EP0446395A1 - Procedure and circuit arrangement to realize mimics of genus-models and genus-model-choreographies equivalent to living genus-models and genus-model-choreographies through animating the genus-models by artificial movement - Google Patents

Abstract

The invention relates to a process and a circuit arrangement for the generation, control, storage, optimization and reproduction of the acoustic, optical, mechanical, electromechanical and electronic effects - typical life-like gestural behaviour and typical behavioural capabilities rendered by equivalent aesthetically manipulable artificial gestural behaviour and behavioural capabilities imparted by means of mechanical, electromechanical and electronic effects - in the animation of artificially moved figures.

Description

The invention relates to a method and a circuit arrangement for realizing vital, generic genre mimics and genre-specific gesture behavior possibilities that are equivalent, aesthetically manipulable - artificial, generic gesture mimics and genre-specific gesture behavior possibilities mediated by mechanical, electromechanical and electronic systems and their effects, as well as a method and a circuit arrangement for storing, processing and optimizing as well as reproducing the acoustic, optical, mechanical, electrotechnical and electronic effects in the animation of artificially movable characters, e.g. dolls, mimic dolls, doll animals, toys or entertainment figures, doll plants, objects, their whole and / or partially Shape surfaces and shape elements are moved in such a way that the puppet-like movements of the whole and / or partial shape surface and shape elements are eliminated, that is to say the continuous and movement-free continuous movements are carried out in an "unpuppet-like" and personified manner.

For a long time there have been attempts and solutions in puppet theater to additionally actuate individual elements such as the eyes or mouth of a doll in order to give the doll greater expression. But even dolls with a variety of possible functions remained figures that "move your mouth, close your eyes or do this and that" - but had no "facial expressions".

Such a trend is e.g. published in DE-PS 2,304,614. This relates to a lip movement stimulation device in a toy figure, in particular a doll's head, which has a motor-driven gear wheel which eccentrically drives an actuating lever connected to an elastic lip. The lips are each actuated by a rod which interacts with a corresponding cylinder projection arranged eccentrically on the gearwheel. The "lifelike" lip movement transmitted by the doll is, however, far from real life.

Furthermore, we refer to the European patent application published under No. 0150690, whereby the movement of the doll's eyes is solved by such a gear, which is mounted about a vertical axis arranged in the interior of the head and which is in actuation connection with the eyeballs.

Neither the above solution, nor the previous training that may be combined with it, give the dolls real life, or enable such facial expression on stage or in the film, which is required and accepted by the new media.

The new media - film, video, television - are realizing a new quality of viewing. The viewer not only looks at the doll from the best possible viewer position. He sees her immediately in her full form - and even her face enlarged on screen - right in front of him.

Although the artistic expression of the "classical doll" with its "classical characteristics" - constant facial expression, shape as a whole and in its behavioral possibilities is shaped and limited by the playing technique, which has remained unchanged for centuries - these media also open up the possibility and hence the question of dolls and figures, the newly opened dimension in the figure theater - the "play in close-up", the artistic possibilities and dimensions of expression gained through new facial expressions and controlled facial expressions - to use and to be artistically conquered.

For these claims, figures or figure systems - primarily for hand puppets and in a dimension that corresponds to the classic hand puppet, i.e. e.g. can be played by a puppeteer with one hand as a hatchet - which are marked:

1. Through the envelope

The dolls have an elastic, shaped envelope. The material consists of plastics, foams, rubber-like, rubber-elastic materials to fabric or even leather. It preferably consists of a correspondingly and / or variably thick foam material, which is cast or pressed into the corresponding shape, the shape features and shapes such as folds, beads, and the like. takes over.
This skin corresponds to the outer body shell of living things. It encloses all visible, uncovered body parts of the figures.
It also bears the essential form elements of the outer shape - formed in the mold according to the shape. For this purpose, because it is flexible material, it is supported and supported everywhere at the points by an inner frame, which also corresponds exactly to its shape, ie it is direct, flexible or with these firm contact where no or only slight deformation of this outer skin is necessary. They correspond to the places of the corresponding natural shape, at which the outer body shell or skin also shows hardly any changes or mobility / these are, for example, for the human figure: almost the entire hairy head, the zygomatic area, the bridge of the nose, the lower jaw frame, etc./. The "inner frame" defines the rough dimensions. The above-mentioned skin is placed over it, which at the same time bears the fine features, characteristics and form elements of the "shape".
For different effects in the deformation of this shell, the later facial expression, the skin can be formed in different thicknesses and / or material - from the inside - can be worked up / Example: cotton or finest foam material under the cheek parts /.
As a result, the shell or skin receives different, or targeted or desired, different mechanical properties.

2. Through the internal structure

• a. in ihrer absoluten Kraft,
• b. in ihren Richtungen, ganz besonders aber
• c. in ihrem Ansatz - punktförmige, flächenhafte, feste, flexible oder gleitende Verbindungen usw. - zuvor festgelegt, realisiert und kontrolliert werden /entsprechend den beabsichtigten Wirkungen/.

Beispiel:
Bei einer menschlichen Puppe kann der gesamte Unterkiefer - entsprechend dem menschlichen Unterkieferknochen - durch ein festes, selbstverständlich dadurch bereits auch formgebildetes, dem Original nachgestaltetes Bügelelement gebildet werden, das um die Kiefergelenksachse schwenkbar ist und damit Mundöffnen und -schliessen ermöglicht.
Hier ist keine feste Verbindung zwischen Bügelelement und Hülle nötig, da sich die Hülle - formbedingt - um das Bügelelement legt, dieses die Hülle in seinen Auslenkungen mitführt und die minimalen - durch die Gestaltung von Hülle und Bügel zu beeinflussenden - Relativbewegungen und Verschiebungen zwischen Hülle und Bügelelement dessen Bewegungen die "Starre" nehmen, dadurch - dem natürlichen Vorgang genau analog - sogar dem Original weiter näher kommen.
Als weiteres Beispiel muss ein Mundwinkel in der Hülle, der - unabhängig von geöffnetem oder geschlossenem Mund - für einen heiteren Ausdruck nach oben, für eine traurige Stimmung nach unten zu führen ist, fest und punktförmig an eine innere Struktur gekoppelt sein, die dieses bewerkstelligt, um den Effekt in allen Nuancen zu beherrschen.
Diese Innenstrukturen sind vorzugsweise über Stempel-, Bügel-, Hebelmechanismen usw. realisiert, die an definierten Kontaktstellen mit der Hülle entsprechende Druck-, Zug- oder andere mechanische Wirkungen hervorrufen und damit mit der Hülle den mimischen Effekt generieren. Die Mechanismen müssen in Kraft, Amplitude, Richtung usw. dem zu erzielenden Effekt exakt angepasst sein.
Am geeignetsten sind logisch-systematische, an vorgebildeten anatomischen Strukturen der Vorlage /Originalgestalt/ orientierte Lösungen /als Beispiel s.o.a. Unterkiefer/.
Die Verankerunge oder das Punktum Fixum für diese Strukturen liegen im Innenraum der Figur - an einer zentralen Achse oder anderweitigen im Inneren liegenden Hilfskonstruktionen.One task of the internal structures has already been mentioned with the design and support for the outer shell - with examples.
Around this outer shell for corresponding deflections, deformations and movements in molded parts or as a whole, which are intended to implement and convey a facial expression or expression / eg frown, eyelid closure, mouth opening etc./ - to be precisely defined and always reproducible in an identical manner, must correspond to them - "from the inside", as with a natural shape Act forces.
These actions must:

• a. in their absolute power,
• b. in their directions, but especially
• c. in their approach - punctiform, areal, firm, flexible or sliding connections etc. - be determined, realized and controlled beforehand / according to the intended effects /.

Example:
In the case of a human puppet, the entire lower jaw - corresponding to the human lower jaw bone - can be formed by a fixed, of course also already shaped, temple element, which can be pivoted about the axis of the temporomandibular joint and thus enables mouth opening and closing.
There is no need for a fixed connection between the bracket element and the sleeve, since the sleeve - due to its shape - is placed around the bracket element, which carries the sleeve in its deflections and the minimal ones - through the design of the sleeve and shackle to be influenced - relative movements and displacements between the sheath and the shackle element, the movements of which take away the "rigidity", thereby even closer to the original - exactly analogous to the natural process.
As a further example, a corner of the mouth in the shell, which - regardless of open or closed mouth - must be led upwards for a serene expression, downwards for a sad mood, must be firmly and punctually coupled to an internal structure that accomplishes this, to master the effect in all nuances.
These inner structures are preferably realized by means of stamp, bracket, lever mechanisms, etc., which produce corresponding pressure, tension or other mechanical effects at defined contact points with the casing and thus generate the facial expression with the casing. The mechanisms must be exactly matched in force, amplitude, direction, etc. to the effect to be achieved.
The most suitable are logical-systematic, based on pre-formed anatomical structures of the template / original shape / oriented solutions / as an example soa mandible /.
The anchoring or the point fixum for these structures lie in the interior of the figure - on a central axis or other auxiliary structures located inside.

3. By power transmission

Due to the spatial conditions - the volume of the head of a classic hand puppet is around 15 to 20 ccm³; in this head there is also a finger end link of the puppeteer / this applies in the same way to figures of larger dimensions, if you look at eyes, eyebrows or the like. thinks / - are mostly no possibilities for motors or the like in the figures themselves, which provide the force for the actuation of the levers and other structures.
The parts to be actuated inside, levers etc. are connected via Bowden cables to elements which provide the force and lie outside the figure, ie they are articulated to the cable elements of Bowden cables / or integrated into hydraulic mechanisms /.

4. Through the development of strength

The Bowden cable sheath and core are each coupled to a motor or servomotor located outside the figure or doll, which - coordinated in terms of force and deflection - causes the coupled inner structure to make corresponding deflections.

5. By controlling power development

If these motors or servomotors are connected to corresponding motion-analogous control elements, deflections in the controller lead to analogous deflections in the shell corresponding to the deflections.
They each realize a linear movement element - or in combination with several one expression - within the movement or "expression" possibilities of the overall figure.
/ For the special case of a hand puppet that can be played with in all technical details, the procedure described above has already been registered for patenting with the German Patent Office under No. P 39 01 079.1-42. /

In the following, a method is announced, according to which all acoustic, mechanical and optical effects can be increased to the artistic optimum with the means of modern technology when working with audio-visual carriers - with special consideration of the facial expressions and the differentiated animation of the figures.

Differentiated mobility, especially differentiated facial expressions, requires the high number of individual controls, individual mobility - e.g. Closing eyes, movement of the eyes up and down, to the right and left, opening the mouth etc. - as well as incorporating these individual movements into the "overall movement" of the overall effect, the overall expression - to mention just a few points of view.

The high number and the complexity of the individual control systems that are required simultaneously can be too demanding for the puppeteer - regardless of the obligatory, high-quality, special training effort and the transfer "as puppeteer" - especially since the technique of animation and controls can vary from puppet to puppet or some figures and some techniques only for one scene or an adjustment may be required.

The object of the invention is based on the task of achieving a figure that is as close as possible to life and reproducible figure movement and movement. This object is achieved by a method for realizing the artificial shape-genre facial expressions and shape-genre choreographies that are equivalent and aesthetic to vital shape-genre facial expressions and shape-genre choreographies, in the animation of artificially movable shape genres , for example dolls, mimic dolls, doll animals, toys or entertainment figures, doll plants, objects, their entire and / or partial design surfaces and design members being moved in such a way that the doll-like movements of the entire and / or partial design surface and design members are eliminated, So the continuous and movement-free continuous movements are carried out in a "puppet-like" and personified way, with storage, playback and optimization of the acoustic, optical, mechanical, electrotechnical and electronic effects. The essence of the invention lies in the fact that the puppet-like, continuous, movement-free movement related to any surface or shape molding of the artificially moved shape is integrated by the mechanical, electrotechnical and electronic components to form such an animation, coordination-technical system, which electronically controlled, self-correcting optimized and electronic / endogenous / self-combining, puppet-like, continuous and movement-free movements of all or part of the form elements and all or part of the surfaces of the figures guaranteed.

The circuit arrangement for carrying out the method is characterized in that direct and indirect control means are assigned to the artificially movable shapes, of which the indirect control means are in control connection with a computer which also contains a memory, an analog-digital-analog converter and a decoder, and a decoder , at least two tracks containing magnetic tape carrying sound and time code are connected to the interposition of a controller and the movement of the doll continues to control the sound and light effects by the above components in a reproducible manner.

The circuit arrangement according to the invention can further be characterized in that the simultaneous movement of several objects, e.g. Dolls and the provision of these movements with sound and light effects is made possible.

The technical progress of the subject matter of the invention is above all that we can simulate, reproduce and optimize natural movement and facial expressions using artificial and natural control. This functional success cannot be achieved with any of the publications that have become known.

A method supported by a computer is described below using the example of a maneuverable doll that enables the animation to be optimized.

The sound is created based on the script in the listening studio. Namely, language or dialogues - taking into account the puppet show that will accompany it later - are created like for a radio play. Then the noises - especially promoters such as Thunder, door bang etc. - added to enable the puppeteer to react appropriately.

If possible, music can also be added at this stage - if provided - to further 'animate' the puppeteer in his action.

The finished mixed sound, playable from a sound carrier, forms the game template on which the Puppeteer oriented directly in his animation of the puppet.

In the case of facial expressions, the dolls are guided "directly", i.e. the puppeteer wears - e.g. the hand puppet - on hand and gives it physicality, rough shape and movement.

For more differentiated facial expressions and behaviors, he needs tools, the "indirect animation", i.e. a movement is e.g. not symbolized and realized by the analog movement of fingers or hand itself, but by means of aids.

Via servomotors within a suitable mechanism, transmission of the force through Bowden cables and the action of the same on a suitably designed cover are e.g. finest movements in smallest dimensions possible - a servomechanism for every one-dimensional or linear movement. These linear movements - whether mediated via servomechanisms or otherwise - can be controlled or regulated.

A large number of movement possibilities requires a corresponding amount of such linear movement possibilities, or channels with associated controllability and controllers.

The rules activated by the puppeteer - qualitatively and quantitatively - are saved as to how speech can be stored on a tape.

Since the individual controls from the player "analog" - e.g. operated by a slider, the storage requires an analog-to-digital conversion.

If the stored controls are reproduced - under digital-analog conversion - and fed into the original channels, the computer reproduces the original controls in the channels and thus the original animation.

The circuit block diagram used to implement the method is explained in more detail in the accompanying drawings.

Figur 1 -

die "Aufnahme"-Situation

Figur 2 -

die "Wiedergabe"-Situation.

Other features of the invention will be apparent from the description made hereinafter with reference to the accompanying drawings. Of course, the description and the drawings are only given as an illustrative example, but are in no way intended to be limiting.
Show it:

Figure 1 -

the "recording" situation

Figure 2 -

the "playback" situation.

In FIG. 1 it can be seen that in the "recording" position, a tape 1 is connected to a encoder 2 / a arranged in the computer 2. The - in the simplest case - two-track tape leads the entire sound on one track / on a track composed of speech, sound and music mixed sound /. During the first-time admission situation, the one in the network gives Computer 2, or the encoder 2 / a, on the second, previously empty track of the tape, a continuous code that individually identifies each marking point. The computer also accepts these code marks in its memory 2 / c.

Also stored in memory 2 / c is the signal, which is digitized by an analog-digital converter 2 / b and which originates from the indirect, analog control 3 - implemented in the controller 5 - and which moves the puppet 7 - however absolutely synchronously with the sound track or the Sound, to the identical code, ie continuous code signals coupled as they were already recorded on the second audio track. The code now gives the computer a clear and unmistakable assignment and assignability between each marked position on the game template, that is to say the sound, and the regulation implemented at that precise moment.

The direct movement of the doll 7 takes place by means of direct control 4, e.g. by hand. Number 6 corresponds to the control track, number 10 the sum of all one-dimensional regulations which, together with the direct control from number 4, act on the system doll 7 and implement the "play" overall.

In the case of the "playback" situation according to FIG. 2, there is the difference in comparison to the function described above that the coder 2 / a works as a decoder, the analog-digital converter 2 / b as a digital-analog converter. The magnetic tape 1 guides the code signals stored absolutely synchronously to the sound into the decoder during playback.

This code enables the computer to activate the digitized control and regulator information from the memory 2 / c provided with the identical code. After digital-to-analog conversion, these signals are fed back into control track 6.

The "sound game" is a template for the mechanical game or the entire course of action and secondarily for its storage.

Of course, movements without a parallel "radio play" - in the style of a pantomime - can also be saved. It makes sense - and again expands the possibilities - to give acoustic information, signals, sequence instructions, directing or other instructions to the player - in parallel and in synchronization with the control signals to be stored.

Of course, this information and signals can also be added to "normal" radio plays, which provide help and orientation in the process to the single player as well as the entire team.

The code not only corresponds to a constant time cycle, but also contains the identifier for any position on the game template, ie the sound game. This necessarily makes the code more complex than a pure clock cycle. However, processing is facilitated by the time-linear and identical sequence of a scene and thus the storage sequence on the tape and / or on the memory assigned to the computer 2.

On the other hand, however, this ensures that any point in a scene - for rehearsals, settings, recordings, corrections, etc. - can be found and reproduced in an identical manner. The sound provides the acoustic identification of a scene for the puppeteer. The code enables the computer to assign and control the corresponding digitally stored signals.

Editing and optimization

After playback, the computer - after digital-analog conversion of the stored signals - takes over the control in the previously saved channels.

The possibility of regulation by the puppeteer in the corresponding control lanes can be completely switched off. The puppeteer no longer needs to control this channel.

However, the analog regulation can also remain "dominant". This means that when the rules or a controller is actuated by the puppeteer, this control takes place - if it is not actuated, the saved, digital-analog converted impulses the regulation.

The puppetplayer's analogous regulation can be retained "quantitative-modifying". /D.h. Reinforcement or reduction of the specified or saved regulations by the player, i.e. the player only regulates pre-existing regulations via "plus" and "minus" ./

It can remain "qualitatively modifying" / ie. the puppeteer can operate the corresponding control continuously or depending on the situation. The computer integrates the saved and current regulations and impulses for effective, effective regulation.

Thanks to our process, several, any number or all channels can be recorded simultaneously - individual or any number of channels can be recorded successively.

The procedure allows the subsequent - i.e. if recordings have already been made and / or the overall recording "is" - correct individual or multiple channels.

Corrections:

• 1. Correction of the entire stored control of a channel of a scene - for example by completely re-recording this channel, with the remaining program of the overall system unchanged.
• 2. Correction of individual sequences within the stored control of a channel / whereby the computer adjusts the data, i.e. especially the connection points take over - see below /.
• 3. Correction of the entire stored control or individual sequences within the stored control of a channel "quantitative" - i.e. Increase or decrease the intensity of the digitally stored control impulses of one or any channels by a certain percentage to be controlled. This corresponds to an increase in the reduction in speed and intensity or force on the regulated reference route - e.g. in the regulated mouth of a doll: faster, slower and wider or narrower mouth opening.
• 3a. "Dry" correction / without doll involvement, i.e. without accompanying play / by entering or programming the system - stored controls of one or more channels, in whole or in any sequence by a percentage to be determined.
• 3b. Analog "Life" correction / i.e. during the game / possibility for the puppeteer or the director to quantitatively modify the intensity of the stored control signals of one or any channels during the course of the game - that is to say during playback.

Further optimization options:

• A. Programming of various concrete, to be defined static control situations or elements / static expression "recordings" - consisting of one or any number of individual control channels with concrete states in the various individual controls that build up the expression / as continuity or target states in the course of the game.
  Ie a certain regulation in one or at the same time different positions in corresponding different regulators, which corresponds to a static state, a kind of "snapshot" in the system puppet / eg expression of fright /, - regulator for regulator - can be set, selected and / or selected .
  After acceptance, the computer can insert this state at any point in the game process - within the computer-controlled game. The computer also adapts this "static individual setting" into the game sequence to a continuous game flow, which, however, has the previously defined system state at the target point.
  The duration or the temporal retention of this setting - as well as, for example, the adaptation intervals of the existing data flow to this target point and from there back to the pre-existing data flow - can be made variable and situation-specific.
  This method can be implemented with one or any number of channels, ie movement elements, once or at any frequency in the course of the game.
• B. Programming dynamic sequences
  This means that the computer takes over the continuous control in one or in any number of channels to be defined beforehand, which are involved, for example, in an effect or dynamic expression, within a time interval that is exactly to be defined, but in principle any length.
  These defined movement sequences or control sequences can now be inserted into the existing data flow or game sequence as under A. and adapted accordingly.
  Examples:
  spontaneous eyelid closure at an irregular, natural frequency - overlapping in the otherwise action-dependent control of eyelid movements
  or: continuous, sometimes briefly interrupted tip movements in a dog, etc.
  of course also motor tics or peculiarities of a figure
  These movement sequences can also be edited yourself - e.g. stretching or compressing over time, regulating / limiting, reducing or increasing the intensity / amplitude of the control, etc.
• C. Simple linking of movement elements
  Examples:
  Slightly lower the eyelids when looking down, or
  slight mouth opening with maximum rotation of the head etc.
  In other words, when a particular channel is activated to the maximum, another or more are also activated or suppressed - qualitatively and quantitatively precisely defined and coupled in terms of the duration.
• C.a. These links range from connecting individual channels to
• Cb movement patterns, ie the linking of an entire family of individual channels
  Example:
  At maximum mouth opening, simultaneous max. Eyelids open with the eyeballs fixed straight ahead
  As shown, the link can also be a decrease in activity in another channel - not just a parallel increase in activity.
• D. Programming of more complex, already qualitative and quantitative elements of expression and mood, better "backgrounds".
  Example:
  Sadness - oppression: smaller eyelid gaps, i.e. slight lowering of the eyelids, slightly hanging corners of the mouth - as a starting point for the facial expressions of a mouth, activation limitation all channels - eg mouth opening only to 50% max. possible etc.
  The puppeteer leads and plays on the puppet - directly and solely via the indirect control.
  The mood, which influences a sad person in life from the outset in terms of his activity and expression, slows down, slows down, can be specified here in an analogous manner or integrated as an overlay for direct control.
  The player leading the doll on the one hand - usually one person - e.g. director or other players - outside - can also enter such programming, analogous to a one-dimensional regulation from minimum to maximum:
• Because during the first game itself
  Storage:
  Game controls themselves + programmed controls
• Db During playback, adding programmed control
  Storage:
  • Dba Played control + programmed control
  • Dbb original control alone
• Dc programming before playback - in addition to the stored content:
  • Dca playback realizes stored content + programming
    Re-storage: originally saved control + programmed control
  • Dcb playback as with Dca
    Re-saving: original control unchanged
  • Dcc playback as with Dca
    Resave: both versions
  With these methods, predetermined or already developed control, behavior and expression modes of the figures can be further "colored" - for example, overlaid with moods, strengthened and compared.
  Further optimization options:
• E. Computer-controlled integration of various individual controls.
• Ea integration of different saved and / or saved and played controls in identical channels as described above - to an effective control
  • aa complete data series
  • from one or more complete data sequences with selected individual sequences of identical channels for defined positions.
• Eb Integration of different channels from different data series or sequences into a new data series.
  Example:
  Linking the channels for mouth movement from data sequence x with data channels for eye movements from data sequence y to overall file z.
• F. Processing the controls using computer graphics.
  The entire controls, ie stored controls in the different channels, can be displayed graphically - for each channel individually, several channels together, etc. - with the control status as an amplitude depending on the time sequence - also identified here by the code.
  These graphics can be edited with the help of common or adapted computer programming and programs.
  In this way - by modification in and on the graphics - corrections, insertions and, above all, adaptations can be carried out with great preference, and their effect can be assessed in advance.
  The computer adopts the final graphics in corresponding data values and sequences, ie again in control sequences that correspond exactly to the graphics and are modified in accordance with the processing.
  This process, with all its possibilities, is comparable to the editing of a score as a template - all effects together, as in the individual channel, can be represented, recorded, compared and adjusted, changed, maintained or completely eliminated depending on the situation as a whole - in isolation as from the overall point of view of the whole Systems.
  All possibilities of a "purely theoretical" game structure open up here, ie at the end of the process the puppet performs movements that it has never shown in this way before.
• G. In contrast, there is the computer-controlled regulation of the puppet, which is performed spontaneously by the puppeteer.
  The control via controller is not addressed here - no computer would be necessary for this.
  If, for example, the puppeteer of the puppet directly "lends his voice" in the game, ie speaks "life" to the actions, speaks the puppet dialogue into a microphone, the computer can be coupled to the acoustic signals and then - frequency and amplitude controlled - the Appropriate, synchronous control of the mouth, or the mouth area take over.
  According to this example, further direct controls are possible, which can be used with advantage especially in theater - but also in film - and are triggered by the direct, situation-specific and conditioned reactions of the player.
• H. Exclusively computer-based procedures self- or computer-controlled correction programs
  Examples:
  • Ha Correction / elimination by the computer / of "technical errors" / drop outs in connection with the tape or the like / and resulting incorrect regulations
  • Hb Alignment or adaptation to "hard" regulations, that is, phenotypically jerky or robot-like regulations
  • Hc Exclusion of incompatible or system-endangering regulations / e.g. in a dog with long ears that the left and right ears touch, interfere with one another, damage etc./
• I. Self-controlling and self-generating processes and programs
  After defining and storing, or taking over individual movement and behavior components and actions, the computer can independently adapt and generate certain sequences.
  Examples:
  Go; Determination of lifting of the thigh, bending of the knee, lifting of the forefoot etc. as well as their linking options;
  In the case of translation movements, the computer can sensibly control the individual elements and combine them "autonomously".
  In the outlook, the computer - analogous to the chess computer - can independently generate entire behaviors and reactions.
  With the method presented, the system as a whole can be optimized both quantitatively and qualitatively. From the completely hand-guided and currently situation-dependent and game-controlled behavior and expression to the completely computer-generated appearance of the puppet, all variants are possible - both in the film, animation studio and on stage.
  This system can of course not only be used in the animation of hand-guided puppets - hand puppets - but for puppets in the broadest sense.
  The doll can also act without direct animation by a player. The system and the method enable the computer-aided and controlled phenotypically "autonomous doll and figure".
  There are no limits to the differentiation in expression and behavior within the system and process. This means that any number of functions can be used in any gradation and complexity.
  Subsequently, it should be mentioned that in addition to the motor skills of the dolls or their animation, the entire light of a staging can be optimized analogously. As mentioned several times, the method is not limited to hand puppets or puppets in general. It can also be used in puppet animation - as well as any production that works with effects that do not act autogenously - such as the actor - but "from the outside" must be controlled.

• a. Erhebliche Einsparung von notwendigen Puppenspielern /Übernahme von Funktionen und Steuerungen durch den Speicher, anstelle weiterer Puppenspieler, die über Fernsteuerung - sei es drahtlos oder über Kabel - allein oder zusammen mit weiteren ein System oder eine Figur animieren./
• b. Erheblich geringere Belastung des Puppenspielers /sowohl "physisch" wie in der notwendigen Konzentration auf sämtliche Einzelsysteme und deren exakte Synchronisation/ durch Entlastung von gleichzeitig notwendigen, aber im Konzentrationsverlauf und in Aufmerksamkeitszuwendung konkurrierenden "Zusatzaufgaben" /Betätigung von Mund, Augen, Augenbrauen, Augenlid usw. - wobei sich zusätzliche Funktionen nicht nur additiv in der Bewältigung verhalten, sondern ähnlich der Anzahl gleichzeitig zu jonglierenden Bällen, mit jeder die Schwierigkeit der Gesamtaufgabe zunimmt/.
  Der Puppenspieler kann sich wieder - wie bei der "einfachen" klassischen Handpuppe vollständig auf den Ausdruck der Gesamtfigur in Körperhaltung und Ausstrahlung widmen.
  Wobei die Zahl gleichzeitig zu bedienender Funktionen - ohne den künstlerischen Gesamtaspekt zu beeinträchtigen - auch für versierte Puppenspieler und Akteure begrenzt bleiben muss.
  Bei Übernahme von Funktionen durch weitere Akteure entsteht unmittelbar ein zusätzlicher hoher Trainingsbedarf, um die Gesamtaktionen - von verschiedenen Spielern initiiert - so ablaufen zu lassen, dass sie wie aus "einem Guss" erscheinen.
• c. Der jeweils "beste Spieler" für einen Effekt oder eine Bewegung kann diese successiv für jede Puppe spielen und speichern.
• d. Die Synchronisation von Spielvorlage und Spiel /z.B. Sprache und Mundbewegungen o.dgl./ gleingt in nahezu beliebiger Präzision und in dabei unvergleichlich kürzerer Zeit, da sich der Puppenspieler dabei:
  • 1. ausschliesslich auf diese Einzelsynchronisation konzentrieren kann /die anderen Bewegungen können später - successiv - gespeichert werden/
  • 2. alle einmal "mit gelungenen Bewegungen und Effekten" endgültig erhalten bleiben, bzw. gespeichert sind
  • 3. Fehler, bzw. weniger gute "Teile" von ganzen Passagen bis zu Einzelaktionen - entwender ganz korrigiert werden können /ohne Zwang "das ganze wiederholen zu müssen" und dabei gleiche oder ev. neue Fehler zu riskieren/ durch die Möglichkeit gezielter Neueinspeicherung, Adaptation der vorhandenen Regelung usw.
• e. Bestehende, in Einzelaspekten perfekte Teile weiter vervollkomment werden können /z.B. eine zur begleitenden Sprache perfekt getime'te, aber in der Ausführung zu gering angesetzte Mundöffnung/.
• f. Die zeitliche Abstimmung von Spielvorlage und Spiel für einzelne Spielabschnitte wie für den Gesamtverlauf "ohne Puppenspieler", ohne eine "Art Generalprobe" und vor der Arbeit "mit der Kamera" in der Graphik kontrolliert - und wenn notwendig - nochmals adaptiert werden können.
• g. Erstmalig die Möglichkeit - z.B. für den Regisseur oder andere Personen - nicht nur unterweisend die Produktion, bzw. das Spiel zu führen und zu begleiten, sondern direkt, und zwar sowohl quantitativ wie qualitativ das Spiel mitgestalten zu können.
• h. Die Möglichkeit, verschiedene Spielaspekte direkt zu vergleichen, da identische Qualität der gespeicherten Bewegungsaspekte garantiert.
• i. Erheblich verkürzte Produktionszeiten, da die gespeicherten und durch den Speicher gesteuerten Bewegungen identisch und "fehlerfrei" ablaufen /und durch die geringere Belastung der Puppenspieler auch die "Spielerinduzierten Fehler und notwendigen Wiederholungen" abnehmen dürften/.

Finally, reference should be made to some economic, not insignificant aspects of the process:

• a. Considerable savings on the necessary puppeteers / taking over functions and controls through the memory, instead of additional puppeteers who, by remote control - be it wireless or wired - alone or together with others animate a system or a figure. /
• b. Significantly less strain on the puppeteer / both "physically" and in the necessary concentration on all individual systems and their exact synchronization / by relieving the "additional tasks" that are necessary at the same time, but competing in the course of concentration and attention-grabbing / actuation of mouth, eyes, eyebrows, eyelid, etc - with additional functions not only behaving additively in coping, but similar to the number of balls to be juggled at the same time, with each increasing the difficulty of the overall task.
  The puppeteer can again - as with the "simple" classic hand puppet - devote himself completely to the expression of the overall figure in posture and charisma.
  The number of functions to be operated simultaneously - without affecting the overall artistic aspect - must remain limited even for experienced puppeteers and actors.
  When functions are taken over by other players, there is an immediate need for additional training in order to allow the overall actions - initiated by different players - to take place in such a way that they appear to be "from a single source".
• c. The "best player" for an effect or movement can successively play and save it for each doll.
• d. The synchronization of the game template and the game / e.g. speech and mouth movements or the like / takes place with almost any precision and in an incomparably shorter time, since the puppeteer:
  • 1. can concentrate exclusively on this individual synchronization / the other movements can be saved later - successively /
  • 2. all once "with successful movements and effects" are permanently retained or saved
  • 3. Errors, or less good "parts" from entire passages to individual actions - the user can be completely corrected / without having to "repeat the whole thing" and the same or possibly new ones Risk of errors / through the possibility of targeted re-storage, adaptation of the existing regulation, etc.
• e. Existing parts that are perfect in individual aspects can be further perfected / e.g. a mouth that is perfectly timed to the accompanying language, but the mouth opening is too small in design /.
• f. The timing of the game template and game for individual sections of the game as for the overall course "without puppeteer", without a "kind of dress rehearsal" and before work "with the camera" in the graphics can be checked - and if necessary - adapted again.
• G. For the first time, the possibility - for example for the director or other people - not only to teach and guide the production or the game, but also to be able to help shape the game, both quantitatively and qualitatively.
• H. The possibility to compare different aspects of the game directly, since identical quality of the saved movement aspects is guaranteed.
• i. Significantly shorter production times, since the movements stored and controlled by the memory run identically and "error-free" / and the "player-induced errors and necessary repetitions" should also decrease due to the lower load on the puppeteers /.

Claims (3)

Process for realizing the artificial form-genre facial expressions and form-genre choreographies that are equivalent and aestheticizable to vital form-genre facial expressions and form-genre choreographies, in the animation of artificially movable form genres, e.g. dolls, mimic dolls , Puppet animals, toys or entertainment figures, doll plants, objects, their entire and / or partial design surfaces and design elements being moved in such a way that the doll-like movements of the entire and / or partial design surface and design elements are eliminated, i.e. the continuous and movement-free continuous movements Movements are performed in a "puppet-like" and personified manner, with storage, reproduction and optimization of the acoustic, optical, mechanical, electrotechnical and electronic effects, characterized in that the artificially moves on any surface or shape part Shape-related, puppet-like, continuous, movement-free movement through the mechanical, electrotechnical and electronic components, integrated into such an animation, coordination system which guarantees the electronically controlled, self-correcting, optimized, and electronic / endogenous / self-combining, puppet-like, continuous and movement-free movements of all or part of the form elements and all or part of the surfaces of the figures. Circuit arrangement for carrying out the method according to claim 1, characterized in that direct and indirect control means are assigned to the artificially movable shapes, of which the indirect control means by means of a, with an analog-digital-analog converter / 2 / b / and a decoder / 2 / a / furthermore, a memory / 2 / c / containing computer / 2 / magnetic tape / 1 / which is in control connection and contains at least two tracks and carries sound and time code / with the interposition of a controller / 5 / and the movement of the puppet / 7 / the sound and light effects are controlled in a reproducible manner by the above components. Arrangement according to claim 2, characterized in that the simultaneous movement of several objects, for example dolls and the provision of these movements with sound and light effects is made possible.

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