Handsignals Recognition From Video Using 3D Motion Capture Data

Hand signals are commonly used in applications such as giving instructions to a pilot for airplane take off or direction of a crane operator by a foreman on the ground. A new algorithm for recognizing hand signals from a single camera is proposed. Typically, tracked 2D feature positions of hand signals are matched to 2D training images. In contrast, our approach matches the 2D feature positions to an archive of 3D motion capture sequences. The method avoids explicit reconstruction of the 3D articulated motion from 2D image features. Instead, the matching between the 2D and 3D sequence is done by backprojecting the 3D motion capture data onto 2D. Experiments demonstrate the effectiveness of the approach in an example application: recognizing six classes of basketball referee hand signals in video.

Assessing the viability of studying motion indicators of autism spectrum disorders in infants at high and low risk for ASD using a passive motion capture system

Gemstone Team AMIRA

Laughter Induction Techniques Suitable for Generating Motion Capture Data of Laughter Associated Body Movements

Laughter is a frequently occurring social signal and an important part of human non-verbal communication. However it is often overlooked as a serious topic of scientific study. While the lack of research in this area is mostly due to laughter’s non-serious nature, it is also a particularly difficult social signal to produce on demand in a convincing manner; thus making it a difficult topic for study in laboratory settings. In this paper we provide some techniques and guidance for inducing both hilarious laughter and conversational laughter. These techniques were devised with the goal of capturing mo- tion information related to laughter while the person laughing was either standing or seated. Comments on the value of each of the techniques and general guidance as to the importance of atmosphere, environment and social setting are provided.

A Practical Approach to Using Motion Capture in Performance Dance

Markerless systems are becoming more ubiquitous due to their increased use in video games consoles. Cheap cameras and software suites are making motion capture technologies more freely available to the digitally inclined choreographer. In this workshop we will demonstrate the opportunities and limitations provided by easily accessible and relatively inexpensive markerless motion capture systems. In particular we will explore the capacity of these systems to provide useful data in a live performance scenario where the latency, size and format of the captured data is crucial in allowing real-time processing and visualisation of the captured scene

Using Three Dimensional Motion Capture Technology to Describe and Assess Piano Technique: A Case Study

The purpose of the study was to examine any differences that exist in the quality of motions employed by pianists when they are sight-reading versus performing repertoire. A secondary question of interest was whether or not an improvement in the efficiency of motion could be observed between two sight-reading trials of the same musical excerpt. While data analysis for the full study is ongoing, the following results from a case study are illustrative.

Progetto e sviluppo di un banco prova per articolazioni protesiche attive ad un grado di libertà basato su programmable automation controller e motion capture

L'elaborato descrive il lavoro svolto in cinque mesi presso il Centro Protesi INAIL di Budrio (BO), che ha portato allo sviluppo di un banco prova per testare articolazioni elettromeccaniche. I dispositivi target, in particolare, sono stati due gomiti mioelettrici: il primo di produzione interna INAIL e il secondo prodotto da Selex ES in collaborazione con il Centro Protesi stesso. Per il controllo del movimento e l'acquisizione dei segnali elettrici si è scelto il PAC CompactRIO (National Instruments), mentre per le acquisizioni cinematiche di angolo e velocità angolare si è sfruttata la stereofotogrammetria.

Ottimizzazione di un'unita di controllo per protesi mioelettrica di arto superiore e confronto prestazionale tramite programmable automation controller e motion capture

Con il passare degli anni le tecnologie nel campo delle protesi mioelettriche di arto superiore stanno compiendo sempre più passi in avanti. In questo elaborato di tesi si darà un iniziale introduzione sulla protesica di arto superiore cercando di coprire tutte le possibili tipologie di protesi, prestando particolare attenzione agli arti artificiali mioelettrici. Gli scopi di questo studio sono in prima analisi una miglioria dell'unità di controllo di una protesi comandata da segnali elettromiografici di superficie, tramite l'utilizzo del nuovo IDE della Microchip (MPLAB X). In seconda analisi, invece, si attuerà un confronto prestazionale a livello di consumo in corrente di un prototipo di protesi mioelettrica nata dalla sinergia tra l'azienda "Selex ES" e il "Centro Protesi INAIL di Vigorso di Budrio". Per questo studio ci si è serviti di stereofotogrammetrica per la determinazione delle grandezze meccaniche, mentre tramite un sistema PAC si è riusciti ad ottenere specifiche grandezze elettriche. Lo studio ha portato, a livello di Firmware, l'inserimento del giusto comando di attuazione di un servofreno comandato in corrente e l'introduzione di una particolare modalità a basso consumo che consente un risparmio energetico di circa il 60% rispetto alla vecchia modalità. Discorso diverso per i risultati del confronto prestazionale che non ha portato ai risultati sperati in fase di progetto.

Real-time Human Motion Capture with Simple Marker Sets and Monocular Video

In this paper we present a hybrid method to track human motions in real-time. With simplified marker sets and monocular video input, the strength of both marker-based and marker-free motion capturing are utilized: A cumbersome marker calibration is avoided while the robustness of the marker-free tracking is enhanced by referencing the tracked marker positions. An improved inverse kinematics solver is employed for real-time pose estimation. A computer-visionbased approach is applied to refine the pose estimation and reduce the ambiguity of the inverse kinematics solutions. We use this hybrid method to capture typical table tennis upper body movements in a real-time virtual reality application.

Depth sensors-based upper limb motion capture system for functional neurorehabilitation

Versatile and accurate motion capture systems, with the required properties to be integrated within both clinical and domiciliary environments, would represent a significant advance in following the progress of the patients as well as in allowing the incorporation of new data exploitation and analysis methods to enhance the functional neurorehabilitation therapeutic processes. Besides, these systems would permit the later development of new applications focused on the automatization of the therapeutic tasks in order to increase the therapist/patient ratio, thus decreasing the costs [1]. However, current motion capture systems are not still ready to work within uncontrolled environments.

Improved Accuracy in Optical Motion Capture Measurements Leads to Increased Sensitivity to Kinematic Changes

Clinical optical motion capture allows us to obtain kinematic and kinetic outcome measures that aid clinicians in diagnosing and treating different pathologies affecting healthy gait. The long term aim for gait centres is for subject-specific analyses that can predict, prevent, or reverse the effects of pathologies through gait retraining. To track the body, anatomical segment coordinate systems are commonly created by applying markers to the surface of the skin over specific, bony anatomy that is manually palpated. The location and placement of these markers is subjective and precision errors of up to 25mm have been reported [1]. Additionally, the selection of which anatomical landmarks to use in segment models can result in large angular differences; for example angular differences in the trunk can range up to 53o for the same motion depending on marker placement [2]. These errors can result in erroneous kinematic outcomes that either diminish or increase the apparent effects of a treatment or pathology compared to healthy data. Our goal was to improve the accuracy and precision of optical motion capture outcome measures. This thesis describes two separate studies. In the first study we aimed to establish an approach that would allow us to independently quantify the error among trunk models. Using this approach we determined if there was a best model to accurately track trunk motion. In the second study we designed a device to improve precision for test, re-test protocols that would also reduce the set-up time for motion capture experiments. Our method to compare a kinematically derived centre of mass velocity to one that was derived kinetically was successful in quantifying error among trunk models. Our findings indicate that models that use lateral shoulder markers as well as limit the translational degrees of freedom of the trunk through shared pelvic markers result in the least amount of error for the tasks we studied. We also successfully reduced intra- and inter-operator anatomical marker placement errors using a marker alignment device. The improved accuracy and precision resulting from the methods established in this thesis may lead to increased sensitivity to changes in kinematics, and ultimately result in more consistent treatment outcomes.

Directing for the 360 degree frame : developing a directorial approach to performance capture

What happens when the traditional framing mechanisms of our performance environments are removed and we are forced as directors to work with actors in digital environments that capture performance in 360 degrees? As directors contend with the challenges of interactive performance, the emergence of the online audience and the powerful influence of the games industry, how can we approach the challenges of directing work that is performance captured and presented in real time using motion capture and associated 3D imaging software? The 360 degree real time capture of performance, while allowing for an unlimited amount of framing potential, demands a unique and uncompromisingly disciplined style of direction and performance that has thus far remained unstudied and unquantified. By a close analysis of the groundbreaking work of artists like Robert Zemeckis and the Wetta Digital studio it is possible to begin to quantify what the technical requirements and challenges of 360 degree direction might be, but little has been discovered about the challenges of communicating the unlimited potential of framing and focus to the actors who work with these directors within these systems. It cannot be argued that the potential of theatrical space has evolved beyond the physical and moved into a more accessible virtual and digitised form, so how then can we direct for this unlimited potential and where do we place the focus of our directed (and captured) performance?

Preparing the actor for performance capture

Notions of capture and manipulation infer the existence of an interface that combines performer with system, an interface that separates (or intervenes in) the space between performance, intention and history. It is precisely the effect and provided opportunity of the intermediary device on the practice and craft of the actor, that is particularly examined in this work. Defining the scope of current practice for the contemporary actor is a key construct of this challenge with the most appropriate definition revolving around the pursuit of providing a required mixture of performance and content for live, mediated, framed and variously captured formats that exist in the present day. One of these particular formats is Performance Capture which this paper interrogate in more detail.

Graph rigidity for near-coplanar structure from motion

Recent algorithms for monocular motion capture (MoCap) estimate weak-perspective camera matrices between images using a small subset of approximately-rigid points on the human body (i.e. the torso and hip). A problem with this approach, however, is that these points are often close to coplanar, causing canonical linear factorisation algorithms for rigid structure from motion (SFM) to become extremely sensitive to noise. In this paper, we propose an alternative solution to weak-perspective SFM based on a convex relaxation of graph rigidity. We demonstrate the success of our algorithm on both synthetic and real world data, allowing for much improved solutions to marker less MoCap problems on human bodies. Finally, we propose an approach to solve the two-fold ambiguity over bone direction using a k-nearest neighbour kernel density estimator.

Preparing for performance capture #1

This video article articulates two exercises that have been developed to respond to the need for preparedness in the growing field of Performance Capture. The first is called Walking Through (Delbridge 2013), where the actor navigates a series of objects that exist in screen space through a developed sense of the existing physical particularities of the studio and an interaction with a screen (or feedback loop). The second exercise is called The Donut (Delbridge 2013), where the performer continues to navigate screen space but this time does so through the literal stepping through of a Torus in the virtual – again with nothing but the studio infrastructure and the screen as a guide. Notions of Motion Captured performance infer the existence of an interface that combines performer with system, separating (or intervening in) the space between performance and the screen. It is precisely the effect and provided opportunity of the intermediary device on the practice, craft and preparedness of the actor as they navigate the connection between 3D screen space and the physical properties of the studio that is examined here. Defining the scope of current practice for the contemporary actor is a key construct of this challenge, with the most appropriate definition revolving around the provision of a required mixture of performance and content for live, mediated, framed and variously captured formats. One of these particular formats is Performance Capture. The exercises presented here are two from a series, developed over a three year study that contribute to our understanding of the potential for a training regimen to be developed for the rigors of Performance Capture.