Second Edition ed.). New York: Focal Press.
7.
Burnard, P. (2007). Reframing creativity and technology: Promoting pedagogic change in music education. Journal of Music, Technology & Education, 1(1), 37-55.
https://doi.org/10.1386/jmte.1....
8.
Charles, E. P., Baker, C. M., Hartman, K., Easton, B. P., & Kreuzberger, C. (2013). Motion capture controls negate the violent video-game effect. Computers in Human Behavior, 29, 2519-2523.
https://doi.org/10.1016/j.chb.....
9.
Chen, C., Kasof, J., Himsel, A. J., Greenberger, E., Dong, Q., & Xue, G. (2002). Creativity in drawings of geometric shapes: A cross-cultural examination with the consensual assessment technique. Journal of Cross-Cultural Psychology, 33(2), 171-187.
https://doi.org/10.1177/002202....
10.
Clinton, G., & Hokanson, B. (2012). Creativity in the training and practice of instructional designers: the Design/Creativity Loops model. Educational Technology Research and Development, 60(1), 111-130.
https://doi.org/10.1007/s11423....
11.
Conti, R., Coon, H., & Amabile, T. M. (1996). Evidence to support the componential model of creativity: Secondary analyses of three studies. Creativity Research Journal, 9(4), 385-389.
https://doi.org/10.1207/s15326....
12.
Costantino, T. (2017). STEAM by another name: Transdisciplinary practice in art and design education. Arts Education Policy Review, 1-7.
https://doi.org/10.1080/106329....
17.
Freedman, Y. (2012). Is It Real ... or Is It Motion Capture? The Battle to Redefine Animation in the Age of Digital Performance. The Velvet Light Trap, 69, 38-49.
https://doi.org/10.1353/vlt.20....
18.
Gardner, H. E. (2000). Intelligence reframed: Multiple intelligences for the 21st century: Hachette UK.
19.
Gibson, R. (2010). The ‘art’of creative teaching: implications for higher education. Teaching in Higher Education, 15(5), 607-613.
https://doi.org/10.1080/135625....
20.
Glebas, F. (2008). Directing the Story: Professional Storytelling and Storyboarding Techniques for Live Action and Animation. Burlington: Focal Press.
22.
Guilford, J. P. (1967). The Nature of Human Intelligence: McGraw-Hill.
23.
Guyotte, K. W., Sochacka, N. W., Costantino, T. E., Walther, J., & Kellam, N. N. (2014). Steam as Social Practice: Cultivating Creativity in Transdisciplinary Spaces. Art Education, 67(6), 12-19. doi:10.1080/00043125.2014.11519293.
24.
Hargrove, R. (2012). Fostering creativity in the design studio: A framework towards effective pedagogical practices. Art, Design & Communication in Higher Education, 10(1), 7-31.
https://doi.org/10.1386/adch.1....
25.
Hennessey, B. A. (1994). The consensual assessment technique: An examination of the relationship between ratings of product and process creativity. Creativity Research Journal, 7(2), 193-208.
https://doi.org/10.1080/104004....
26.
Johnston, O., & Thomas, F. (1981). Disney Animation: The Illusion of Life: Abbeville Press.
27.
Kageyama, M., Sugiyama, T., Kanehisa, H., & Maeda, A. (2015). Difference between Adolescent and Collegiate Baseball Pitchers in the Kinematics and Kinetics of the Lower Limbs and Trunk during Pitching Motion. Journal of Sports Science and Medicine, 14, 246-255.
28.
Kaufman, J. C., Baer, J., Cole, J. C., & Sexton∗, J. D. (2008). A comparison of expert and nonexpert raters using the consensual assessment technique. Creativity Research Journal, 20(2), 171-178.
https://doi.org/10.1080/104004....
29.
Liao, C. (2016). From Interdisciplinary to Transdisciplinary: An Arts-Integrated Approach to STEAM Education. Art Education, 69(6), 44-49.
https://doi.org/10.1080/000431....
30.
Mefferda, A. S., & Cordera, E. E. (2014). Assessing Articulatory Speed Performance as a Potential Factor of Slowed Speech in Older Adults. Journal of Speech, Language, and Hearing Research, 57, 347-360.
https://doi.org/10.1044/2014_J....
31.
Menache, A. (2010). Understanding Motion Capture for Computer Anitvation: Morgan Kaufmann.
32.
Morgan, C., Dunn, L., Parry, S., & O’Reilly, M. (2004). The student assessment handbook: new directions in traditional and online assessment. London: Routledge Falmer.
33.
Mou, T.-Y., & Tu, G.-S. (2013). Storyboarding for animation. Taipei: Grandtech.
34.
Muybridge, E. (2012). Muybridge’s Complete Human and Animal Locomotion (A. V. Mozley Ed.): Dover Publications.
35.
Nickerson, R. S. (1999). Enhancing creativity. In R. Sternberg (Ed.), Handbook of Creativity: Cambridge University Press.
36.
Ohler, J. (2008). Digital Storytelling in the Classroom: new media pathways to literacy, learning, and creativity. Thousand Oaks: Crowin Press.
38.
Riley, S. (2012). STEAM point: A guide to integrating science, technology, engineering, the arts, and mathematics through the common core (Vol. null).
39.
Rudowicz, E., Lok, D., & Kitto, J. (1995). Use of the torrance tests of creative thinking in an exploratory study of creativity in hong kong primary school children: A cross-cultural comparison. International Journal of Psychology, 30(4), 417-430.
https://doi.org/10.1080/002075....
40.
Runco, M. A., Millar, G., Acar, S., & Cramond, B. (2010). Torrance Tests of Creative Thinking as Predictors of Personal and Public Achievement: A Fifty-Year Follow-Up. Creativity Research Journal, 22(4), 361-368.
https://doi.org/10.1080/104004....
42.
Serkis, A. (2003). Gollum: How We Made Movie Magic: Houghton Mifflin.
43.
Taura, T., & Nagai, Y. (2011). Discussion on Direction of Design Creativity Research (Part 1) - New Definition of Design and Creativity: Beyond the Problem-Solving Paradigm. In T. Taura & Y. Nagai (Eds.), Design Creativity 2010 (pp. 3-8). London: Springer London.
https://doi.org/10.1007/978-0-....
44.
Torrance, E. P. (1974). The Torrance Tests of Creative Thinking-Norms-Technical Manual Research Edition-Verbal Tests, Forms A and B- Figural Tests, Forms A and B. Princeton, NJ: Personnel Press.
45.
Torrance, E. P. (1984). The Torrance Tests of Creative Thinking streamlined (revised) manual Figural A and B. Bensenville, IL: Scholastic Testing Service.
46.
Torrance, E. P., & Aliotti, N. C. (1969). Sex differences in levels of performance and test‐retest reliability on the Torrance tests of creative thinking ability. The Journal of Creative Behavior, 3(1), 52-57.
https://doi.org/10.1002/j.2162....
47.
Williams, R. (2012). The Animator’s Survival Kit: A Manual of Methods, Principles and Formulas for Classical, Computer, Games, Stop Motion and Internet Animators. UK: Faber & Faber.
48.
Wu, J.-J. (1998). Handbook of Chinese version of Torrance Tests of Cretive Thinking.
49.
Wu, J.-j. (2002). Enticing the Crouching Tiger and Awakening the Hidden Dragon: Recognizing and Nurturing Creativity in Chinese Students. Research in Applied Psychology, 15, 17-42.
50.
Zhou, C. (2012). Integrating creativity training into problem and project-based learning curriculum in engineering education. European Journal of Engineering Education, 37(5), 488-499.
https://doi.org/10.1080/030437....