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