MODELING AND SIMULATION OF INDUSTRIAL ROBOT ARMS USING SIMSCAPE MULTIBODY

The dynamic simulation modeling problem of industrial robot arm is solved, and the trajectory planning dynamic simulation is performed in this paper. In response to the lack of trajectory planning and motion controller interfaces in the robotic modelling study, including the lack of dynamic simulation visualization, a Simscape Multibody-based method for building a dynamic model of industrial robot arm is proposed and the effectiveness of the model is verified through dynamic simulation. The simulation model integrates the robotic arm trajectory planning, motion controller and data acquisition module. It has a clear structure and the parameters are easy to modify. It can reasonably simulate the structure and parameters of the research object and facilitate the subsequent research of related algorithms. It provides an innovative and open-source research and development platform for the dynamic simulation study of the robot arm

The computer synthesis of expressive three-dimensional facial character animation.

This present research is concerned with the design, development and implementation of three-dimensional computer-generated facial images capable of expression gesture and speech. A review of previous work in chapter one shows that to date the model of computer-generated faces has been one in which construction and animation were not separated and which therefore possessed only a limited expressive range. It is argued in chapter two that the physical description of the face cannot be seen as originating from a single generic mould. Chapter three therefore describes data acquisition techniques employed in the computer generation of free-form surfaces which are applicable to three-dimensional faces. Expressions are the result of the distortion of the surface of the skin by the complex interactions of bone, muscle and skin. Chapter four demonstrates with static images and short animation sequences in video that a muscle model process algorithm can simulate the primary characteristics of the facial muscles. Three-dimensional speech synchronization was the most complex problem to achieve effectively. Chapter five describes two successful approaches: the direct mapping of mouth shapes in two dimensions to the model in three dimensions, and geometric distortions of the mouth created by the contraction of specified muscle combinations. Chapter six describes the implementation of software for this research and argues the case for a parametric approach. Chapter seven is concerned with the control of facial articulations and discusses a more biological approach to these. Finally chapter eight draws conclusions from the present research and suggests further extensions

CharNeRF: 3D Character Generation from Concept Art

3D modeling holds significant importance in the realms of AR/VR and gaming, allowing for both artistic creativity and practical applications. However, the process is often time-consuming and demands a high level of skill. In this paper, we present a novel approach to create volumetric representations of 3D characters from consistent turnaround concept art, which serves as the standard input in the 3D modeling industry. While Neural Radiance Field (NeRF) has been a game-changer in image-based 3D reconstruction, to the best of our knowledge, there is no known research that optimizes the pipeline for concept art. To harness the potential of concept art, with its defined body poses and specific view angles, we propose encoding it as priors for our model. We train the network to make use of these priors for various 3D points through a learnable view-direction-attended multi-head self-attention layer. Additionally, we demonstrate that a combination of ray sampling and surface sampling enhances the inference capabilities of our network. Our model is able to generate high-quality 360-degree views of characters. Subsequently, we provide a simple guideline to better leverage our model to extract the 3D mesh. It is important to note that our model's inferencing capabilities are influenced by the training data's characteristics, primarily focusing on characters with a single head, two arms, and two legs. Nevertheless, our methodology remains versatile and adaptable to concept art from diverse subject matters, without imposing any specific assumptions on the data

Supplementing Frequency Domain Interpolation Methods for Character Animation

The animation of human characters entails difficulties exceeding those met simulating objects, machines or plants. A person's gait is a product of nature affected by mood and physical condition. Small deviations from natural movement are perceived with ease by an unforgiving audience. Motion capture technology is frequently employed to record human movement. Subsequent playback on a skeleton underlying the character being animated conveys many of the subtleties of the original motion. Played-back recordings are of limited value, however, when integration in a virtual environment requires movements beyond those in the motion library, creating a need for the synthesis of new motion from pre-recorded sequences. An existing approach involves interpolation between motions in the frequency domain, with a blending space defined by a triangle network whose vertices represent input motions. It is this branch of character animation which is supplemented by the methods presented in this thesis, with work undertaken in three distinct areas. The first is a streamlined approach to previous work. It provides benefits including an efficiency gain in certain contexts, and a very different perspective on triangle network construction in which they become adjustable and intuitive user-interface devices with an increased flexibility allowing a greater range of motions to be blended than was possible with previous networks. Interpolation-based synthesis can never exhibit the same motion variety as can animation methods based on the playback of rearranged frame sequences. Limitations such as this were addressed by the second phase of work, with the creation of hybrid networks. These novel structures use properties of frequency domain triangle blending networks to seamlessly integrate playback-based animation within them. The third area focussed on was distortion found in both frequency- and time-domain blending. A new technique, single-source harmonic switching, was devised which greatly reduces it, and adds to the benefits of blending in the frequency domain

Analysis and synthesis of bipedal humanoid movement : a physical simulation approach

textAdvances in graphics and robotics have increased the importance of tools for synthesizing humanoid movements to control animated characters and physical robots. There is also an increasing need for analyzing human movements for clinical diagnosis and rehabilitation. Existing tools can be expensive, inefficient, or difficult to use. Using simulated physics and motion capture to develop an interactive virtual reality environment, we capture natural human movements in response to controlled stimuli. This research then applies insights into the mathematics underlying physics simulation to adapt the physics solver to support many important tasks involved in analyzing and synthesizing humanoid movement. These tasks include fitting an articulated physical model to motion capture data, modifying the model pose to achieve a desired configuration (inverse kinematics), inferring internal torques consistent with changing pose data (inverse dynamics), and transferring a movement from one model to another model (retargeting). The result is a powerful and intuitive process for analyzing and synthesizing movement in a single unified framework.Computer Science

Simulating Humans: Computer Graphics, Animation, and Control

People are all around us. They inhabit our home, workplace, entertainment, and environment. Their presence and actions are noted or ignored, enjoyed or disdained, analyzed or prescribed. The very ubiquitousness of other people in our lives poses a tantalizing challenge to the computational modeler: people are at once the most common object of interest and yet the most structurally complex. Their everyday movements are amazingly uid yet demanding to reproduce, with actions driven not just mechanically by muscles and bones but also cognitively by beliefs and intentions. Our motor systems manage to learn how to make us move without leaving us the burden or pleasure of knowing how we did it. Likewise we learn how to describe the actions and behaviors of others without consciously struggling with the processes of perception, recognition, and language

Reconstruction and analysis of dynamic shapes

Thesis (Ph. D.)--Massachusetts Institute of Technology, Dept. of Electrical Engineering and Computer Science, 2010.Cataloged from PDF version of thesis.Includes bibliographical references (p. 122-141).Motion capture has revolutionized entertainment and influenced fields as diverse as the arts, sports, and medicine. This is despite the limitation that it tracks only a small set of surface points. On the other hand, 3D scanning techniques digitize complete surfaces of static objects, but are not applicable to moving shapes. I present methods that overcome both limitations, and can obtain the moving geometry of dynamic shapes (such as people and clothes in motion) and analyze it in order to advance computer animation. Further understanding of dynamic shapes will enable various industries to enhance virtual characters, advance robot locomotion, improve sports performance, and aid in medical rehabilitation, thus directly affecting our daily lives. My methods efficiently recover much of the expressiveness of dynamic shapes from the silhouettes alone. Furthermore, the reconstruction quality is greatly improved by including surface orientations (normals). In order to make reconstruction more practical, I strive to capture dynamic shapes in their natural environment, which I do by using hybrid inertial and acoustic sensors. After capture, the reconstructed dynamic shapes are analyzed in order to enhance their utility. My algorithms then allow animators to generate novel motions, such as transferring facial performances from one actor onto another using multi-linear models. The presented research provides some of the first and most accurate reconstructions of complex moving surfaces, and is among the few approaches that establish a relationship between different dynamic shapes.by Daniel Vlasic.Ph.D