TAILIEUCHUNG - 3D Graphics with OpenGL ES and M3G- P14

3D Graphics with OpenGL ES and M3G- P14:Mobile phones are the new vehicle for bringing interactive graphics technologies to consumers. Graphics that in the 1980s was only seen in industrial flight simulators and at the turn of the millennium in desktop PCs and game consoles is now in the hands of billions of people. This book is about the technology underpinnings of mobile threedimensional graphics, the newest and most rapidly advancing area of computer graphics. | 114 ANIMATION CHAPTER 4 Morphing is a good technique for producing complex deformations such as facial expressions that are not easily reproduced by simple transformations. The downside of morphing is that it takes a lot of memory per keyframe so the number of base shapes should be kept relatively small for complex meshes. Alternatively morphing can be used to define lots of keyframes for very simple meshes to get fairly complex animation that is still computationally cheap to render in real time. SKINNING For complex characters with lots of vertices and more or less arbitrary numbers of possible poses morphing quickly becomes inefficient. Another way to deform meshes is to assign vertices to the joints of an articulated skeleton animate them and connect the vertices with a skin of polygons Cat72 . However that still leads to sharp changes at joints. During the 1990s the gaming and 3D modeling industry generalized this approach and started calling it skinning Lan98 . The idea is that each vertex can be associated with several joints or bones weighted by linear weights. This technique is sometimes referred to as subspace surface deformation or linear blend skinning we simply call it skinning. It is so commonly used today that we can call it the de facto standard of character animation. The general idea behind skinning is that instead of transforming the whole mesh with a single transformation matrix each vertex is individually transformed by a weighted blend of several matrices as shown in Figure . By assigning different weights to different vertices we can simulate articulated characters with soft flesh around rigid bones. The skeleton used in skinning stands for a hierarchy of transformations. An example hierarchy can be seen in Figure . The pelvis is the root node and the rest of the body parts are connected to each other so that the limbs extend deeper into the hierarchy. Each bone has a transformation relative to the parent node usually at least .

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