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Animation From Motion Animation From Motion CaptureCapture
Animation From Motion Animation From Motion CaptureCapture
Motion Capture Assisted Motion Capture Assisted Animation: Texturing and Animation: Texturing and
SynthesisSynthesis
Kathy PullenKathy Pullen
Chris BreglerChris Bregler
Motion Capture Assisted Motion Capture Assisted Animation: Texturing and Animation: Texturing and
SynthesisSynthesis
Kathy PullenKathy Pullen
Chris BreglerChris Bregler
Related Work:Related Work:Animation With StyleAnimation With StyleRelated Work:Related Work:Animation With StyleAnimation With Style
M. Brand and A. Hertzmann. Proc. SIGGRAPH 2000, pp 183-192M. Brand and A. Hertzmann. Proc. SIGGRAPH 2000, pp 183-192
D. Chi, M. Costa, L. Zhao and N. Badler. Proc. SIGGRAPH 2000, pp 173-182D. Chi, M. Costa, L. Zhao and N. Badler. Proc. SIGGRAPH 2000, pp 173-182
M. Gleicher. 1997 Symposium on Interactive 3D Graphics, pp 139-148M. Gleicher. 1997 Symposium on Interactive 3D Graphics, pp 139-148
J. Hodgins, W. L. Wooten, D. C. Broogan and J. F. O’Brien. AnimatingJ. Hodgins, W. L. Wooten, D. C. Broogan and J. F. O’Brien. AnimatingHuman athletics. Proc. SIGGRAPH 1995, PP 229-238Human athletics. Proc. SIGGRAPH 1995, PP 229-238
K. Perlin and A. Goldberg. Proc. SIGGRAPH 1996, PP 205-216K. Perlin and A. Goldberg. Proc. SIGGRAPH 1996, PP 205-216
Z. Popovic and A. Witkin. Proc. SIGGRAPH 1999, pp 159-168Z. Popovic and A. Witkin. Proc. SIGGRAPH 1999, pp 159-168
A. Witkin and M. Kass. Computer Graphics, 22:159-168, 1988A. Witkin and M. Kass. Computer Graphics, 22:159-168, 1988
Related Work:Related Work:Signal ProcessingSignal ProcessingRelated Work:Related Work:Signal ProcessingSignal Processing
A. Bruderlin and L. Williams. Proc. SIGGRAPH 1995, pp 97-104A. Bruderlin and L. Williams. Proc. SIGGRAPH 1995, pp 97-104
J. S. De Bodnet. Proc. SIGGRAPH 1999, pp 21-28J. S. De Bodnet. Proc. SIGGRAPH 1999, pp 21-28
D. J. Heeger and J. R. Bergen. Proc. SIGGRAPH 1995, pp 229-238D. J. Heeger and J. R. Bergen. Proc. SIGGRAPH 1995, pp 229-238
Z. Popovic and A. Witkin. Proc. SIGGRAPH 1999, pp 159-168Z. Popovic and A. Witkin. Proc. SIGGRAPH 1999, pp 159-168
U. Unuma, K. Anjyo and R. Tekeuchi. Proc. SIGGRAPH 1995, pp 91-96U. Unuma, K. Anjyo and R. Tekeuchi. Proc. SIGGRAPH 1995, pp 91-96
A. Witkin and Z. Popovic. Proc. SIGGRAPH 1995, PP 105-108A. Witkin and Z. Popovic. Proc. SIGGRAPH 1995, PP 105-108
Related Work:Related Work:Animation from MocapAnimation from MocapRelated Work:Related Work:Animation from MocapAnimation from Mocap
O. Arikan and D. A. Forsyth. Interactive motion generation O. Arikan and D. A. Forsyth. Interactive motion generation from examples. Proc. SIGGRAPH 2002from examples. Proc. SIGGRAPH 2002
L. Kovar, M. Gleicher, and F. Pighin. Motion Graphs. L. Kovar, M. Gleicher, and F. Pighin. Motion Graphs. Proc. SIGGRAPH 2002Proc. SIGGRAPH 2002
J. Lee, J. Chai, P. S. A. Reitsma, J. K. Hodgins, and J. Lee, J. Chai, P. S. A. Reitsma, J. K. Hodgins, and N. S. Pollard. Interactive control of avatars animated N. S. Pollard. Interactive control of avatars animated with human motion data. Proc. SIGGRAPH 2002with human motion data. Proc. SIGGRAPH 2002
Y. Li, T. Wang, and H. Shum. Motion Texture: A two-level Y. Li, T. Wang, and H. Shum. Motion Texture: A two-level statistical model for character motion synthesisstatistical model for character motion synthesis
Goal: Motion Capture Goal: Motion Capture Assisted AnimationAssisted AnimationGoal: Motion Capture Goal: Motion Capture Assisted AnimationAssisted Animation
• Create a method that allows an Create a method that allows an artist low-level control of the motionartist low-level control of the motion
• Combine the strengths of keyframe Combine the strengths of keyframe animation with those of mocapanimation with those of mocap
• Create a method that allows an Create a method that allows an artist low-level control of the motionartist low-level control of the motion
• Combine the strengths of keyframe Combine the strengths of keyframe animation with those of mocapanimation with those of mocap
Goal: Motion Capture Goal: Motion Capture Assisted AnimationAssisted AnimationGoal: Motion Capture Goal: Motion Capture Assisted AnimationAssisted Animation
““Sketch” an animation by keyframingSketch” an animation by keyframing““Sketch” an animation by keyframingSketch” an animation by keyframing
Goal: Motion Capture Goal: Motion Capture Assisted AnimationAssisted AnimationGoal: Motion Capture Goal: Motion Capture Assisted AnimationAssisted Animation
““Sketch” an animation by keyframingSketch” an animation by keyframing• Animate only a few degrees of freedomAnimate only a few degrees of freedom
““Sketch” an animation by keyframingSketch” an animation by keyframing• Animate only a few degrees of freedomAnimate only a few degrees of freedom
Goal: Motion Capture Goal: Motion Capture Assisted AnimationAssisted AnimationGoal: Motion Capture Goal: Motion Capture Assisted AnimationAssisted Animation
““Sketch” an animation by keyframingSketch” an animation by keyframing• Animate only a few degrees of freedomAnimate only a few degrees of freedom
• Set few keyframes Set few keyframes
““Sketch” an animation by keyframingSketch” an animation by keyframing• Animate only a few degrees of freedomAnimate only a few degrees of freedom
• Set few keyframes Set few keyframes
Goal: Motion Capture Goal: Motion Capture Assisted AnimationAssisted AnimationGoal: Motion Capture Goal: Motion Capture Assisted AnimationAssisted Animation
““Sketch” an animation by keyframingSketch” an animation by keyframing• Animate only a few degrees of freedomAnimate only a few degrees of freedom
• Set few keyframes Set few keyframes
““Sketch” an animation by keyframingSketch” an animation by keyframing• Animate only a few degrees of freedomAnimate only a few degrees of freedom
• Set few keyframes Set few keyframes
““Enhance” the result with mocap dataEnhance” the result with mocap data““Enhance” the result with mocap dataEnhance” the result with mocap data
Goal: Motion Capture Goal: Motion Capture Assisted AnimationAssisted AnimationGoal: Motion Capture Goal: Motion Capture Assisted AnimationAssisted Animation
““Sketch” an animation by keyframingSketch” an animation by keyframing• Animate only a few degrees of freedomAnimate only a few degrees of freedom
• Set few keyframes Set few keyframes
““Sketch” an animation by keyframingSketch” an animation by keyframing• Animate only a few degrees of freedomAnimate only a few degrees of freedom
• Set few keyframes Set few keyframes
““Enhance” the result with mocap dataEnhance” the result with mocap data• SynthesizeSynthesize missing degrees of freedom missing degrees of freedom
““Enhance” the result with mocap dataEnhance” the result with mocap data• SynthesizeSynthesize missing degrees of freedom missing degrees of freedom
Goal: Motion Capture Goal: Motion Capture Assisted AnimationAssisted AnimationGoal: Motion Capture Goal: Motion Capture Assisted AnimationAssisted Animation
““Sketch” an animation by keyframingSketch” an animation by keyframing• Animate only a few degrees of freedomAnimate only a few degrees of freedom
• Set few keyframes Set few keyframes
““Sketch” an animation by keyframingSketch” an animation by keyframing• Animate only a few degrees of freedomAnimate only a few degrees of freedom
• Set few keyframes Set few keyframes
““Enhance” the result with mocap dataEnhance” the result with mocap data• SynthesizeSynthesize missing degrees of freedom missing degrees of freedom
• TextureTexture keyframed degrees of freedom keyframed degrees of freedom
““Enhance” the result with mocap dataEnhance” the result with mocap data• SynthesizeSynthesize missing degrees of freedom missing degrees of freedom
• TextureTexture keyframed degrees of freedom keyframed degrees of freedom
Goal: Motion Capture Goal: Motion Capture Assisted AnimationAssisted AnimationGoal: Motion Capture Goal: Motion Capture Assisted AnimationAssisted Animation
Blue = Keyframed
Purple = Textured/Synthesized
What is a Motion Texture?What is a Motion Texture?
Every individual’s movement is Every individual’s movement is uniqueunique
• “Motion texture” was coined by Ken Perlin
Every individual’s movement is Every individual’s movement is uniqueunique
• “Motion texture” was coined by Ken Perlin
What is a Motion Texture?What is a Motion Texture?
Every individual’s movement is Every individual’s movement is uniqueunique
• “Motion texture” was coined by Ken Perlin
• Dance! Acrobatics!Dance! Acrobatics!
Every individual’s movement is Every individual’s movement is uniqueunique
• “Motion texture” was coined by Ken Perlin
• Dance! Acrobatics!Dance! Acrobatics!
What is a Motion Texture?What is a Motion Texture?
Every individual’s movement is Every individual’s movement is uniqueunique
• “Motion texture” was coined by Ken Perlin
• Dance! Acrobatics!Dance! Acrobatics!
• Everyone walks, but not the same wayEveryone walks, but not the same way
Every individual’s movement is Every individual’s movement is uniqueunique
• “Motion texture” was coined by Ken Perlin
• Dance! Acrobatics!Dance! Acrobatics!
• Everyone walks, but not the same wayEveryone walks, but not the same way
Animating With Motion TextureAnimating With Motion Texture
Every individual’s movement is Every individual’s movement is uniqueunique
• Synthetic motion should capture the Synthetic motion should capture the texturetexture
Every individual’s movement is Every individual’s movement is uniqueunique
• Synthetic motion should capture the Synthetic motion should capture the texturetexture
Animating With Motion TextureAnimating With Motion Texture
Every individual’s movement is uniqueEvery individual’s movement is unique
• Synthetic motion should capture the textureSynthetic motion should capture the texture
• To “texture” means to add style to a pre-To “texture” means to add style to a pre-existing motionexisting motion
Every individual’s movement is uniqueEvery individual’s movement is unique
• Synthetic motion should capture the textureSynthetic motion should capture the texture
• To “texture” means to add style to a pre-To “texture” means to add style to a pre-existing motionexisting motion
Animating With Motion TextureAnimating With Motion Texture
Every individual’s movement is Every individual’s movement is uniqueunique
• Synthetic motion should capture the Synthetic motion should capture the texturetexture
• To “texture” means to add style to a pre-To “texture” means to add style to a pre-existing motionexisting motion
• Technically, texturing is a special case of Technically, texturing is a special case of synthesissynthesis
Every individual’s movement is Every individual’s movement is uniqueunique
• Synthetic motion should capture the Synthetic motion should capture the texturetexture
• To “texture” means to add style to a pre-To “texture” means to add style to a pre-existing motionexisting motion
• Technically, texturing is a special case of Technically, texturing is a special case of synthesissynthesis
Keyframing vs. MocapKeyframing vs. MocapKeyframing vs. MocapKeyframing vs. Mocap
Keyframing
Mocap
DisadvantagesAdvantages
•Control
Keyframing vs. MocapKeyframing vs. MocapKeyframing vs. MocapKeyframing vs. Mocap
Keyframing
Mocap
DisadvantagesAdvantages
•Control•Intuitive
Keyframing vs. MocapKeyframing vs. MocapKeyframing vs. MocapKeyframing vs. Mocap
Keyframing
Mocap
DisadvantagesAdvantages
•Control•Intuitive
•Detail hard
Keyframing vs. MocapKeyframing vs. MocapKeyframing vs. MocapKeyframing vs. Mocap
Keyframing
Mocap
DisadvantagesAdvantages
•Control•Intuitive
•Detail hard•Many DOF
Keyframing vs. MocapKeyframing vs. MocapKeyframing vs. MocapKeyframing vs. Mocap
Keyframing
Mocap
DisadvantagesAdvantages
•Control•Intuitive
•Detail hard•Many DOF
•Detail easy
Keyframing vs. MocapKeyframing vs. MocapKeyframing vs. MocapKeyframing vs. Mocap
Keyframing
Mocap
DisadvantagesAdvantages
•Control•Intuitive
•Detail hard•Many DOF
•Detail easy•All DOF
Keyframing vs. MocapKeyframing vs. MocapKeyframing vs. MocapKeyframing vs. Mocap
Keyframing
Mocap
DisadvantagesAdvantages
•Control•Intuitive
•No control
•Detail hard•Many DOF
•Detail easy•All DOF
Keyframing vs. MocapKeyframing vs. MocapKeyframing vs. MocapKeyframing vs. Mocap
Keyframing
Mocap
DisadvantagesAdvantages
•Control•Intuitive
•No control•Not intuitive
•Detail hard•Many DOF
•Detail easy•All DOF
How an Animator How an Animator WorksWorksHow an Animator How an Animator WorksWorks
• A few degrees of freedom at firstA few degrees of freedom at first
• Not in detailNot in detail
• Fill in detail with more keyframes Fill in detail with more keyframes laterlater
• A few degrees of freedom at firstA few degrees of freedom at first
• Not in detailNot in detail
• Fill in detail with more keyframes Fill in detail with more keyframes laterlater
The Method in WordsThe Method in WordsThe Method in WordsThe Method in Words
• Choose degrees of freedom to drive the animation
• Compare these degrees of freedom from the keyframed data to mocap
• Find similar regions
• Look at what the rest of the body is doing in those regions
• Put that data onto the keyframed animation
• Choose degrees of freedom to drive the animation
• Compare these degrees of freedom from the keyframed data to mocap
• Find similar regions
• Look at what the rest of the body is doing in those regions
• Put that data onto the keyframed animation
Before Beginning:Before Beginning:Choose Matching Choose Matching AnglesAngles
Before Beginning:Before Beginning:Choose Matching Choose Matching AnglesAngles
Left Hip xLeft Hip yLeft Hip zLeft Knee xLeft Knee yLeft Knee zLeft Ankle xLeft Ankle yLeft Ankle zLeft Ball xLeft Ball yLeft Ball zRight Hip xRight Hip yRight Hip zRight Knee xRight Knee yRight Knee zRight Ankle xRight Ankle yRight Ankle zRight Ball xRight Ball yRight Ball z
Root x transRoot y transRoot z transRoot x rotRoot y rotRoot z rotSpine1 xSpine1 ySpine1 zSpine2 xSpine2 ySpine2 zSpine3 xSpine3 ySpine3 zNeck xNeck yNeck zHead xHead yHead zHead Aim xHead Aim yHead Aim z
Left Clavicle xLeft Clavicle yLeft Clavicle zLeft Shoulder xLeft Shoulder yLeft Shoulder zLeft Elbow xLeft Elbow yLeft Elbow zLeft Wrist xLeft Wrist yLeft Wrist zRight Clavicle xRight Clavicle yRight Clavicle zRight Shoulder xRight Shoulder yRight Shoulder zRight Elbow xRight Elbow yRight Elbow zRight Wrist xRight Wrist yRight Wrist z
Time TimeTime
Matching Angles Matching Angles Drive the SynthesisDrive the SynthesisMatching Angles Matching Angles Drive the SynthesisDrive the Synthesis
Left Hip xLeft Hip yLeft Hip zLeft Knee xLeft Knee yLeft Knee zLeft Ankle xLeft Ankle yLeft Ankle zLeft Ball xLeft Ball yLeft Ball zRight Hip xRight Hip yRight Hip zRight Knee xRight Knee yRight Knee zRight Ankle xRight Ankle yRight Ankle zRight Ball xRight Ball yRight Ball z
Root x transRoot y transRoot z transRoot x rotRoot y rotRoot z rotSpine1 xSpine1 ySpine1 zSpine2 xSpine2 ySpine2 zSpine3 xSpine3 ySpine3 zNeck xNeck yNeck zHead xHead yHead zHead Aim xHead Aim yHead Aim z
Left Clavicle xLeft Clavicle yLeft Clavicle zLeft Shoulder xLeft Shoulder yLeft Shoulder zLeft Elbow xLeft Elbow yLeft Elbow zLeft Wrist xLeft Wrist yLeft Wrist zRight Clavicle xRight Clavicle yRight Clavicle zRight Shoulder xRight Shoulder yRight Shoulder zRight Elbow xRight Elbow yRight Elbow zRight Wrist xRight Wrist yRight Wrist z
Time TimeTime
Motion Capture DataMotion Capture DataMotion Capture DataMotion Capture Data
Left Hip xLeft Hip yLeft Hip zLeft Knee xLeft Knee yLeft Knee zLeft Ankle xLeft Ankle yLeft Ankle zLeft Ball xLeft Ball yLeft Ball zRight Hip xRight Hip yRight Hip zRight Knee xRight Knee yRight Knee zRight Ankle xRight Ankle yRight Ankle zRight Ball xRight Ball yRight Ball z
Root x transRoot y transRoot z transRoot x rotRoot y rotRoot z rotSpine1 xSpine1 ySpine1 zSpine2 xSpine2 ySpine2 zSpine3 xSpine3 ySpine3 zNeck xNeck yNeck zHead xHead yHead zHead Aim xHead Aim yHead Aim z
Left Clavicle xLeft Clavicle yLeft Clavicle zLeft Shoulder xLeft Shoulder yLeft Shoulder zLeft Elbow xLeft Elbow yLeft Elbow zLeft Wrist xLeft Wrist yLeft Wrist zRight Clavicle xRight Clavicle yRight Clavicle zRight Shoulder xRight Shoulder yRight Shoulder zRight Elbow xRight Elbow yRight Elbow zRight Wrist xRight Wrist yRight Wrist z
Time TimeTime
OverviewOverviewOverviewOverview
Steps in texture/synthesis methodSteps in texture/synthesis method
• Frequency analysisFrequency analysis
• MatchingMatching
• Path findingPath finding
• JoiningJoining
Steps in texture/synthesis methodSteps in texture/synthesis method
• Frequency analysisFrequency analysis
• MatchingMatching
• Path findingPath finding
• JoiningJoining
In the following series of slides:
Hip angle = matching angle
Spine angle = angle being synthesized
In the following series of slides:
Hip angle = matching angle
Spine angle = angle being synthesized
ExampleExample
Frequency Analysis:Break into BandsFrequency Analysis:Break into Bands
Fre
quen
cy
Time
Band-pass decomposition of matching angles
Keyframed Data Motion Capture Data
Frequency AnalysisFrequency Analysis
Fre
quen
cy
Time
Keyframed Data Motion Capture Data
Chosen low frequency band
Frequency AnalysisFrequency Analysis
Keyframed Data Motion Capture Data
Hip angle data (a matching angle)
Fre
quen
cy
Time
Chosen Low Frequency BandChosen Low Frequency Band
Keyframed Data Motion Capture Data
Fre
quen
cy
Time
Making FragmentsMaking Fragments
Break where first derivative changes sign
Keyframed Data Motion Capture Data
Fre
quen
cy
Time
Making FragmentsMaking Fragments
Step through fragments one by one
MatchingMatching
KeyframedFragment
MatchingMatching
KeyframedFragment
Motion Capture Data
MatchingMatching
KeyframedFragment
Motion Capture Data
MatchingMatching
Compare to all motion capture fragmentsA
ngle
in d
egre
es
Time
KeyframedMocap
MatchingMatching
Resample mocap fragments to be same lengthA
ngle
in d
egre
es
Time
KeyframedMocap
MatchingMatching
Keep the K closest matchesA
ngle
in d
egre
es
Time
KeyframedMocap
MatchingMatching
KeyframedFragment
Motion Capture Data
MatchingMatching
KeyframedFragment
Motion Capture Data
CloseMatches
MatchingMatching
Hip Angle (Matching Angle)
Spine Angle (For Synthesis)
Matching and SynthesisMatching and Synthesis
Low frequency hip angle data (a matching angle)
Spine angle data to be synthesized
Matching and SynthesisMatching and Synthesis
Low frequency hip angle data (a matching angle)
Spine angle data to be synthesized
Matching and SynthesisMatching and Synthesis
Low frequency hip angle data (a matching angle)
Spine angle data to be synthesized
Matching and SynthesisMatching and Synthesis
Low frequency hip angle data (a matching angle)
Spine angle data to be synthesized
Matching and SynthesisMatching and Synthesis
Low frequency hip angle data (a matching angle)
Spine angle data to be synthesized
Matching and SynthesisMatching and Synthesis
Low frequency hip angle data (a matching angle)
Spine angle data to be synthesized
Possible Synthetic Spine Angle DataPossible Synthetic Spine Angle Data
Ang
le in
deg
rees
Time
Path FindingPath FindingA
ngle
in d
egre
es
Time
Path FindingPath FindingA
ngle
in d
egre
es
Time
Path FindingPath FindingA
ngle
in d
egre
es
Time
Path FindingPath FindingA
ngle
in d
egre
es
Time
Path FindingPath FindingA
ngle
in d
egre
es
Time
JoiningJoiningA
ngle
in d
egre
es
Time
TexturingTexturing
Band-pass decomposition of keyframed dataF
requ
ency
Time
TexturingTexturing
Synthesize upper frequency bandsF
requ
ency
Time
Keyframed SketchKeyframed Sketch
Motion Capture DataMotion Capture Data
Two different styles of walk
Enhanced AnimationEnhanced Animation
Upper body is synthesized
Lower body is textured
Keyframed Sketch With More DetailKeyframed Sketch With More Detail
Motion Capture DataMotion Capture Data
Textured AnimationTextured Animation
Blue = Keyframed
Purple = Textured
Lazy Keyframed SketchLazy Keyframed Sketch
Enhanced AnimationEnhanced Animation
Blue = Keyframed
Purple = Textured/Synthesized
Different PathsDifferent Paths
Summary of the MethodSummary of the Method
Keyframed data
Mocap Data
Keyframed Data
Mocap Data Possible Synthetic Data
Matching Angles
Sketch + Mocap
Frequency Analysis Matching
Path Finding JoiningEnhanced Animation
Conclusions and ApplicationsConclusions and Applications
• For more automatic generation with high For more automatic generation with high level control, the previous methods are more level control, the previous methods are more appropriate appropriate
• Appropriate for an artist interested in a very Appropriate for an artist interested in a very particular style of motionparticular style of motion
• The artist may have a relatively small motion The artist may have a relatively small motion capture set of that stylecapture set of that style
• The artist may want precise control over The artist may want precise control over parts of the motionparts of the motion
• For more automatic generation with high For more automatic generation with high level control, the previous methods are more level control, the previous methods are more appropriate appropriate
• Appropriate for an artist interested in a very Appropriate for an artist interested in a very particular style of motionparticular style of motion
• The artist may have a relatively small motion The artist may have a relatively small motion capture set of that stylecapture set of that style
• The artist may want precise control over The artist may want precise control over parts of the motionparts of the motion
For more info. . . For more info. . .
http://graphics.stanford.edu/~pullen
Special Thanks to:Reardon Steele, Electronic Arts
Choices the Animator Must MakeChoices the Animator Must Make
1.1. Which DOF to use as matching anglesWhich DOF to use as matching angles
2.2. Which DOF to texture, which to synthesizeWhich DOF to texture, which to synthesize
3.3. Which frequency band to use in matchingWhich frequency band to use in matching
4.4. How many frequency bands to use in How many frequency bands to use in
texturingtexturing
5.5. How many matches to keep How many matches to keep
1.1. Which DOF to use as matching anglesWhich DOF to use as matching angles
2.2. Which DOF to texture, which to synthesizeWhich DOF to texture, which to synthesize
3.3. Which frequency band to use in matchingWhich frequency band to use in matching
4.4. How many frequency bands to use in How many frequency bands to use in
texturingtexturing
5.5. How many matches to keep How many matches to keep
Conclusions and Further WorkConclusions and Further Work
• Direct incorporation of hard Direct incorporation of hard constraintsconstraints
• Fundamental units of motionFundamental units of motion
• Direct incorporation of hard Direct incorporation of hard constraintsconstraints
• Fundamental units of motionFundamental units of motion
Keyframe Data vs. Keyframe Data vs. Motion Capture DataMotion Capture DataKeyframe Data vs. Keyframe Data vs. Motion Capture DataMotion Capture Data
TexturingTexturing
Synthesize upper frequency bands
Ang
le in
deg
rees
Time
MatchingMatching
Keyframed
Enhancing Animations:Enhancing Animations:Texturing and Texturing and SynthesisSynthesis
Enhancing Animations:Enhancing Animations:Texturing and Texturing and SynthesisSynthesis
Keyframed
Enhancing Animations:Enhancing Animations:Texturing and Texturing and SynthesisSynthesis
Enhancing Animations:Enhancing Animations:Texturing and Texturing and SynthesisSynthesis
Keyframed
Textured
Enhancing Animations:Enhancing Animations:Texturing and Texturing and SynthesisSynthesis
Enhancing Animations:Enhancing Animations:Texturing and Texturing and SynthesisSynthesis
Keyframed
Textured
Not keyframed
Enhancing Animations:Enhancing Animations:Texturing and Texturing and SynthesisSynthesis
Enhancing Animations:Enhancing Animations:Texturing and Texturing and SynthesisSynthesis
Keyframed
Textured Synthesized
Not keyframed
Keyframing vs. MocapKeyframing vs. MocapKeyframing vs. MocapKeyframing vs. Mocap
Keyframing
Mocap
DisadvantagesAdvantages
•Control