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Human Figure - Overview
Layered Construction Bone Muscle Skin Tasks Reaching & Grasping Walking Talking Motor Skills Intelligent behavior Other Motions Facial Expression Gestures Idiosyncratic Secondary Motion Reactionary Motions Clothes Hair
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Modeling the Human Form
Artistic Anatomy Anatomy related to surface appearance versus Medical Anatomy Well-developed literature Forensic Science Facial Reconstruction Plastic Surgery Surface Appearance Reconstruction
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Layered: Bone-Muscle-Skin
Muscle &Tendons Fatty Tissue Bone Skin
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Modeling - Layered FFD muslces John Chadwick, ABD
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Modeling - Thalmann, EPFL
Implicit surfaces From
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Modeling Embed polyhedra in implicit surface
Implicits used for approx. collision detect & respond Polyhedra used for display Use M.-P. Cani technique to distort implicits based on collisions Karan Singh, PhD
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Human Figure Ferdi Scheepers, PhD
Use artistic anatomy to design muscles
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Human Figure
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Human Figure
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Figures - Wilhelms, UCSB
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Reaching & Grasping Inverse Kinematics What is ‘human-like’ motion?
Path planning Holding and manipulating tools
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Reaching Arm - 7 DoF Or 2 at elbow, 2 at wrist
Shoulder: 3 DoF Or 1 at elbow, 2 at wrist, add one at mid-forearm Wrist: 3 DoF Elbow: 1 DoF
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Reaching - heuristic Decide on ‘reasonable’ plane for arm based on task Reduce problem to 2D arm position + hand configuration
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Reaching Joint limits are a function of joint position
Collision avoidance with body, other limbs Strength a function of joint position
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What’s ‘human-like’ ? Depends on orientation and task
straight-line path Minimize total torque Minimize maximum velocity, acceleration, jerk Maximize ‘comfort’
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In obstacle-filled environment
Dave Miller PhD
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Grasping Standard methods of grasping By handle Two finger Wrap around
Two hand
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Walking Gravity Simplify dynamics Maintain balance (static) Decouple
reduce DoFs Maintain balance (static) Hip: 3 DoF Knee: 1 DoF Ankle: 3 DoF Toes: 1 ‘DoF’ but usually not independent (free)
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Walking
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Walk Cycle
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Run Cycle
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Walking - Hip Angles v. Time
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Walking - Jessica Hodgins, CMU
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Facial Animation Complex surface Very familiar structure
Deformable surface Very important - Principal means of communication Facial expressions, lip-synch, prosodic facial animation
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Facial Animation by Texture Maps
Ebert - from Getting Into Art
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Facial Animation
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Facial Action Units (FACs)
From Eckman and Friesen
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Facial Animation Fred Parke model
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Digitizing Faces
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Facial Modeling - Surface Springs
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Facial Animation - Structural
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Facial Animation Terzopolous, NYU
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Facial Animation Scott King, PhD
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Behavior AI, Spatial reasoning, human-like reaction
Intelligent interaction with user Engage in conversation w/gestures Cooperation w/ other agents
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Behavior Daniel Thalmann, LIG, EPFL
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Cloth and Clothes Texture maps draping flowing
Full collision detection and response
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Simulate at what level? Fold level - catenary curves between points of support Patch level - triangles or higher order patches Weave level - warp and weft Thread level - property and structure of thread
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Tight Fitting Clothes Daniel Thalmann, EPFL
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Cloth
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Cloth
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Cloth
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Cloth
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Cloth
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Cloth
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Cloth Nadia Magnenat-Thalmann, MIRALab
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Clothes
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Hair Texture map Rigid object Model each strand Model by clumps
Rigid underlayment w/ strands over top
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Hair
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Standards & Resources H-anim - human animation working group MPEG-4 - Moving Pictures Expert Group The Visible Human Project
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The Major Players Daniel Thalmann - The Computer Graphics Lab (LIG) at the Swiss Federal Institute of Technology (EPFL) in Lausanne: Nadia Thalmann - MIRALab research group at the University of Geneva Norm Badler - Center for Human Modeling and Simulation athe University of Pennsylvania
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The Major Players Jane Wilhelms - UCSC www.cse.ucsc.edu/~wilhelms/
Demitri Terzopolous - NYU mrl.nyu.edu/~dt/ Michiel van de Panne - Vancouver, B.C.
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The Major Players Tom Calvert - Simon Fraser
Marie-Paule Cani - iMAGIS www-imagis.imag.fr/Membres/Marie-Paule.Cani/index.gb.html Michael Cohen - MicroSoft Research
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The Major Players Michael Gleicher - Wisconsin
Jessica Hodgins - CMU
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