It is nice to give animators artistic freedom, but having to animate every bounce, sway, and counter-balancing movement of a rider on a horse isn't freedom at all. It is painstaking labor that could easily be prevented with an effective character setup. If an animation piece is only going to have a few shots with a horse and rider, then the trouble of setting up an automated character rig is not practical, but if there are a significant amount of shots with a horse and rider galloping across the prairie, doing death defying stunts, and walking for an extended time into the sunset then there needs to be a way to automate the reactions of the rider to the horse. This thesis focuses on what parts of a horse one can analyze to know at what point a rider will lean forward, bounce up from the saddle, or in any way react to a variety of different horse movements. The automated character setup, or rig, makes animating a rider on a horse much more efficient.

It is nice to give animators artistic freedom, but having to animate every bounce, sway, and counter-balancing movement of a rider on a horse isn't freedom at all. It is painstaking labor that could easily be prevented with an effective character setup. If an animation piece is only going to have a few shots with a horse and rider, then the trouble of setting up an automated character rig is not practical, but if there are a significant amount of shots with a horse and rider galloping across the prairie, doing death defying stunts, and walking for an extended time into the sunset then there needs to be a way to automate the reactions of the rider to the horse. This thesis focuses on what parts of a horse one can analyze to know at what point a rider will lean forward, bounce up from the saddle, or in any way react to a variety of different horse movements. The automated character setup, or rig, makes animating a rider on a horse much more efficient.

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Current production methods for creating a motion system for a deformable digital character model involve providing an underlying joint structure based o of a T-Pose, A-Pose or another arbitrary bind pose of the character. A bind pose is required to establish the skeleton-to-geometry spatial relationship that will be used as a mathematical reference to determine geometry deformations in animated poses. Using a set of human motion capture performances as input animation, the impact of the standard T-Pose and A-Pose on the stretching and compression of human character model geometry is compared relative to novel mean poses derived from each performance. Results demonstrate that using an averaged joint position of each specific performance as the bind pose for the performance reduces the overall deformation of the model. Appropriate applications of the mean pose as a bind pose could impact the resources required to repair deformation artifacts in animated deformable digital characters.