Sketching-out virtual humans: From 2d storyboarding to immediate 3d character animation

Virtual beings are playing a remarkable role in today’s public entertainment, while ordinary users are still treated as audiences due to the lack of appropriate expertise, equipment, and computer skills. In this paper, we present a fast and intuitive storyboarding interface, which enables users to sketch-out 3D virtual humans, 2D/3D animations, and character intercommunication. We devised an intuitive “stick figurefleshing-outskin mapping” graphical animation pipeline, which realises the whole process of key framing, 3D pose reconstruction, virtual human modelling, motion path/timing control, and the final animation synthesis by almost pure 2D sketching. A “creative model-based method” is developed, which emulates a human perception process, to generate the 3D human bodies of variational sizes, shapes, and fat distributions. Meanwhile, our current system also supports the sketch-based crowd animation and the storyboarding of the 3D multiple character intercommunication. This system has been formally tested by various users on Tablet PC. After minimal training, even a beginner can create vivid virtual humans and animate them within minutes

Real Time Animation of Virtual Humans: A Trade-off Between Naturalness and Control

Virtual humans are employed in many interactive applications using 3D virtual environments, including (serious) games. The motion of such virtual humans should look realistic (or ‘natural’) and allow interaction with the surroundings and other (virtual) humans. Current animation techniques differ in the trade-off they offer between motion naturalness and the control that can be exerted over the motion. We show mechanisms to parametrize, combine (on different body parts) and concatenate motions generated by different animation techniques. We discuss several aspects of motion naturalness and show how it can be evaluated. We conclude by showing the promise of combinations of different animation paradigms to enhance both naturalness and control

Semantic framework for interactive animation generation and its application in virtual shadow play performance.

Designing and creating complex and interactive animation is still a challenge in the field of virtual reality, which has to handle various aspects of functional requirements (e.g. graphics, physics, AI, multimodal inputs and outputs, and massive data assets management). In this paper, a semantic framework is proposed to model the construction of interactive animation and promote animation assets reuse in a systematic and standardized way. As its ontological implementation, two domain specific ontologies for the hand-gesture-based interaction and animation data repository have been developed in the context of Chinese traditional shadow play art. Finally, prototype of interactive Chinese shadow play performance system using deep motion sensor device is presented as the usage example

Virtual Reality Games for Motor Rehabilitation

This paper presents a fuzzy logic based method to track user satisfaction without the need for devices to monitor users physiological conditions. User satisfaction is the key to any product’s acceptance; computer applications and video games provide a unique opportunity to provide a tailored environment for each user to better suit their needs. We have implemented a non-adaptive fuzzy logic model of emotion, based on the emotional component of the Fuzzy Logic Adaptive Model of Emotion (FLAME) proposed by El-Nasr, to estimate player emotion in UnrealTournament 2004. In this paper we describe the implementation of this system and present the results of one of several play tests. Our research contradicts the current literature that suggests physiological measurements are needed. We show that it is possible to use a software only method to estimate user emotion

Sensing and mapping for interactive performance

This paper describes a trans-domain mapping (TDM) framework for translating meaningful activities from one creative domain onto another. The multi-disciplinary framework is designed to facilitate an intuitive and non-intrusive interactive multimedia performance interface that offers the users or performers real-time control of multimedia events using their physical movements. It is intended to be a highly dynamic real-time performance tool, sensing and tracking activities and changes, in order to provide interactive multimedia performances. From a straightforward definition of the TDM framework, this paper reports several implementations and multi-disciplinary collaborative projects using the proposed framework, including a motion and colour-sensitive system, a sensor-based system for triggering musical events, and a distributed multimedia server for audio mapping of a real-time face tracker, and discusses different aspects of mapping strategies in their context. Plausible future directions, developments and exploration with the proposed framework, including stage augmenta tion, virtual and augmented reality, which involve sensing and mapping of physical and non-physical changes onto multimedia control events, are discussed

Gesture, Rhetoric, and Digital Storytelling

This proposal seeks to develop new theory and technology for digital interactive narratives based on cross-cultural storytelling traditions that utilize non-verbal communication to convey meaning. Digital interactive narratives are of increasing cultural relevance including: new genres of electronic literature, virtual museums and memorials, educational computer games, and computer-assisted generation of scholarly documents. We propose a new form of storytelling that changes emotional tone, theme, perspective, other subjective elements based upon gestural input via touch-screen and motion-sensitive devices. This proposal builds upon the Principal Investigator's significant body of work in developing humanistically grounded interactive narrative and artificial intelligence. The Principal Investigator has found that literary, cultural, and performance studies theories of orature (oral literature) and accounts of non-verbal communication from animation studies provide models that can be adapted to interactive narratives

Development of the huggable social robot Probo: on the conceptual design and software architecture

This dissertation presents the development of a huggable social robot named Probo. Probo embodies a stuffed imaginary animal, providing a soft touch and a huggable appearance. Probo's purpose is to serve as a multidisciplinary research platform for human-robot interaction focused on children. In terms of a social robot, Probo is classified as a social interface supporting non-verbal communication. Probo's social skills are thereby limited to a reactive level. To close the gap with higher levels of interaction, an innovative system for shared control with a human operator is introduced. The software architecture de nes a modular structure to incorporate all systems into a single control center. This control center is accompanied with a 3D virtual model of Probo, simulating all motions of the robot and providing a visual feedback to the operator. Additionally, the model allows us to advance on user-testing and evaluation of newly designed systems. The robot reacts on basic input stimuli that it perceives during interaction. The input stimuli, that can be referred to as low-level perceptions, are derived from vision analysis, audio analysis, touch analysis and object identification. The stimuli will influence the attention and homeostatic system, used to de ne the robot's point of attention, current emotional state and corresponding facial expression. The recognition of these facial expressions has been evaluated in various user-studies. To evaluate the collaboration of the software components, a social interactive game for children, Probogotchi, has been developed. To facilitate interaction with children, Probo has an identity and corresponding history. Safety is ensured through Probo's soft embodiment and intrinsic safe actuation systems. To convey the illusion of life in a robotic creature, tools for the creation and management of motion sequences are put into the hands of the operator. All motions generated from operator triggered systems are combined with the motions originating from the autonomous reactive systems. The resulting motion is subsequently smoothened and transmitted to the actuation systems. With future applications to come, Probo is an ideal platform to create a friendly companion for hospitalised children

Framework of controlling 3d virtual human emotional walking using BCI

A Brain-Computer Interface (BCI) is the device that can read and acquire the brain activities. A human body is controlled by Brain-Signals, which considered as a main controller. Furthermore, the human emotions and thoughts will be translated by brain through brain signals and expressed as human mood. This controlling process mainly performed through brain signals, the brain signals is a key component in electroencephalogram (EEG). Based on signal processing the features representing human mood (behavior) could be extracted with emotion as a major feature. This paper proposes a new framework in order to recognize the human inner emotions that have been conducted on the basis of EEG signals using a BCI device controller. This framework go through five steps starting by classifying the brain signal after reading it in order to obtain the emotion, then map the emotion, synchronize the animation of the 3D virtual human, test and evaluate the work. Based on our best knowledge there is no framework for controlling the 3D virtual human. As a result for implementing our framework will enhance the game field of enhancing and controlling the 3D virtual humans’ emotion walking in order to enhance and bring more realistic as well. Commercial games and Augmented Reality systems are possible beneficiaries of this technique. © 2015 Penerbit UTM Press. All rights reserved

An aesthetics of touch: investigating the language of design relating to form

How well can designers communicate qualities of touch? This paper presents evidence that they have some capability to do so, much of which appears to have been learned, but at present make limited use of such language. Interviews with graduate designer-makers suggest that they are aware of and value the importance of touch and materiality in their work, but lack a vocabulary to fully relate to their detailed explanations of other aspects such as their intent or selection of materials. We believe that more attention should be paid to the verbal dialogue that happens in the design process, particularly as other researchers show that even making-based learning also has a strong verbal element to it. However, verbal language alone does not appear to be adequate for a comprehensive language of touch. Graduate designers-makers’ descriptive practices combined non-verbal manipulation within verbal accounts. We thus argue that haptic vocabularies do not simply describe material qualities, but rather are situated competences that physically demonstrate the presence of haptic qualities. Such competencies are more important than groups of verbal vocabularies in isolation. Design support for developing and extending haptic competences must take this wide range of considerations into account to comprehensively improve designers’ capabilities