Abstract: We present a real‐time system for character control that relies on the classification of locomotive actions in skeletal motion capture data. Our method is both progress dependent and style invariant. Two deep neural networks are used to correlate body shape and implicit dynamics to locomotive types and their respective progress. In comparison to related work, our approach does not require a setup step and enables the user to act in a natural, unconstrained manner. Also, our method displays better performance than the related work in scenarios where the actor performs sharp changes in direction and highly stylized motions while maintaining at least as good performance in other scenarios. Our motivation is to enable character control of non‐bipedal characters in virtual production and live immersive experiences, where mannerisms in the actor’s performance may be an issue for previous methods.
Presented at the 31st Conference on Graphics, Patterns and Images (SIBGRPI) – Awarded with an Honorable Mention
Summary: Modern motion capturing systems can accurately store human motion with high precision. Editing this kind of data is troublesome, due to the amount and complexity of data. In this paper, we present a method for decoupling the aspects of human motion that are strictly related to locomotion and balance, from other movements that may convey expressiveness and intentionality. We then demonstrate how this decoupling can be useful in creating variations of the original motion, or in mixing different actions together.
In this work we propose a framework for using human acting as input for the animation of non-humanoid creatures; captured motion is classified using machine learning techniques, and a combination of preexisting clips and motion retargeting are used to synthetize new motions. This should lead to a broader use of motion capture.
This work was presented as a poster at SIGGRAPH 2016. Click here for the full publication.
Abstract: The number of products capable of displaying stereoscopic (also known as 3D) images has been growing in recent years. The use of this technology has outgrown the silver screen and is now available in televisions, computers, tablets, and even cell phones. Due to its nature, content created for stereoscopic media requires attention in relation to some characteristics not present in the context of monoscopic media. With a focus on image creation, the objective of this research was to assess how different stereoscopic image generation methods can affect human perception. To achieve this a virtual environment was created and from it different videos were generated using various methods including converging cameras, parallel cameras, and depth image-based rendering (DIBR). These videos were shown to participants who assessed the picture quality, depth quality, and visual comfort of the media. It was found that there was very little difference between the perception of images generated by parallel and convergent cameras, while there was a substantial difference in terms of perception between these two types of image and DIBR images. Such results can significantly affect the choice of technology for stereoscopic image generation, influencing the production costs, the methods involved, and human and machine time consumption.
Originaly presented at the International Conference on 3d Imaging, december 2014.
Dias Velho e os Corsários (1988) is a Graphic Novel, written and illustrated by Eleutério Nicolau da Conceição, which depicts a pirate invasion to the island of Santa Catarina in the 17th century. Using a historic event as inspiration the work successfully represents local themes such as culture and social organization. The audience to which the publication was originally targeted (13+) allowed the story to be represented in a realistic manner, with complex characters and episodes of violence and death. This work details the adaptation of such story to the media of animation and a significantly younger audience (pre-schoolers).
This work was originally presented at: XVIII Colóquio Internacional da Escola Latino-Americana de Comunicação, december 2014.
A historical analysis of diferente elements of cinematographic language
Stereoscopy, popularly known as 3d, is a technology consisting on the simultaneous reproduction of two images, which results in a greater perception of depth. This article intends to investigate possible reasons for the fact that stereoscopy has never been absorbed as a natural part of cinematographic language. To investigate the matter, we have studied how other technologies such as sound and color were incorporated into cinema, and compare those cases with the several incursions of stereoscopy in cinema’s history. We have found similarities and differences in the history of the different technologies, and have hypothesized reasons for the sporadic characteristic of the stereoscopic phenomena: the lack of quality in many productions, due to bad capturing or poor 2d-3d conversion; and its self-referential and gimmick like use.
Originaly published at: RUA – Revista Universitária do Audiovisual, Setembro de 2012.