Abstract Facial animation is one of the most labor‐intensive aspects of animation and VFX, as traditional rigging consumes weeks of expert time and forces animators to spend countless hours manipulating hundreds of controls to achieve varied expressions. This technical complexity creates a barrier between artistic vision and execution, limiting creative exploration and iteration. In this paper, we introduce CANRig , a fully automated neural facial rigging approach that simplifies the process of creating and editing facial poses by benefiting from global correlations learned from data. Unlike existing neural face models that either sacrifice local control or demand extensive manual region setup, our method introduces continuous local control through a novel conditioning mechanism that operates on a variable region. By modeling deformation as cross‐attention between control handles and mesh vertices—modulated by a user‐defined region—we enable seamless transitions from precise local adjustments to broad global changes. We further expand our method with a shape‐preserving workflow that enables iterative edits, guaranteeing that changes remain untouched even as controls are reconfigured. Our method delivers the best of both worlds: the automation and naturalness of neural methods with the granular control that professional animators demand, and we demonstrate its effectiveness across multiple applications in both animation and high‐end visual effects pipelines.

Abstract Human motion data is inherently rich and complex, containing both semantic content and subtle stylistic features that are challenging to model. We propose a novel method for effective disentanglement of the style and content in human motion data to facilitate style transfer. Our approach is guided by the insight that content corresponds to coarse motion attributes while style captures the finer, expressive details. To model this hierarchy, we employ Residual Vector Quantized Variational Autoencoders (RVQ‐VAEs) to learn a coarse‐to‐fine representation of motion. We further enhance the disentanglement by integrating codebook learning with contrastive learning and a novel information leakage loss to organize the content and the style across different codebooks. We harness this disentangled representation using our simple and effective inference‐time technique Quantized Code Swapping , which enables motion style transfer without requiring any fine‐tuning for unseen styles. Our framework demonstrates strong versatility across multiple inference applications, including style transfer, style removal, and motion blending.

Realistic animal motion for virtual production is typically obtained either through motion capture of highly trained performers who accurately mimic animal behavior, or by retargeting ordinary human motion using complex control setups. Both approaches are challenging and often fail to fully reproduce the nuances of natural animal motion, motivating data-driven alternatives. We present an automatic human-to-quadruped puppeteering framework that produces plausible and controllable quadruped motions from ordinary human motion data. Our approach employs a two-stage generative diffusion model trained purely on quadruped motion data. By introducing a structured conditioning and inpainting strategy, our method supports a wide range of actions, including walking, running, jumping, sitting, and lying. Furthermore, we enable fine-grained intuitive control of the quadruped motion such as head movement control and individual limb puppeteering. Experimental results demonstrate improved motion realism and controllability compared to existing retargeting approaches, highlighting the effectiveness of our framework as a tool for animation and virtual production applications.

In this study, a new distributed technique is introduced to address the economic dispatch problem. Unlike traditional methods, our approach operates in a decentralized way, eliminating the need for a central control unit. We leverage symmetric communication networks to facilitate information exchange among participating entities. Our analysis demonstrates that the estimated solutions produced by the proposed dynamics display exponential convergence towards the optimal value of the dispatch problem for connected networks. Furthermore, we undertake assessments utilizing an IEEE benchmark to evaluate the effectiveness of the approach we put forward.

Creating high-quality character animation remains an intricate and cumbersome process that requires skill, training, and craftsmanship to master. Recently, diffusion models have unlocked the ability to generate diverse movements from high-level condition signals such as text. For artist-friendly control, motion diffusion leveraging Bézier curves have been shown to allow precise joint-level conditioning. Yet, these works have been limited to joints at a fixed temporal stride, while animators require more temporal flexibility when keyframing or manipulating tangents to achieve animation principles such as easing in & out. In this work, we introduce a new Implicit Bézier Motion Model (IBMM), which during training is exposed to all possible configurations of control points, enabling control at arbitrary timings. This allows both precise and sparse joint-level control, anywhere in time and for any joint. In addition, we introduce a new quantitative measure of ease-in and -out, which leads to a novel condition over the motion generation process to reflect this artistic principle.

Animation is a challenging and time-consuming process where animators must manipulate hundreds of controls over space and time to create compelling motions. Recent advances in motion diffusion models have shown impressive results for general motion generation and hold the potential to reduce the number of controls manipulated by animators to achieve high quality results. However, these models are limited by their inability to match sparse constraints precisely, preventing frame-level joint control required by artists. Additionally, recent models are trained for specific characters, preventing reuse, and are incompatible for characters with only a small datasets available. To tackle these shortcomings, we propose a novel factorization of motion between a character-agnostic Bézier Motion Model (BMM), which can be trained on a large motion dataset, followed by a character-specific posing model, trainable on a much smaller pose dataset, that enables reuse across many characters. BMM provides accuracy for meeting sparse joint-level constraints by working in a reduced space of Bézier curves that better aligns the condition signal with the prediction space of our model. Additionally, the Bézier curves offer animators an intuitive interface compatible with existing authoring software. Through quantitative and qualitative comparisons, we show the effectiveness of our factorization and parametric subspace, enabling user control with higher fidelity.

Authoring 3D motions is a laborious process that requires manipulating and coordinating many control handles over time. Neural motion representations learned from large motion datasets have recently shown impressive capabilities in many motion completion tasks. However, current methods are not designed for interactive motion authoring workflows. The reasons being their requirement of a dense context of full poses, which takes considerable time to author, as well as their lack of joint-level controls for refinement. In this paper, we introduce a Neural Motion Rig called SKEL-Betweener, tailored to interactive motion authoring. SKEL-Betweener is able to generate long motion sequences from two poses only, and enables intermediate motion authoring via neural motion curves---intuitive joint-level controls for positions and orientations. Through user evaluations, we demonstrate the effectiveness of our Neural Motion Rig for efficiently creating and editing motions.

Posing a 3D character for film or game is an iterative and laborious process where many control handles (e.g. joints) need to be manipulated to achieve a compelling result. Neural Inverse Kinematics (IK) is a new type of IK that enables sparse control over a 3D character pose, and leverages full body correlations to complete the un-manipulated joints of the body. While neural IK is promising, current methods are not designed to preserve previous edits in posing workflows. Current models generate a single pose from the handles only—regardless of what was there previously—making it difficult to preserve any variations and hindering tasks such as pose and motion editing.

In this paper, we introduce an online estimation algorithm to monitor the electromechanical oscillations in the interconnected power system operation. The proposed continuous-time adaptive algorithm, provides online estimations of the frequency and damping factor of exponentially damped sinusoidal signals. We discuss the convergence of the estimated parameters to their nominal values under several scenarios. In contrast to most of the existing adaptive techniques, the proposed algorithm does not require an a-priori knowledge about the parameters of oscillations. Furthermore, tuning of the parameters of the proposed structure is straightforward. Simulation studies are also provided to corroborate our claims.

This paper investigates the distributed economic dispatch problem in electric power systems. We propose a distributed algorithm to solve the economic dispatch problem over potentially asymmetric communication networks, without using any central control unit. In particular, the proposed algorithm is shown to converge to the optimal dispatch if the generation costs are convex and the underlying communication network is strongly connected. Simulations on the benchmark IEEE 14–bus system are used to validate the theoretical claims, and to illustrate the performance of the proposed algorithm.

Abstract Effective composition in visual arts relies on the principle of movement, where the viewer's eye is directed along subjective curves to a center of interest. We call these curves subjective because they may span the edges and/or center‐lines of multiple objects, as well as contain missing portions which are automatically filled by our visual system. By carefully coordinating the shape of objects in a scene, skilled artists direct the viewer's attention via strong subjective curves. While traditional 2D sketching is a natural fit for this task, current 3D tools are object‐centric and do not accommodate coherent deformation of multiple shapes into smooth flows. We address this shortcoming with a new sketch‐based interface called Flow Curves which allows coordinating deformation across multiple objects. Core components of our method include an understanding of the principle of flow, algorithms to automatically identify subjective curve elements that may span multiple disconnected objects, and a deformation representation tailored to the view‐dependent nature of scene movement. As demonstrated in our video, sketching flow curves requires significantly less time than using traditional 3D editing workflows.

Abstract Our work on programmable animation texturing enhances the concept of texture mapping by letting artists stylize arbitrary animations using elementary animations, instantiated at the scale of their choice. The core of our workflow resides in two components: we first impose structure and temporal coherence over the animation data using a novel radius‐based animation‐aware clustering. The computed clusters conform to the user‐specified scale, and follow the underlying animation regardless of its topology. Extreme mesh deformations, complex particle simulations, or simulated mesh animations with ever‐changing topology can therefore be handled in a temporally coherent way. Then, in analogy to fragment shaders that specify an output color based on a texture and a collection of properties defined per vertex (position, texture coordinate, etc.), we provide a programmable interface to the user, letting him or her specify an output animation based on the collection of properties we extract per cluster (position, velocity, etc.). We equip elementary animations with a collection of parameters that are exposed in our programmable system and enables users to script the animated textures depending on properties of the input cluster. We demonstrate the power of our system with complex animated textures created with minimal user input.

We present a space-time abstraction for the sketch-based design of character animation. It allows animators to draft a full coordinated motion using a single stroke called the space-time curve (STC). From the STC we compute a dynamic line of action (DLOA) that drives the motion of a 3D character through projective constraints. Our dynamic models for the line's motion are entirely geometric, require no pre-existing data, and allow full artistic control. The resulting DLOA can be refined by over-sketching strokes along the space-time curve, or by composing another DLOA on top leading to control over complex motions with few strokes. Additionally, the resulting dynamic line of action can be applied to arbitrary body parts or characters. To match a 3D character to the 2D line over time, we introduce a robust matching algorithm based on closed-form solutions, yielding a tight match while allowing squash and stretch of the character's skeleton. Our experiments show that space-time sketching has the potential of bringing animation design within the reach of beginners while saving time for skilled artists.

The line of action is a conceptual tool often used by cartoonists and illustrators to help make their figures more consistent and more dramatic. We often see the expression of characters---may it be the dynamism of a super hero, or the elegance of a fashion model---well captured and amplified by a single aesthetic line. Usually this line is laid down in early stages of the drawing and used to describe the body's principal shape. By focusing on this simple abstraction, the person drawing can quickly adjust and refine the overall pose of his or her character from a given viewpoint. In this paper, we propose a mathematical definition of the line of action (LOA), which allows us to automatically align a 3D virtual character to a user-specified LOA by solving an optimization problem. We generalize this framework to other types of lines found in the drawing literature, such as secondary lines used to place arms. Finally, we show a wide range of poses and animations that were rapidly created using our system.

We present a simple and physically inspired method to animate realistically looking fire directly in 2D instead of along a 3D simulation. This naturally reduces the complexity of the animation from O(n3) to O(n2). The fire is represented as a 2D scalar density field located on a plane facing the camera, and is advected under a 2.5D velocity field. In our method, the apparent motion of the fire on the viewing axis is mimicked by introducing vibrations in the velocity field. We model these rapid vibrations as pressure waves found in compressible fluids and therefore consider the full Navier-Stokes equations. The equations can be solved in a single pass and our method entirely runs on the GPU. A natural extension is to make use of this method directly in screen space: instead of filtering down the fire's simulation grid in world space, we rasterize the fire's source, and perform the simulation on a coarser grid directly in screen space. The results are continuously renewed 3D-looking fires computed solely in 2D.

An adaptive controller is developed for a class of second-order nonlinear dynamic systems with input nonlinearities using artificial neural networks (ANN). The unknown input nonlinearities are continuous and monotone and satisfy a sector constraint. In contrast to conventional Lyapunov-based design techniques, an alternative Lyapunov function, which depends on both system states and control input variable, is used for the development of a control law and a learning algorithm. The proposed adaptive controller guarantees the stability of the closed-loop system and convergence of the output tracking error to an adjustable neighbour of the origin.