EP0446395B1 - 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 for the animation of motor-driven dolls and the like and a device for carrying out the method.

If dolls or the like is spoken of above, it means mimic dolls, doll animals, toys or entertainment figures, doll plants, doll objects and the like, the whole and / or part of their shape surfaces and shape elements being moved such that the doll-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 thus personified manner.

If there is talk of an animation of these dolls or the like, then vital genre-specific design mimics should be able to be realized, as well as genre-specific design behavior possibilities should be possible, artificial genre-specific design mimics and generic genre-behavior options conveyed via mechanical, electromechanical and electronic systems and their effects should be exploited. The aim of the process is the possibility of storing, processing and optimizing as well as reproducing the acoustic, Enable optical, mechanical, electrotechnical and electronic effects in the lifelike animation of artificially movable figures such as dolls.

For a long time there have been attempts and solutions in the figure theater to additionally operate individual elements such as the eyes or mouth of a doll in the game 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 development stand is e.g. B. published in DE-PS 23,046,614. 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 which is arranged eccentrically on the gearwheel. The "near-to-life" lip movement transmitted by the doll is, however, far from being close to 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 wheel, which is mounted about a vertical axis arranged in the inside of the head and which is in operative connection with the eyeballs.

From European patent application 0 212 871 a method and a device for recording and reproducing animation control signals have become known. This method and the device for this purpose also provide for processing the signals by means of discrete logic. This means that signal processing is only possible to a limited extent.

From US-A-4,825,136, a device for controlling the movement of a doll is provided, which uses, among other things, storage and reproduction of signals recorded in analog or digital form. This device is also not suitable for processing the control signals in an effective manner.

Neither the above solution, nor the previous training that may be combined with it, give the dolls real life, or enable such a facial expression on stage or in 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 in her full form immediately - and even her face enlarged to screen size - immediately in front of him.

Although the artistic expression of the "classic doll" with its "classic features" - constant facial expression, shape as a whole as in their behavioral possibilities by the, for. T. centuries of unchanged playing technique shaped and limited - this media also comes into its own, as it opens up the possibility and thus the question of dolls and figures, the newly opened dimension in flight theater - the "play in close-up", the gained artistic Possibilities and dimensions of expression through new facial expressions and facial expressions to be controlled - used and artistically conquered.

For these claims, figurines or figure systems - primarily for hand puppets and in a dimension that corresponds to the classic hand puppet, i.e. H. e.g. B. can be played by a puppeteer with one hand as a puppet - 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 up to 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 shapes and takes on the shape features and shapes such as folds, beads, and the like.

This skin corresponds to the outer body shell of life beings. It encloses all visible, uncovered body parts of the figures.

It also carries 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 directly supported and supported everywhere at the points by an inner frame, which also corresponds exactly to the shape. H. is in direct, flexible or firm contact with them, where no or only slight deformations of this outer skin are necessary. They correspond to the places of the corresponding natural shape, at which the outer body shell or skin likewise shows hardly any changes or mobility, for example in the human figure: almost the entire hairy head, the zygomatic area, the bridge of the nose, the lower jaw frame, etc. The "inner "The frame defines the rough dimensions. The above-mentioned is Skin turned over, which at the same time carries the fine features, characteristics and form elements of the "shape".

For the different effects in the deformation of this shell, the later facial expression, the skin can be developed in different strengths and / or the material can be worked up from the inside. Example: cotton or the 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

One task of the internal structures has already been given with the design and support for the outer shell - with examples.

• 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.To this outer shell to corresponding deflections, deformations and movements in molded parts or as a whole, which should accordingly implement and convey a facial expression or expression z. B. frowning, eyelid closure, mouth opening, etc. exactly defined and always reproducible in an identical manner, must act on them - "from the inside" - as with a natural shape - corresponding forces. These actions must:

• a. in their absolute power,
• b: in their directions, but especially
• c. in their approach - punctiform, flat, 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, naturally also already shaped, temple element, which is modeled after the original and which extends around the axis of the temporomandibular joint is pivotable and thus enables mouth opening and closing.

There is no need for a fixed connection between the strap element and the sheath, since the sheath is due to its shape - wraps around the strap element, which carries the sheath in its deflections and the minimal relative movements and displacements between the sheath and strap element, which are influenced by the design of the sheath and strap Movements that take "rigidity", thereby - even analogous to the natural process - even come closer to the original.

As a further example, a corner of the mouth in the envelope, which is to be led upwards for a serene expression, downwards for a sad mood, regardless of open or closed mouth, has to be firmly and punctually coupled to an internal structure which accomplishes this in order to master the effect in all its nuances.

These internal structures are preferably realized by means of stamps, brackets, lever mechanisms, etc., which produce corresponding push-pull or other mechanical effects at defined contact points and thus generate the facial expression with the cover. The mechanisms must be precisely adapted 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 of the lower jaw.

The anchorages or the point fixum for these structures lie in the interior of the figure - on a central axis or other auxiliary constructions located inside.

3. By power transmission

Due to the spatial conditions - the volume of the head of a classic hand puppet is approx. 15 to 20 cm³ in this head there is also a finger end link of the puppeteer.This also applies to figures of larger dimensions if you think of eyes, eyebrows or the like - In the figures themselves, there are mostly no possibilities for motors or the like that provide the force for operating the levers and other structures.

The parts to be actuated inside, little levers etc. are connected via Bowden cables to elements which provide the force and which lie outside the figure, i. H. they are articulated with the Bowse 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 servo motor lying outside the figure or doll, which - coordinated in terms of force and deflection - causes the coupled inner structure to corresponding deflections.

5. By controlling power development

If these motors or servomotors are connected to corresponding motion-analogous control elements, lead Deflections in the controller to analogous deflections in the envelope that correspond to the deflections.

They each realize a linear movement element or in combination with several an 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 in the work with audio-visual carriers - with special consideration of the facial expressions and the differentiated animation of the figures.

Preconditions for differentiated mobility, especially differentiated facial expressions, are the high number of individual controls, individual mobility e.g. close eyes, movement of the eyes up and down, to the rest and left, mouth opening etc. as well as the incorporation of these individual movements into the "total movement of the overall effect, the overall expression - to mention only a few points of view.

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

Task:

The invention is based on the object of enabling a close to life in an improved manner and reproducible figure mobility and movement. This object is achieved by the features of method claim 1. Advantageous further developments of the method result from the method subclaims 2-9, a device for carrying out the method is evident from the claims 10-12.

The advantage of the subject of the invention lies above all in being able to simulate, reproduce and optimize natural movement and facial expressions by means of artistic and natural control. This functional success cannot be achieved with any of the publications that have become known.

In the following, a method supported by a computer is described using the example of a doll that can be moved with one hand, which 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, bangs, etc. - added to enable the puppeteer to react appropriately.

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

The finished mixed sound, which can be played by a sound carrier, forms the template for the play, which the puppeteer uses to direct the puppet's animation.

In the case of facial expressions, the puppets are guided "directly" once, ie the puppeteer carries - for example the hand puppet - on one hand and gives it physicality, rough shape and movement.

For a differentiated facial expression and behavior, 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 require 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.

Other features of the invention will be apparent from the description made hereinafter with reference to the accompanying drawings.

Fig. 1

die "Aufnahme"-Situation

Fig. 2

die "Wiedergabe"-Sitation

Show it:

Fig. 1

the "recording" situation

Fig. 2

the "playback" session

In Figure 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 to a track composed of speech, noise and music. During the first-time recording situation, the computer 2, or the encoder 2a, which is connected, outputs a continuous code individually identifying each marking point on the second, previously empty track of the tape. The computer also accepts these code marks in its memory 2c.

Also stored in memory 2c is the signal, which is digitized by an analog-digital converter 2b and which originates from the indirect, analog control 3 in the controller 5 and which moves the puppet 7, absolutely synchronously with the sound track, or the sound, on the identical signal 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, for. B. 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 2a functions as a decoder, the analog-digital converter 2b as a digital-analog converter. The magnetic tape 1 guides the code signals stored asolutely synchronous with the sound into the decoder during playback.

This code enables the computer to activate the digitized control and regulator information from the memory 2c provided with the identical code. After digital-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" can also be saved in the style of a pantomime will. It makes sense, and again expands the possibilities - to give the player acoustic information, signals, sequence instructions, directing or other instructions in parallel and synchronized with the control signals to be stored.

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

The code not only corresponds to a constant time cycle, but also contains the identifier for any position on the game template, i.e. of the sound play. As a result, the code becomes more complex than a mere 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 samples, settings, recordings, corrections, etc. can be found and reproduced in an technically identical manner. The tone 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

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

The control option 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". I.e. when the controls or a controller is actuated by the puppeteer, this control takes place - when not activated, the stored, digital-to-analog converted pulses take over the control.

The puppet master's "quantitative-modifying" regulation can be maintained. That is, Reinforcement or reduction of the specified or saved regulations by the player, d. H. the player only regulates pre-existing regulations via "plus" and "minus".

It can remain "qualitatively modifying", i. H. 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 method allows the subsequent - that is, if recordings have already been made and / or the overall recording "is" - to carry out correction of individual or multiple channels.

Corrections:

• 1. Correction of the entire stored control of a channel of a scene - e.g. by completely new recording of this channel, with the remaining program of the overall system unchanged.
• 2. Correction of individual sequences within the stored control of a channel, the computer adjusting the data, i.e. especially the connection points takes over - s. below.
• 3. Correction of the entire stored control or individual sequences within the stored control of a channel "quantitatively" - ie increasing or decreasing the intensity of the digitally stored control pulses of one or any channels by a certain percentage to be controlled. This corresponds to an increase in the decrease in speed and intensity or force on the regulated reference distance - for example in the regulated opening of the mouth of a doll: faster, slower and wider or narrower opening of the mouth.
  • 3a. "Dry" correction without the involvement of the puppet, ie 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, ie during the game the possibility for the puppeteer or the director to modify the intensity of the stored control signals of one or any channels during the course of the game - ie during playback.

Further optimization options:

• A. Programming various concrete, to be defined static control situations or elements of static expression "recordings" - consisting of one or any number of individual control channels with specific 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 correspondingly different regulators, which corresponds to a static state, a kind of "snapshot" in the system puppet, eg expression of fright, can - regulator for regulator - be adjusted, 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 existing data flow to this target point and from there back to the existing data flow - can be designed 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 controls in one or in any number of channels that have to be defined beforehand, eg based on an effect or dynamic ones Expression are involved, within a time interval that is precisely to be defined, but in principle as long as desired. These defined movement sequences or control sequences can now be inserted into the existing data flow or game sequence and adapted accordingly, as under A.
  Examples: spontaneous eyelid closure at an irregular, natural frequency - superimposed on 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 - for example, stretching or compressing over time, regulating / limiting, reducing or increasing the intensity / amplitude of the control, etc.
• C. Easy linking of movement elements
  Examples: gently lowering 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.
  • Ca These links range from connecting individual channels to
  • Cb movement patterns, ie the linking of an entire family of individual channels
    Example: With 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 expression and mood elements, 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 of 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 control from minimum to maximum:
  • Because during the first game itself
    Storage: controls in the game itself + 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 the overall file z.
• F. Processing the controls using computer graphics.
  The entire controls, ie stored controls in the different channels, can be represented 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, corrections, insertions can be made very preferably - by modification in and on the graphics and above all make adaptations, and anticipate their effects.
  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 processing of a score as a template - all effects together, as in the single channel, can be represented, recorded, compared and adjusted, changed, maintained or completely eliminated depending on the situation - as isolated 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 "lends his voice" in the game, ie "lives" 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 operations - but also in film 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, ie phenotypically jerky or robot-like regulations
  • Hc Exclusion of incompatible or endangering the system / e.g. in a dog with long ears that 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: walking; stipulation of lifting the thigh, bending the knee, lifting the forefoot, etc., and their linking options;
  When translating movements, the computer can control the individual elements sensibly 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 film, animation studies 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. I.e. Any number of functions can be used in any gradation and complexity.

It should then be mentioned that in addition to the motor skills of the dolls and their animation, the entire light of a production 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 don't act autogenously - like the actor - but have to be controlled "from the outside".

• 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. gelingt 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 - entweder 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, Adaption der vorhandenen Regelung usw.
• e. Bestehende, in Einzelaspekten perfekte Teile weiter vervollkommend werden können z.B. eine zur begleichenden 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.

In conclusion, reference should be made to some economically not insignificant aspects of the process:

• a. Significant savings on the necessary puppeteers Take over functions and controls through the memory, instead of additional puppeteers who, by remote control - be it wireless or wired - animate a system or a figure alone or together with others.
• b. Significantly less strain on the puppeteer, both "physically" and in the necessary concentration on all individual systems and their exact synchronization by relieving them of the "additional tasks" of mouth, eyes, eyebrows, eyelids, etc. that compete in terms of concentration and attention Additional functions not only behave additively when 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, whereby the number of functions to be operated at the same time - without impairing the overall artistic aspect - must remain limited even for experienced puppeteers and actors .
  When functions are taken over by other actors, there is an immediate need for additional training in order to allow the overall actions - initiated by different players - to run 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 game template and game such as language and mouth movements or the like. succeeds with almost any precision and in an incomparably shorter time, because the puppeteer:
  • 1. Only focus 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" of entire passages to individual actions - can either be completely corrected without being forced to "repeat the whole thing" and risk the same or new 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, for example one for perfect language, but the mouth opening is too small.
• 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 opportunity - 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 game aspects directly, since identical quality of the saved movement aspects guarantees
• 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 stress on the puppeteers.

Claims (12)

1. Method of animating puppets and the like which can be moved by motors, having the following features:

   a) the provision of at least one drive unit for driving a part or section of the puppet;

   b) the provision of a manually actuatable input/control device which emits electrical control signals for controlling the drive unit of which there is at least one;

   c) the digitising of the control signals in an analogue-to-digital convertor;

   d) the input of the digitised control signals into a processor/computer by means of which the control signals can be varied individually or combined with one another to form further control signals;

   e) the provision of a memory unit in which the control signals are stored and which is constructed so as to emit the stored control signals to the drive unit of which there is at least one;

   f) the digital-to-analogue conversion of the processed control signal and transmission to the drive unit of which there is at least one; and

   g) the provision of a superposition of the control signals coming from the memory by further control signals produced manually and simultaneously by the puppeteer or by an assistant puppeteer or, as necessary, third control signals fetched from a previously stored sub-program and superposed on the control signals.
2. Method according to Claim 1, characterised in that the intensity of the stored control signals can be influenced, i.e. enlarged or reduced, by the further or third control signals for a selectable group of drive units.
3. Method according to either of the preceding Claims 1 and 2, characterised in that the modification brings about a displacement of the initial position of the deflection of individual drive units or of a selectable group of drive units.
4. Method according to any one of the preceding claims, characterised in that the modification causes a temporal extending and retarding or a temporal shortening and acceleration of the control signals associated with individual movement sequences, whereby a deceleration or acceleration of the puppet movements is achieved.
5. Method according to Claim 4, characterised in that the control signals are modified by an input device by means of which individual drive units or groups of drive units can be occupied with the modified program.
6. Method according to any one of the preceding claims, characterised in that, in order to bring about natural movement patterns when a predeterminable control signal value of a control channel is exceeded, the control signal values of at least one further control channel are automatically modified.
7. Method according to Claim 4, characterised in that the automatic modification is stored in the memory device as a sub-program which can be switched on or off.
8. Method according to any one of the preceding claims, characterised in that all the control signals can be printed out systematically according to individual channels as computer graphics or can be displayed for processing on a screen and the program can be processed by altering the graphics, the computer taking over the processed final graphics as corresponding data values and sequences and forming therefrom correspondingly modified regulating sequences.
9. Method according to any one of the preceding claims, characterised in that basic types of movement such as, for example, "walking, sitting, jumping" or basic mimes such as "joy, laughter, sadness, crying" are stored in sub-programmes as blocks of sub-control signals and are superposed on control signals, which are balanced out and stored manually, for other movement patterns.
10. Device for performing the method according to any one of Claims 1 to 9, having:

    - at least one drive unit for driving a part or section of a puppet;

    - a manually actuable input/control device which emits electrical control signals for controlling the drive unit of which there is at least one;

    - a processor/computer;

    - a storage device which is connected to the latter for storing control signals and emitting the stored control signals to the drive unit of which there is at least one; and

    - a digital-to-analogue/analogue-to-digital convertor device for converting control signals;

    characterised in that a superposition device is provided in which control signals coming from the memory (2c) can be superposed by further sub-control signals which are either generated manually by the input device (regulator 5) or can be fetched from previously stored sub-programs.
11. Device according to Claim 10, characterised in that a plurality of drive units of a plurality of puppets can be simultaneously connected thereto.
12. Device according to Claim 10, characterised in that sound and light generating appliances can be connected thereto and can be activated by means of stored sound/light signals.

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