Synthetic motion capture for interactive virtual worlds

Author(s):  
Qinxin Yu ◽  
D. Terzopoulos
2010 ◽  
Vol 2 (2) ◽  
pp. 192-203
Author(s):  
Elena Georgievna Yaremenko ◽  
Yelena Georgievna Yaremenko

The digital special effects industry is constantly in development and in search of new expressive means. The more and more popular 3D computer graphics can mold characters and objects similar to puppet animation but more detailed and convincing. Computer software makes it possible to fix human movements and create virtual characters. By means of the motion capture technology reflecting the subtlest shades of human plastique the computer catches the movements of the sensors fixed to the actor's face and body, analyzes the data and applies it the 3D model. As a result, screen characters behave like live people. As far as the audience is concerned, there is practically no difference between the reality recorded on film, video or photo, and that created by the artist's imagination with the help of the computer on the modern screen


PsycCRITIQUES ◽  
2008 ◽  
Vol 53 (51) ◽  
Author(s):  
Richard Velayo
Keyword(s):  

PsycCRITIQUES ◽  
2010 ◽  
Vol 55 (2) ◽  
Author(s):  
Janet F. Carlson
Keyword(s):  

PsycCRITIQUES ◽  
2012 ◽  
Vol 57 (50) ◽  
Author(s):  
Vincent W. Hevern

2011 ◽  
Author(s):  
Aarti Shyamsunder ◽  
Michael S. Fetzer ◽  
Wendy L. Bedwell ◽  
Ben Hawkes ◽  
Charles A. Handler ◽  
...  
Keyword(s):  

2011 ◽  
Vol 29 (supplement) ◽  
pp. 283-304 ◽  
Author(s):  
Timothy R. Brick ◽  
Steven M. Boker

Among the qualities that distinguish dance from other types of human behavior and interaction are the creation and breaking of synchrony and symmetry. The combination of symmetry and synchrony can provide complex interactions. For example, two dancers might make very different movements, slowing each time the other sped up: a mirror symmetry of velocity. Examining patterns of synchrony and symmetry can provide insight into both the artistic nature of the dance, and the nature of the perceptions and responses of the dancers. However, such complex symmetries are often difficult to quantify. This paper presents three methods – Generalized Local Linear Approximation, Time-lagged Autocorrelation, and Windowed Cross-correlation – for the exploration of symmetry and synchrony in motion-capture data as is it applied to dance and illustrate these with examples from a study of free-form dance. Combined, these techniques provide powerful tools for the examination of the structure of symmetry and synchrony in dance.


Author(s):  
Jonathan Kenneth Sinclair ◽  
Lindsay Bottoms

AbstractRecent epidemiological analyses in fencing have shown that injuries and pain linked specifically to fencing training/competition were evident in 92.8% of fencers. Specifically the prevalence of Achilles tendon pathology has increased substantially in recent years, and males have been identified as being at greater risk of Achilles tendon injury compared to their female counterparts. This study aimed to examine gender differences in Achilles tendon loading during the fencing lunge.Achilles tendon load was obtained from eight male and eight female club level epee fencers using a 3D motion capture system and force platform information as they completed simulated lunges. Independent t-tests were performed on the data to determine whether differences existed.The results show that males were associated with significantly greater Achilles tendon loading rates in comparison to females.This suggests that male fencers may be at greater risk from Achilles tendon pathology as a function of fencing training/ competition.


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