Here we see the concept of forward kinematics in computer graphics, focusing on how to simulate the motion of an articulated skeleton. It describes the hierarchy of the skeleton—what parts are connected and how they move in relation to one another—typically organized as a tree structure. Different joint types such as pin (1D rotation), ball (2D rotation), and prismatic (translation) are identified, showing the range of motions each joint can perform. Understanding these principles is key for animating characters in a realistic way, where movements of one part of the skeleton naturally affect connected parts.
michaelwiradharma
Looking at this, it's quite interesting to see topics we learnt from past lectures being brought up again in animation, which shows just how closely intertwined a lot of the ideas in computer graphics can be. Forward kinematics clearly builds on ideas from image transforms. Furthermore, I wonder how such transforms can be optimized to calculate them at the speed required to make high quality animations.
MillerHollinger
Something notable about forward kinematics versus inverse kinematics is how the two are not so much opposite approaches to the same task as different tools. Modern animated characters use both IK and FK at the same time -- e.g. IK to move a character's arm alongside their hand, and then FK to move the staff that hand is holding.
Here we see the concept of forward kinematics in computer graphics, focusing on how to simulate the motion of an articulated skeleton. It describes the hierarchy of the skeleton—what parts are connected and how they move in relation to one another—typically organized as a tree structure. Different joint types such as pin (1D rotation), ball (2D rotation), and prismatic (translation) are identified, showing the range of motions each joint can perform. Understanding these principles is key for animating characters in a realistic way, where movements of one part of the skeleton naturally affect connected parts.
Looking at this, it's quite interesting to see topics we learnt from past lectures being brought up again in animation, which shows just how closely intertwined a lot of the ideas in computer graphics can be. Forward kinematics clearly builds on ideas from image transforms. Furthermore, I wonder how such transforms can be optimized to calculate them at the speed required to make high quality animations.
Something notable about forward kinematics versus inverse kinematics is how the two are not so much opposite approaches to the same task as different tools. Modern animated characters use both IK and FK at the same time -- e.g. IK to move a character's arm alongside their hand, and then FK to move the staff that hand is holding.