I have chosen these questions based on the film-side qualities we identified (emotional engagement, believable world) since our next task, presumably, will be to produce those qualities.
- How can we produce compelling facial animation an order of magnitude more quickly than the way we've been taught? Why will your method be so much faster? For background, the "way we've been taught" is the keyframed viseme/blendshape/morph target method. I think the Wikipedia entry on computer facial animation is not half bad for those wanting a little more background.
- How can we produce compelling pantomime/body performance an OOM more quickly than the way we've been taught? Why will your method be so much faster?
- This one is tricky to phrase. How can we translate the visual designs for an original character into a form that we can use an OOM more quickly than the way we've been taught? Note I didn't say "how can we model and rig a character..." because that assumes we will be modeling and rigging like we're used to. We may decide that's the only way to go, but I want to encourage people to think of other ways they might make our character exist in the final film without, perhaps, existing as a fully-rigged 3D object.
- How can we create the illusion of a believable world an OOM more quickly? Why will your method be so much faster?
- Also tricky to phrase. How will we generate the appropriate color field for a frame of our film an OOM faster than we currently do? Once again, I avoid "light" because that assumes some kind of true 3D world model. We aren't yet committed to having that.
- What questions would you ask the producers of today's feature animated films to help guide us in our mission? Why?
- What question(s) should we be asking instead of the previous 6? If you choose this route, please also answer at least one of the questions you propose.