Puppetry

One of the major challenges of animatronics is creating natural looking motion. You can build something with an actuator for every possible degree of freedom, but it will still be disappointing if you are unable to control it to smoothly play the part. [Mr. Volt] has developed a passion for animatronic projects, but found programming them tedious, and manual control with keyboard or controller difficult to do right. As an alternative, he is building Waldo, an electronic puppetry controller.

The Waldo rig is being developed in conjunction with [Mr. Volt]’s build of Wheatley, the talkative ball-shaped robot from the Portal 2 game. The puppetry rig consists of a series of rings for [Mr Volt]’s hand, with the position of each being read by angle sensors. This allows him to control Wheatley’s orientation of the body and eyeball, eyelids, and handles. Wheatley and Waldo both still need a few refinements, but we look forward to seeing the finished project in action.

The Portal games have inspired several featured projects, including GLaDOS, the turrets, and of course more Wheatly builds.

Continue reading “Animatronic Puppetry Controller Skips Joystick Or Keyboard” →

Computer animation is a task both delicate and tedious, requiring the manipulation of a computer model into a series of poses over time saved as keyframes, further refined by adjusting how the computer interpolates between each frame. You need a rig (a kind of digital skeleton) to accurately control that model, and researcher [Alec Jacobson] and his team have developed a hands-on alternative to pushing pixels around.

3D Rig with Control Curves — Control curves (the blue circles) allow for easier character manipulation.

The skeletal systems of computer animated characters consists of kinematic chains—joints that sprout from a root node out to the smallest extremity. Manipulating those joints usually requires the addition of easy-to-select control curves, which simplify the way joints rotate down the chain. Control curves do some behind-the-curtain math that allows the animator to move a character by grabbing a natural end-node, such as a hand or a foot. Lifting a character’s foot to place it on chair requires manipulating one control curve: grab foot control, move foot. Without these curves, an animator’s work is usually tripled: she has to first rotate the joint where the leg meets the hip, sticking the leg straight out, then rotate the knee back down, then rotate the ankle. A nightmare.

[Alec] and his team’s unique alternative is a system of interchangeable, 3D-printed mechanical pieces used to drive an on-screen character. The effect is that of digital puppetry, but with an eye toward precision. Their device consists of a central controller, joints, splitters, extensions, and endcaps. Joints connected to the controller appear in the 3D environment in real-time as they are assembled, and differences between the real-world rig and the model’s proportions can be adjusted in the software or through plastic extension pieces.

The plastic joints spin in all 3 directions (X,Y,Z), and record measurements via embedded Hall sensors and permanent magnets. Check out the accompanying article here (PDF) for specifics on the articulation device, then hang around after the break for a demonstration video.

Continue reading “Rigging Your 3D Models In The Real-World” →