Magnenat Thalmann N. & Thalmann D., "Digital Actors for Interactive Television", Proc. of the IEEE, Vol. 83, no.7, July 1995  Home/Search   Document Details and Download   Summary   Related Articles   Check

....the distribution of fat layers on a specific body. Previous work Soft tissue modelling Many approaches to soft tissue modelling are based on surface models. Early works restricted themselves to pure geometric deformation [Ko88] Another approach has been to use models based on implicit surfaces [Ma95], Mo97] and [Ne98] These models are composed of a skeletal model upon which parameterised muscles are built up manually and the entire body form is then skinned, i.e. covered in virtual skin. However realistic deformations can only be achieved by using physically based models. Surface based ....

Magnenat Thalmann N, Thalmann D., Proc.IEEE, Switzerland, 1995. " Digital Actors for Interactive Television ".

.... a feature of many graphical user interfaces including enhanced multimedia presentations [1] and educational spoken dialogue interfaces featuring conversational characters [8] Although such personae have been technically developed for applications little is known about user attitudes towards them [12,13]. As a result, this paper describes the first in a series of experiments to investigate user attitudes to different types of synthetic personae in electronic retail environments. The long term aim of this work is to create a body of experimental data to provide a set of design guidelines for the ....

Thalmann, et al: `Digital Actors for Interactive Television'. MIRALab, University of Geneva, 1998.

.... that interpretation would benefit from top down knowledge structures, like Scripts [Schank Abelson, 1977] A further argument in favour of the use of Scripts in high level interpretation of VE is that Scripts related formalisms have been used for the purpose of representing animation behaviour [Magnenat Thalmann Thalmann, 1995]. Finally, an important topic arising in the study of intelligent virtual environments is the possible contradiction between direct object manipulation and high level interpretation. We would not consider 3 In this case, the world model only consists in a knowledge representation layer. 7 here ....

Magnenat-Thalmann, N. & Thalmann, D., 1995. Digital Actors for Interactive Television. Proc.

....only view or image dependent face models. In general, the knowledge about faces, which has been incorporated into flexible three dimensional head models, consists of hand constructed representations of the physical properties of the muscles and the skin of a face (Terzopoulos and Waters, 1993; Thalmann and Thalmann, 1995). To adjust such a model to a particular face, two or more images were used (Akimoto et al. 1993; Aizawa et al. 1989) For present purposes, it is difficult to assess the usefulness of this approach, since generalization performance to new views from a single image only has never been reported. ....

Thalmann, N. and Thalmann, D. (1995). Digital actors for interactive television. Proceedings of the IEEE, 83(7):1022--1031.

....to reduce some basic limitations of the current virtual reality technology: Rendering of photo realistic, detailed and interactive environments in real time. Although the current computer graphics technology can model, animate and render the human figures with near photo realism in real time[6], we cannot say the same about rendering of a complex virtual world. Usage of restrictive human machine interfaces like gloves, magnetic trackers, head mounted displays. Current human machine interfaces with excessive connections are hampering the interactivity. Another fact is that they limit ....

Magnenat Thalmann N. & Thalmann D., "Digital Actors for Interactive Television", Proc. of the IEEE, Vol. 83, no.7, July 1995

....real world. However, a virtual scene beautiful though it may be is not complete without people . Virtual people, that is. Scenes involving Virtual Humans imply many complex problems we have been solving for several years [2] With the new developments of digital and interactive television [3] and multimedia products, there is also a need for systems that provide designers with the capability for embedding realtime simulated humans in games, multimedia titles and film animations. In fact, there are many current and potential applications of human activities that may be part of a VR ....

....converter (cf. 2] This is the approach we use currently for our interactive VR testbeds. 9 Figure 1 shows a snapshot of a life participant with ten sensors used to reconstruct the avatar in the virtual scene. The participant performs fight gestures which are recognized by the virtual opponent [3]. The latter responds by playing back a pre recorded keyframe sequence. The most disturbing factors of this system are the setup time to fix all the sensors and the wires hanging around during the animation. However wireless systems are already available which solve these problems. For the ....

N. Magnenat Thalmann N., Thalmann D. (1995) Digital Actors for Interactive Television, Proc. IEEE, Special Issue on Digital Television, Part 2, July 1995, pp. 1022- 1031.

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Magnenat Thalmann N., Thalmann D., "Digital Actors for Interactive Television", Proc. IEEE, August 1995.

....10 shows three different LODs of the body surface which can be used in realtime applications using Performer toolkit. Fig. 10. Different LODs for body surface 4. 4 Applications Realtime deformable actors are a key issue for many multimedia applications: virtual actors for digital television [10], games [11] and VR applications. In order to provide maximum immersion for using virtual actors, it is important to use the most realistic human representation possible with real time considerations. Therefore, it is preferred to use the deformed body surfaces as envelops attached to the human ....

Magnenat Thalmann, N., Thalmann, D. "Digital Actors for Interactive Television", Proc. IEEE, Special Issue on Digital Television, Part 2, July 1995, pp.1022-1031.

....for walking can be obtained from various types of input devices like DataGlove, or SpaceBall. Another good example for local control for walking is the virtual treadmill as proposed by Slater et al. 8] 4. Autonomous and perceptive actors 4. 1 The Behavior of the actors Autonomous actors [9 10] are able to have a behavior, which means they must have a manner of conducting themselves. Behavior is not only reacting to the environment but should also include the flow of information by which the environment acts on the living creature as well as the way the creature codes and uses this ....

Magnenat Thalmann N., Thalmann D. (1995) "Digital Actors for Interactive Television", Proc. IEEE.

....real world. However, a virtual scene beautiful though it may be is not complete without people. Virtual people, that is. Scenes involving Virtual Humans imply many complex problems we have been solving for several years [1] With the new developments of digital and interactive television [2] and multimedia products, there is also a need for systems that provide designers with the capability for embedding realtime simulated humans in games, multimedia titles and film animations. In fact, there are many current and potential applications of human activities that may be part of a VR ....

N. Magnenat Thalmann N., Thalmann D. (1995) Digital Actors for Interactive Television, Proc. IEEE, Special Issue on Digital Television, Part 2, July 1995, pp.10221031.

....impostors, image based rendering, image caching. 1. Introduction Virtual humans are becoming more abundant in real life. Numerous examples can be found in the entertainment industry [1] fig.1) in virtual reality applications (fig.2) and even in the TV industry where virtual hosts [2] have been introduced in the past years. All these applications try to satisfy two contradictory goals: speed and realism. Speed is usually required to enable the user to interact with the software. Thus, arcade game players obviously expect the system to respond immediately to their actions. ....

N. Magnenat Thalmann, D. Thalmann, "Digital Actors for Interactive Television", Proc. IEEE, Special Issue on Digital Television, Part 2, July 1995, pp.1022-1031.

....who can perceive the environment and interact with participants. Figure 1 and Figure 2 show example applications of the system. Figure 1. Networked Virtual Tennis Figure 2. Virtual meeting 2 Basic of Virtual Humans 2. 1 Articulated Structure for Virtual Human Modeling For our Virtual Humans [14], we use the HUMANOID [15] articulated human body model with 75 degrees of freedom without the hands, with additional 30 degrees of freedom for each hand. The skeleton is represented by a 3D articulated hierarchy of joints, each with realistic maximum and minimum limits. The skeleton is ....

Magnenat Thalmann N, Thalmann D (1995) Digital Actors for Interactive Television, Proc. IEEE, Special Issue on Digital Television, Part 2, July 1995, pp. 1022-1031.

....More recently, genetic algorithms were also proposed by Sims [19] to automatically generate morphologies for artificial creatures and the neural systems for controlling their muscle forces. Tu and Terzopoulos [20] described a world inhabited by artificial fishes. Our autonomous virtual actors [21] are able to have a behavior, which means they must have a manner of conducting themselves. Behavior is not only reacting to the environment but should also include the flow of information by which the environment acts on the living creature as well as the way the creature codes and uses this ....

Magnenat Thalmann N., Thalmann D., "Digital Actors for Interactive Television", Proc. IEEE, August 1995.

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