Gadzooks Studio Shows Why Performance Beats Prompting

Gadzooks Studio, a Manchester-based stop motion animation studio founded by animation directors Steve Boot and Haydn Secker, has been sharing some really delightful digital puppetry experiments on Instagram. They’re building a Blender-based pipeline that utilizes TouchDesigner, which lets artists and technologists build interactive animation systems without writing traditional code.

What they've shared so far is pretty impressive:

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What Gadzooks is doing here is using TouchDesigner to feed their live performance in to Blender, which acts as the character/animation environment. This allows them to create digital puppets that respond to a performer in real time: facial expressions, head turns, timing, reactions, and little bits of character business.

TouchDesigner, created by Toronto-based Derivative, is a big part of Gadzooks’ not-so-secret sauce (although, to their credit, they’ve been sharing much of their workflow on Instagram). TouchDesigner is able to take a variety of live inputs - everything from camera footage to audio, MIDI, sensors, controllers, or just about anything else that outputs a signal - and use that input to control a character in real time without traditional hand-keyed animation. It’s a more sophisticated version of what I was trying to build with Panda Puppet many years ago - a way to make it possible to use almost anything to perform a digital character.

It’s a really great example of the advantage digital performance has over AI-based prompting: the immediacy of puppetry, with the flexibility and control of a digital animation pipeline. The best of both worlds.

I'm excited to see what others might be able to do with TouchDesigner, as well as what else Gadzooks is working on. To keep up-to-date with them, follow Gadzooks.Studio on Instagram!

Inside the Digital Puppetry of Jim Henson’s Puppet Up!

The Henson Digital Puppetry Studio is a digital puppetry platform the Jim Henson Company has been building for decades, with roots that go back to Waldo C. Graphic in the late 1980s. The technology has come a long way since then, and in recent years has become good enough that the Jim Henson Company regularly uses it in Puppet Up!, their touring live improvised puppet comedy show.

In this video from Tested, Henson puppeteers Sarah Oh and Dan Garza show host Adam Savage how they use their puppeteering and improv skills to blend a digital character seamlessly - and hilariously - with a group of practical puppets in a single performance before a live audience. 

What makes this so impressive, of course, isn’t just the technology. It’s that Oh and Garza are skilled puppeteers doing what skilled puppeteers have always done: listening, reacting, finding the joke, and creating the illusion of life where it doesn't actually exist at all.

The octopus may be digital, but the performance is remarkable because it's unmistakably human.

If you want to see the Henson Digital Puppetry Studio in action yourself, Puppet Up! will be playing the Montalbán Theatre in Los Angeles this summer. Visit PuppetUp.com for upcoming tour dates and full details.

Digital Wayang Kulit

Here's a nine minute demo of a Digital Wayang Kulit (Indonesian shadow puppetry) program developed at the MSc in Digital Education program at University of Edinburgh. The 2D figure is controlled by the digital Dalang (puppeteer) using a Gametrak controller and a Wiimote.

There have been a lot of shadow puppet inspired digital puppetry demos created over the years (this one is from 2013), but I love how fluid the movement of this one is.

Special thanks to Jane for submitting this!

Character Animator - A 2D Real-Time Animation tool from Adobe

Adobe has just unveiled a new 2D digital puppetry - or have we all agreed to call this field real-time animation now? - application called Character Animator. A demo of the software is provided in the video above, but essentially it's a tool for animating 2D bitmap (Photoshop) and vector (Illustrator) still characters in real-time using a camera, microphone, head tracking and facial mo-cap.

In addition to basic mo-cap and lip sync capabilities, it also allows users to create programmable behaviors and will support the creation of 3rd party plug ins. I haven't tried it myself yet, but it looks like it could be a very easy-to-use and potentially powerful tool for creating basic 2D animated characters in real-time.

Adobe Character Animator is currently in beta and available for testing by After Effects CC users. You can learn more here.

Via The Labyrinth.

Unbelievably impressive demo of the Unreal Engine 4

It's been far, far too long since I posted an update here on Machin-X, but I may be (finally) returning to some digital puppetry work in the near future and when I saw this demo for the Unreal Engine 4 I had to share it.

It is, well, pretty unreal:

The Kite open world demo created in Unreal Engine 4 features a diverse and beautifully realized 100 square mile landscape. Everything is generated completely in real-time at 30fps and includes fully dynamic direct and indirect illumination, cinematic depth of field and motion blur, and procedurally placed trees and foliage.

Real-time 3D sure has come a long way since I first worked on a TV pilot for a proposed kids' series using cardboard cut-outs and blob tracking with a webcam to create some 2D flash animation almost a decade ago.

I wonder where this technology will go in the ten years or so?

Henson Digital Puppetry Studio

This is a brand new promotional reel for the Henson Digital Puppetry Studio, the patented real-time animation/digital puppetry system developed by Jim Henson's Creature Shop.

This is a simple, but nonetheless very effective example of 2D digital puppetry created using Unity and a Kinect.

Animatic Digital Puppetry System

A look at "Animatic", a digital puppetry system that was developed by Luis Leite (see previous post) using 3D Studio Max and Macromedia Director in 2006. The system was developed as part of his research thesis Marionetas Virtuais.

Digital Puppeteer Mario Mey

This is a new demo reel for Argentinian digital puppeteer Mario Mey that shows off his digital characters performing en Español at various live events (his character Pinokio 3D was mentioned here back in 2010) . He creates and performs his "Marionetas Digitales" (digital puppet) characters using Blender 3D and PureData, a real-time graphical dataflow programming environment for audio, video, and graphics.

You can see Mario at work and get a look at his production process in this video, however it was recorded in Spanish.

Faceshift Markless Motion Capture

Faceshift is software that promises "markless motion capture at every desk". It works with consumer-level cameras like the Kinect to track and analyze the facial expressions of a performer and uses them to animate a virtual character in real-time. It also offers the option of recording a performance so that it can be edited and polished in post-production.

There are lots of potential applications for this kind of software in game and film production and, of course, digital puppetry applications!

You can learn more at www.faceshift.com.

Hakanaï: Dancing with Digital Puppetry

Hakanaï is one of the more unconventional examples of a digital puppetry performance I've discovered (although, is there anything truly "conventional" about any form of digital puppetry?). Its creators describe it as a "haiku dance performance taking place in a cube of moving images projected live by a digital performer".

The performance involves a dancer performing live, whose movements are tracked in real-time and used as the basis for an interactive, digitally animated environment that is projected around them:

 

It was created by the French Company Adrien M / Claire B using their proprietary software eMotion. Here's more from their description of the project:

 ...Performed by an artist as a “digital score”, it is generated and interpreted live. The dancer’s body enters into a dialogue with the moving images in motion. These simple and abstract black and white shapes behave according to physical rules that the senses recognise and to mathematical models created from the observation of nature.

The audience experiences the performance in several stages. They first discover the exterior of the installation. As the dancer arrives, they gather around to watch the performance. When the choreography has ended, the audience can then take some time to wander amongst the moving images.

Through a minimalist transposition, this piece is based on images drawn from the imaginary realm of dreams, their structure and their substance. The box in turns represents: the bedroom where, once the barrier of sleep is passed, walls dissolve and a whole new inner space unfolds; the cage, of which one must relentlessly test the limits; the radical otherness, as a place of combat with an intangible enemy; the space where impossible has become possible, where all the physical points of reference and certitudes have been shaken.

Through the encounter of gesture and image, two worlds intertwine. The synchronicity between the real and the virtual dissolves and the boundary that was keeping them separate disappears, forming a unique space filled with a high oneiric charge. 

Very cool, no? You can learn more from the video's description on Vimeo.

Activision unveils impressive real-time character demo

Activision unveiled some new real-time rendering technology for human characters at the Game Developers Conference last week.This is the result of several years of research in to creating photo realistic human characters for video games. Although the animation itself a bit off and suffers from the infamous "Uncanny Valley" effect, just on a purely technical level this is pretty impressive.

From the video's description on YouTube:

This animated character is being rendered in real-time on current video card hardware, using standard bone animation. The rendering techniques, as well as the animation pipeline are being presented at GDC 2013, "Next Generation Character Rendering" on March 27.

The original high resolution data was acquired from Light Stage Facial Scanning and Performance Capture by USC Institute for Creative Technologies, then converted to a 70 bones rig, while preserving the high frequency detail in diffuse, normal and displacement composite maps.

It is being rendered in a DirectX11 environment, using advanced techniques to faithfully represent the character's skin and eyes.

More technical details can be found here.

Via Cartoon Brew.

A digital dragon puppet

A nice example of a digital shadow puppet, made by Luis Leite using Kinect and Unity 3D. To animate the puppet, a human body is tracked in real-time using the Kinect sensor, with one hand controlling the head and the other controlling the tail. The physical movement of the performer's body is remapped on to the virtual shadow puppet using Inverse Kinematics via Unity's Mecanim animation system.

Luis was also responsible for a Kinect-based digital puppet that was mentioned in a post about Kinect-based digital puppetry on Machin-X two years ago.

Digital Puppetry with the PS4

Earlier this week game development studio Media Molecule gave a R&D presentation at the launch event for Sony's new PlayStation 4 (PS4) video game console, which appears to have some amazing new capabilities like the ability to sculpt, create and animate in real time that offer phenomenal potential for digital puppetry applications. Media Molecule won't too much about what they're working on (yet), but their demo utilizing the PS4 and the often-derided PlayStation Move controller looks amazing (skip ahead to the 5:15 mark to see all the digital puppetry goodness).

Very exciting!

Via Puppeteers Unite.

Karagoz goes digital

Indonesian shadow puppetry has gone digital, so why not Turkish shadow puppetry too?

iKaragoz is an app for iPhone and Android developed by a Turkish firm called Anakule. They are promoting it as the first puppet application for mobile devices, but it's definitely not (several others including iPuppeteer and Pollock's Toy Theatre app have been on the market for years).

The app allows the user to control the characters onscreen intuitively by simply moving their smart phone or tablet.In addition to the traditional Turkish Karagoz puppets, additional packs with characters from Cambodian, Chinese, Indian, Indonesian, Thai and Greek puppetry traditions are also available.

Here's the Wayang Kulit version in action:



iKaragoz was designed by Uğur Doğan with the assistance of Turkish puppeteer Mehmet Saylan. It's available to download from the iTunes Store and Google Play. I haven't had a chance to try it out myself yet, but if someone does please let me know what you think!

Via Puppetry News.

Bryn Oh, Imogen and the pigeons

Bryn Oh is the avatar and pseudonym of a professional oil painter who lives here in Toronto who has been creating mesmerizing and challenging multilayered installations inside the virtual world of Second life for several years (see previous post). I'm especially impressed by Bryn's latest work Imogen and the pigeons, an "immersive narrative exhibited in the virtual world called Second Life...a layered story told through poetry."

I find it difficult to classify work like this. Is it Machinima, immersive interactive art, digital puppetry, all of the above, or something else entirely? While I'm not entirely sure what the answer to that question is, I do know that I like it. A lot. It's inspiring to see the innovative ways that Bryn Oh is exploring and expanding how this still new medium can be used.

You can explore Imogen and the pigeons inside Second Life (click here and follow the instructions to join Second Life) and/or see more of Bryn Oh's previous Second Life builds on YouTube.

Digital Shadow Puppet Installation

A nice look at an interactive, Kinect-based digital shadow puppet installation created by New York based motion designer Yang Yang.

Digital Guignol Theater

I've been doing a lot of Punch and Judy research lately and I stumbled across this Digital Guignol Theater that was created by Wizarbox in 2009. A proof-of-concept demo intended to aid in children during rehabilitation, it allows them to control a digital Guignol (the French equivalent of Punch) show using their voice and one or more Wiimotes.

Digital Wayang Kulit Music Video

We don't see a lot of music videos that feature digital puppetry, so when one comes along it's worth noting!

This video for Boshra Al Saadi's Snowyman was created using a modified version of Antonius Wiriadjaja's Java-based Wayang Kinect project. Hit the link to learn more about his work and download the digital Wayang Kulit applet so you can try it out yourself!

Flaming Skull Face Tracking Demo

Some clever face tracking from a Spanish studio called Paradox D&D. They've written a custom application that positions a 3D skull over top of the user's head, capturing the user's body movements and using them to control a 3D model in real-time. This is an example of a "virtual dresser" that allows a user to "wear" 3D elements in a manner very similar to augmented reality.

Via KinectHacks.