“The Enhancement of Realism in Computer Animation Through the Incorporation of the Biomechanics of Fatigue” (2001-2002)

As a part of this research for my first thesis entitled “The Enhancement of Realism in Computer Animation Through the Incorporation of the Biomechanics of Fatigue” I worked with Professor James Davis, PhD (MIT) and my academic advisor Professor Maria Palazzi, B.S.I.D., M.A. (former head of animation at the Ringling School of Art and Design and Director of ACCAD). For this research, a track athlete from THE Ohio State University was motion captured running on a treadmill for approximately ten minutes. Analysis and mathematical computation was made from the first minute of running as compared to the last minute. The goal was to find the degree of rotational differences in the spine and posture of this athlete in this ten minute duration. The results were then to be applied to a walk and run cycle similar to SHREK with a newly created tool using Autodesk Maya software and MEL code. The problem that I saw with the movement of SHREK (2001) in the original movie took place in Shrek’s (Mike Meyers) journey with Donkey (Eddie Murphy) to rescue Fiona (Cameron Diaz) from the Dragon.  During the journey, time of day change is apparent; however, throughout the walk and run cycles during this journey, fatigue and posture remain the same. The visual communication of fatigue is not apparent. Shrek design problem. It was hypothesized to scientifically calculate what the rotational values of the spine would be over time and incorporate that into the motion gaits.

Due to the study of biomechanics and physiology, stretch tests and "binding" for such characters as the Sith Lord Ultimate Evil in Star Wars: The Force Unleashed Ultimate Sith Edition were much easier to produce. Medically, I knew the natural medical limits of joint rotations and could communicate with the animation team on these assets intelligently.

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I was in the intitial kick off meetings for Star Wars: The Force Unleashed II, the following link will show more of my Boba Fett. When doing research and development on him, I studied Olympic Pole Vaulters in order to determine the physics values of his cloth loin. Also, I was studying the ways in which they land because Boba Fett lands oddly in combat. Boba Fett has a jet pack and flys. This type of cloth must be treated differently that cloth with no flight on character. In addition, numerous hours of watching clips from Star Wars Episode V: The Empire Strikes Back were done to help look at his signature head tilt. This is reference on the web of Boba Fett that I used. Comparative tests to Jango Fett from Star Wars Episode II: Attack of the Clones were made too in regards to posture, motion, and accessories (missle pack). I was also given the rig and model of Jango Fett while at Lucasfilm Animation Singapore prior to the relocation in San Francisco to do research (I have working knowledge of this biped). When I think of Star Wars, I don't think of Ewoks or Han Solo, I think of Buddhism, martial arts, meditation, and combat. I am Catholic though. Ultimate Evil, Lord Maul, Lord Vader, Lord Tyrannus,  Lord Sidius, The Jedi council, General Grievous, Boba Fett, and Jango Fett are martial artists to me. They are like Steven Seagal or Bruce Lee. With the exception of The Empire Strikes Back, I am more closely attached to the prequels than to the original trilogy. People think that Natalie Portman and Haden Christensen have wooden dialogue. I don't. Anakin is a Jedi General and Padme is a politician. Imagine a love sequence between General Patton and a female Senator that runs the government and is in congress. In my porfessional opinion, Mr. Lucas nailed it. Lucasfilm campus is sacred ground to me. It is like visiting the Vatican. I prefer the campus to have no disturbances.

Lastly, deformation had to be accurate due to the fact that when Boba feels a "Force Attack", the biomechanical physics engine takes over for his motion. This motion is not hand animated: Euphoria