(Skip this if you already know what a copepod is.)
Copepods are a type of crustacean, the class of animals that also
includes shrimps, lobsters, and crabs. Copepods are one of the most
abundant animals on the planet. Most are saltwater plankton, living
their entire lives in the open ocean without ever touching the bottom
or surface. Copepods also live on the sea bottom, in fresh water, as
parasites on fish, in caves...
We created and animated our model using 3D Studio Max from Discrete Logic. This high-end animation package is widely used by movie special effects artists.
To create our models and animations, we first looked at illustrations in the literature. Rose 1933 gave us a good starting point. To create the prosome, we scanned 2D images from Rose into the computer and traced them using Bezier curves to create the outline of the prosome as seen from the left-hand side. We then made an estimate of curves representing the outline of the prosome as seen from the rear. Using these two sets of curves, we were able to create a Bezier patch surface approximating the prosome. We then checked our results by rendering images from several viewpoints and comparing them against preserved specimens. We also showed the images to Annie Townsend, curator of the SIO Planktonic Invertebrates Collection. She was able to suggest many important improvements.
The other segments of the prosome and urosome were constructed in a similar fashion, as were the appendages. We found that NURBS surfaces generally gave better results with less effort than other techniques for modelling curved surfaces.
Setae provided a special animation challenge, as there are so many of them. After exploring several techniques we used loft surfaces created from circles and Bezier splines. The tip of each seta was attached to a controller, so that each seta could be individually positioned if necessary. We generally avoided this by attaching the tips of each set of setae to a master controller. To give a more natural appearance, the setae on the maxillae are translated and rotated using a random noise function.
To animate our model, we first determined the range of motion of
the joints by examining preserved specimens. We then looked at video
of live animals. Using key frame animation, we were able to
approximate the motion of the living animals. Once the computer model
had been animated, it could be examined from any angle and at any
speed.
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