1, Yu, J-H & Patterson, J. "Criteria for Animation Assessment" Proc Computer Animation '97 (June 1997)
This paper describes methods for deciding which of several different in-betweening techniques to invoke. It starts off with the assumption that no single in-betweening technique will be effective in all situations and develops rules for deciding which to use.
2, Yu, J-H & Patterson, J. "A Procedural Fire Model for Computer Animation" Proc EUROGRAPHICS Workshop on Computer Animation '96" (September 1996) Springer-Verlag 1996
This is the first of Jinhui Yu's 2D procedural models for replacing animation libraries. Procedural models are widely used in 3D graphics but they can be applied to cartoon animation also.This paper hints at a generic model for procedural models for ephemeral effects. The problem here is that there is no frame-to-frame continuity for individual elements like flame edges, foam in water waves etc. so none of the in-betweening models which assume that such frame-to-frame coherence is present will work. This work was later developed further for Yu's PhD thesis (1999)
3, Patterson J & Willis P.J. "Computer-Assisted Animation: 2D or not 2D" Comp J Vol 37 No 10 (1995)
This was an invited paper for the Computer Journal and surveyed what we thought was the state-of-the-art in 1994. We were working with Cambridge Animation Systems on the ANIMAX project at the time so were able to see first hand what was happening in the commercial animation software market.
4, Patterson, J & Todd, S.J.P. "Digital half-Toning Using Dot Modelling" Proc EG UK 94 (March 1994)
This is a paper I did with Stephen Todd (IBM UKSC) following his 1993 sabbatical here. When he was here we developed a half-toning technique which took into account statistical information about dot shape. By compensating accurately for the amount of pigment actually placed on the page our halftone images, made with a modified Floyd-Steinberg error diffusion technique, looked a lot smoother and showed greater colour fidelity than images using uncompensated or empirically compensated halftone techniques. Unfortunately images produced by the method don't survive photocopying so the images in the printed paper don't exactly do justice to the technique. Attempts to get the paper printed failed because we couldn't get the printers to give us the right information about their printing devices. The paper contains images half-toned by various methods, including ours.
5, Patterson, J, Cockton, G "Composition of Hierarchically Structured Images" Computer Graphics FORUM Vol 11 No 3 (1992)
This paper is a curiosity. The first part actually contains an advanced digital compositing technique which tackles the 'correlated matte' problem directly, essentially by generating pixel maps showing how the colour is laid out within it. The standard compositing functions are extended to use these pixel maps from which alpha values may be extracted as required. Since maps for pixels with 8-bit deep primaries are at least 256 bits (or 32 bytes) in size carrying such bitmaps around all the time is impractical, but there is a simple method for deciding when they are required for vector drawings such as are found in animation, or the user interfaces of the time. The second part of the paper describes rules for using 2-bit maps for compositing drawn images on bi-level screens.
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