透過程序方式有效且快速的自動產生出生動的3D電腦動畫，一直以來是該領域中研究人員所追尋的目標。以中國舞獅在梅花樁上的運動為例，用傳統的動畫製作方式，要能在短時間內產生出符合雙人舞獅演員協同運動的限制，並在佈滿不規則梅花樁的場景中搜尋一條可行走的路徑，是相當費時費力的。我們提出了一套動畫產生系統，讓雙人舞獅演員在隨機產生梅花樁的虛擬環境中，透過協同運動的計畫器，搜尋出可行走的路徑。我們的路徑規劃演算法是依據最佳化優先搜尋演算法的精神來建置，最後並以程序的方式自動模擬出行走過程的3D電腦動畫。這些動畫包含梅花樁上常見的表演動作，如跳躍和轉身等。我們的實驗結果顯示，擬真的舞獅跳梅花樁動畫，可以用互動的方式由協同運動計畫器自動產生。

讓數位演員能夠在虛擬場景中自主的規劃路徑並且移動，一直是一個富有挑戰性的問題。近年來已有相當多與此相關的研究，數位演員已能夠在高低起伏的分層地形中做路徑的規劃。我們的目標是除了能處理更一般化的場景外，對於場景中障礙物的定義，也會隨著數位演員的能力而有所不同。本研究為數位演員所擴充的新的能力包含了翻越過障礙物的能力以及搬移障礙物的能力。在以往藉由搬移障礙物而抵達目的地的研究中，都是以先決定欲搬移障礙物的順序，再為數位演員以本身擁有的運動能力規劃出一條合理且無碰撞的路徑。而本研究的特色則是將搬移障礙物這項能力與數位演員其他的運動能力一併考量，將各種運動能力以一致的觀點來規劃數位演員的行走路徑。我們將以數個模擬的例子說明此運動計畫器的有效性。 / Enabling a digital actor to move autonomously in a virtual environment is a challenging problem that has attracted much research attention in recent years. Many researches have been also to generate the motion of a digital actor in an uneven layered environment. In this thesis, we have extended our previous work to enable the digital actor to have the ability of jumping over a barrier and the ability of manipulating obstacles in order to make room for passing. Most previous work in generating manipulation plans for obstacles must first decide the order of manipulation and then manipulate obstacles in accordance with the sequence. In this thesis, we design a motion planner that can take all motion abilities of the digital actor into account in generating a collision-free path in a layered environment cluttered with various types of obstacles. This planer takes a unified view to consider all types of motions including manipulating objects that could change the system configuration. The experimental results will be demonstrated with several simulation examples to show the effectiveness of the system

動作擷取法是現今相當受到歡迎的角色動作產生方法，而一般多是使用已擷取好的動作，以人工的方式將數個不同的動作混合以產生出所需的動作。但想要大量產生符合需求的混合動作仍相當不容易，因此有人提出了「動作圖」這個方法。動作圖是一種根據使用者所給定的動作擷取資料集合，經過自動化的計算找出各個動作資料之間可以連接的動作片段。藉由這個自動化的程序，各個動作擷取資料可以相互連接起來，達到在不同的動作間平順轉換，且同時保有原動作擷取資料擬真特性的目的。但縱使有上述的好處，目前動作圖的技術僅能就所擷取的全身動作進行串接，品質與彈性往往決定於一開始動作擷取資料的準備，因此如何讓既有的全身動作資料得以分解再利用，以發揮最大的價值，是一個重要的問題。在本研究中，我們提出了一個階層式的動作圖結構名為多層式動作圖，在這個多層式動作圖的結構中，我們將身體的動作區分成數個部位，分別計算各自的動作圖後再合併成一個多層式的架構，而合併的過程中我們提出「整體動作相似度」的計算方式，以做為兩個動作是否容易轉接的比較依據。我們也提出了在不同階層間動作圖運作的規則，以使計算的複雜度及系統的可用性取得合理的平衡。此外，我們更進一步提出名為Motion Script的簡易語意描述語言，來輔助控制這個具有高複雜度的動作圖結構。實驗的結果顯示，我們的方法可以即時根據使用者的指令，搜尋並產生出原動作資料所沒有的動作組合。與傳統的動作圖相比，我們的方法能更進一步的發揮原動作擷取資料的價值，以有系統的方式讓動作組合自動產生更具豐富性及彈性。 / Motion capture is a popular method for generating realistic character animation. In most applications, a motion usually is prepared by manually blending existing captured motion clips to generate a desired motion clip. However, finding a good transition points manually for two motion clips is a time-consuming task and cannot be scaled up easily. Motion Graph is a technique that has been proposed to automate this process by finding suitable connection points and the corresponding transition motions between motion data. With this automatic procedure, motions captured separately can be smoothly connected while keeping the realism of the captured motions. However, most motion graph techniques only consider the transition of full-body motions in two motion clips, and therefore, the resulting motion .depends on the variety of motions available in the motion database. It is an important issue to be able to compose new motion clips as much as possible with given motion capture database. In this research, we propose a hierarchical motion graph structure called Multi-Layered Motion Graph. In this structure, we divide motion data into layers of parts depending on the articulated structure of human body, and then compute a motion graph for each part of the motion. We then combine these motion graphs into an interconnected hierarchical structure. In order to facilitate the composition of motions for different parts from different motion clips, we propose a new metric called Overall Motion Similarity to find reasonable composition of motions in run time. We also propose several rules about how to traverse the motion graphs in different layers to generate feasible motions. Furthermore, we have designed a scripting language called Motion Script to facilitate the specification and search of desirable animation to be generated. Our experimental results reveal that our method is able to compose animations that the original motion graph cannot generate in real time. Compared to the traditional motion graph method, our method is able to make good use of existing motion capture library to compose new motions in a systematic way.

近年來，在電腦動畫的應用中，虛擬人群模擬的需求越來越多；但人群運動的模擬對於動畫設計師而言，仍是一件十分繁瑣耗時的工作。過去有許多研究曾以虛擬力場模擬簡單的生物群聚行為，但所模擬出的動畫品質與虛擬力場的參數及虛擬環境息息相關，因此經常需要以人工的方式耗時地調整出適當的虛擬力場參數。因此，我們提議以此問題定義成一個基因演算法的問題，針對不同的移動行為，定義適切的適應函數，再由系統根據不同環境自動演化出適當的虛擬力權重組合，以供產生不同人群移動行為之動畫時參考。在本篇論文中，我們已完成基因演算法的設計及人群動畫模擬系統，並設計了不同的典型環境進行電腦模擬實驗，以驗證此方法的可行性。 / The demands for virtual crowd simulation have been increasing in recent years but creating realistic crowd motions remains a complex and time-consuming task for a computer animator. In the literature、much work has been proposed to use virtual forces to simulate the motion of a group of virtual creatures such as birds and fishes. However、the quality of the simulations largely depends on the weights of the component virtual forces as well as the scene where the agents are situated. Usually it requires the animator to tune these parameters for a specific scene in order to obtain the desired result. In this thesis、we propose to use genetic algorithm to generate an optimal set of weighting parameters for composing virtual forces according to the given environment and desired movement behavior. We have implemented the proposed genetic algorithm as well as the crowd simulation system. Extensive experiments have also been conducted to study the effects of typical scenes and behaviors on the parameter sets and verify the feasibility of the approach.

近年來由於電腦軟硬體及人機介面介面技術的發展，互動數位敘事(Interactive Digital Storytelling, IDS)的應用也逐漸被重視，特別是在新型態電腦遊戲的設計，而這個趨勢也為即時虛擬攝影機的規劃帶來新的機會與挑戰。本研究旨在透過互動數位敘事腳本內容的分析，建置客製化攝影機運鏡實驗平台，即時自動產生符合情境情節、人物情緒的拍攝方式，並參考電影拍攝手法，結合攝影學的專業知識加入不同拍攝風格，讓同一段影片可以有不同的風格效果。我們希望能夠讓現有的互動敘事系統The Theater [1]中的運鏡技術有跡可循，不再只是以人工的方式憑藉直覺來設定攝影機的位置，而能使得虛擬攝影機的操控變得簡易，修正拍攝效果時將更加簡便，成功快速掌握運鏡的每一個細節。我們在The Theater的實驗平台之上，讓敘事者可以根據故事情境客製化虛擬攝影機的拍攝手法，並由電腦自動產生合宜的攝影機拍攝位置，快速完成攝影機規劃。我們以實例透過實驗的方式驗證此系統的有效性。 / The recent advances in computing technologies and human-computer interactions have attracted much attention in the development of interactive digital storytelling (IDS), especially in the application of novel computer game design. This trend does not only bring new opportunities but also new technological challenges to virtual camera planning. Our research in this work aims at building an experimental platform for customized virtual camera planning through the analysis of screen play in an in-teractive story. By adopting the domain knowledge of camera controls in existing films, we hope to design a computer-assisted system that allows an author to easily experiment with different styles of virtual cameras in a same story. We proposed to design an experimental platform based on “The Theater” IDS, which currently uses a pre-authored way to specify the camera position. In the proposed system, we allow an author to quickly customize virtual camera taking according to the context of a story fragment and let the computer generate appropriate camera configurations automati-cally. We use an example story to verify the effectiveness of the system through ex-periments.

3D電腦動畫電影產業在過去十年間的蓬勃發展有目共睹。在台灣，政府所提出的「兩兆雙星」產業政策中，也以「數位內容」產業為「雙星」計畫之一，而「電腦動畫」則列為優先發展的重點項目之一。 本論文以作者多年的國際媒體產業經驗與觀察為主軸，輔以豐富的產業研究資料及分析，探討台灣在發展3D 電腦動畫電影產業時的各項競爭條件。論文架構採用學者波特在國家競爭優勢中所提出的價值鏈及鑽石模型理論，逐一分析台灣在面臨國際競爭時，各項條件的優勢與不足。 要了解好萊塢如何成功地揉合「創意」與「科技」，不斷創造出一部部席捲全球的3D電腦動畫電影，必須先認識好萊塢電影產業的運作基礎。好萊塢有著相當複雜的產業發展背景，時至今日，這些時空背景仍深深地影響著產業的各個層面。本論文先深入剖析好萊塢電影產業的各項價值活動、產業及人力結構、以及電影投資、融資與風險控管等機制。其後，則進一步分析3D電腦動畫產業的版圖現況及發展趨勢，並以三家領導廠商Pixar、DreamWorks Animation、Blue Sky進行個案分析，透過對這三家廠商發展歷程與運作模式的檢視，台灣可以從中學習成功的經驗，並避免重蹈覆轍。 論文最後，則基於以上之論述，提出兩項論點，說明此刻是台灣以3D電腦動畫電影切入國際數位內容產業的良機。第一項論點是現階段仍屬全球3D電腦動畫產業發展初期，新進入者較易跨入此一新興市場；第二項論點則是台灣世界級的資訊產業提供了優勢的競爭基礎，使台灣具有更高的策略位置。因此，台灣可以高科技產業帶動數位內容產業的發展，延續「科技矽島」的成功經驗，再創「Silicon Hollywood：矽谷+好萊塢」的國家新競爭優勢。 / The 3D feature computer animation industry has grown tremendously in the past 10 years. In Taiwan, the government has identified the “digital content” industry as one of the two rising stars in the “Two Trillions, Twin Stars” national industry development plan, with “computer animation” as its top development priority. Based on the author’s years of observation and experience in international media and business, with abundant industrial research and statistical data, this thesis discusses Taiwan’s competitive advantages in the development of a globally competitive 3D feature computer animation industry. This thesis also refers to Michael Porter’s “Competitive Advantages of Nations”, which uses the Diamond Model to identify a nation’s weaknesses and strengths in the global economy. To realize how Hollywood can successfully combine creativity and technology to create box-office 3D computer animated movies, it is wise to consider how Hollywood fundamentally works. Hollywood is a complicated machine fed by its rich background and history that currently affects every facet of its behavior. This thesis breaks down that behavior into sections that detail topics such as value chain activities, modern industrial and labor structure setup, film financing and risk management. Three leading computer animation studios are Pixar, DreamWorks Animation, and Blue Sky. After understanding how the Hollywood film industry works, the next logical topic to examine is how these studios relate globally with the international 3D feature animation industry’s landscape and development trend. Using these studios as case studies, examining their timeline of development and work methodologies, important lessons can be learned and previous pitfalls avoided as Taiwan takes its first steps towards establishing its own successful 3D computer animation industry. Upon its analysis, this thesis identifies two strong reasons that justify why now is the time for Taiwan to establish its 3D computer animation industry as a means to compete in the global digital content market. The first reason is because the current global landscape of the 3D feature animation industry is just past its infancy and in an early stage of development, making it easier for new entries into the market. The second reason is because Taiwan has the advantage of having a strong resource in its world-leading IT industry that provides strong leverage above the competition. Taiwan is already world famous for being a technologically strong “Silicon Island”. By creating a bridge between technology and creativity, Taiwan can emulate its previous success model and thus create a new international identity as the “Silicon Hollywood”.