
stream therefore consists of 3D position data for each marker. This data is
typically applied to an inverse kinematics system, to animate a skeleton.
■
Electro-magnetic sensing technology
This is a popular method used for performance capture. Magnetic capture
involves the use of a centrally located transmitter, and a set of receivers
that are strapped on to various parts of the performer’s body. These receivers
are capable of measuring their spatial relationship to the transmitter. Each
receiver is connected to an interface that can be synchronized to prevent
data skew. The resulting data stream consists of 3D positions and
orientations for each receiver. This data is typically applied to an inverse
kinematics system to drive an animated skeleton. This magnetic approach
shares the same lack of occlusion problems with the audio method, but it
also shares the same negative factors, such as the hindrance of cables, lack
of sufficient receivers, and the limited capture area. In addition, being
magnetic, the system is affected by any sizable areas of metal in the vicinity
of the capture area, such as girders, posts, and so on
■
Prosthetic sensing technology
This is one of the early methods for capturing the motion from various
parts of human anatomy. These methods include simple "on/off" type of
motion-detection systems as well as complex motion-tracking systems.
The latter type of prosthetic motion capture would be an ideal approach
if it weren’t for the complex mechanical requirements and the
performance-inhibiting qualities generally associated with such designs.
However, the type of data provided can be clean, rotational data collected
in real time without any occlusion problems. This method is based on a
set of armatures that must be attached all over the performer’s body. The
armatures are then connected to each other by using a series of rotational
and linear encoders. These encoders are then connected to an interface
that can simultaneously read all the encoders in order to prevent data
skewing. Finally, through a set of trigonometry functions, the performer’s
motion can be analyzed. These design restrictions seem to be quite difficult
to overcome, and will probably limit the use of this type of device for
character animation.
■
Acoustic sensing technology
Acoustic capture is another method currently used for performance capture.
This method involves the use of a triad of audio receivers. An array of audio
transmitters are strapped to various parts of the performer's body. The
transmitters are sequentially triggered to output a "click" and each receiver
measures the time it takes for the sound to travel from each transmitter.
The calculated distance of the three receivers is triangulated to provide a
point in 3D space. An inherent issue with this approach is the sequential
Working with Motion-Capture Data | 4575
Summary of Contents for 12812-051462-9011 - 3DS MAX 9 COM LEGACY SLM
Page 1: ...Help Volume 2 Autodesk 3ds Max 2009 ...
Page 13: ...Interface 2694 Chapter 14 Space Warps and Particle Systems ...
Page 28: ...Interface Forces 2709 ...
Page 38: ...Interface Forces 2719 ...
Page 54: ...Interface Deflectors 2735 ...
Page 69: ...Interface 2750 Chapter 14 Space Warps and Particle Systems ...
Page 84: ...Interface Geometric Deformable 2765 ...
Page 93: ...Interface 2774 Chapter 14 Space Warps and Particle Systems ...
Page 174: ...Interface Particle Flow 2855 ...
Page 208: ...Interface Particle Flow 2889 ...
Page 233: ...Interface 2914 Chapter 14 Space Warps and Particle Systems ...
Page 285: ...Interface 2966 Chapter 14 Space Warps and Particle Systems ...
Page 292: ...Interface Particle Flow 2973 ...
Page 327: ...3008 Chapter 14 Space Warps and Particle Systems ...
Page 374: ...Interface Non Event Driven Particle Systems 3055 ...
Page 379: ...Instancing Parameters group 3060 Chapter 14 Space Warps and Particle Systems ...
Page 635: ...Interface 3316 Chapter 15 Animation ...
Page 677: ...Moving the root parent moves the whole hierarchy 3358 Chapter 15 Animation ...
Page 713: ...Overlapping chains make the toe stick to the ground 3394 Chapter 15 Animation ...
Page 767: ...3448 Chapter 15 Animation ...
Page 782: ...Example of Applied IK IK structure Inverse Kinematics IK 3463 ...
Page 787: ...1 Base 2 Post 3 Cap 4 Ring 5 Holder 6 Handle 3468 Chapter 15 Animation ...
Page 1123: ...Interface 3804 Chapter 15 Animation ...
Page 1199: ...3880 ...
Page 1275: ...Properties rollout 3956 Chapter 16 reactor ...
Page 1285: ...A Twist Axis C Twist X Plane Axis 1 Plane Min Cone 2 Plane Max Cone 3966 Chapter 16 reactor ...
Page 1299: ...Properties rollout 3980 Chapter 16 reactor ...
Page 1395: ...Interface Water Properties rollout 4076 Chapter 16 reactor ...
Page 1400: ...Interface Wind Properties rollout Wind 4081 ...
Page 1477: ...4158 Chapter 17 character studio ...
Page 1533: ...Center of mass moved behind the biped in rubber band mode 4214 Chapter 17 character studio ...
Page 1568: ...Rotating Multiple Biped Links Freeform Animation 4249 ...
Page 1591: ...Animating Pivots 4272 Chapter 17 character studio ...
Page 1659: ...Interface Save As dialog for a FIG BIP or STP file 4340 Chapter 17 character studio ...
Page 1662: ...Interface Open dialog for BIP or STP files Biped User Interface 4343 ...
Page 1810: ...Interface Animation Workbench 4491 ...
Page 1814: ...Interface Animation Workbench 4495 ...
Page 1823: ...Interface 4504 Chapter 17 character studio ...
Page 1922: ...Physique Physique 4603 ...
Page 1925: ...4606 Chapter 17 character studio ...
Page 1943: ...See also Using Physique with a Biped on page 4614 4624 Chapter 17 character studio ...
Page 1957: ...Envelope cross sections can be scaled and moved 4638 Chapter 17 character studio ...
Page 2076: ...Physique User Interface 4757 ...
Page 2208: ...Interface Crowd Animation User Interface 4889 ...
Page 2259: ...Interface 4940 Chapter 17 character studio ...
Page 2265: ...Interface 4946 Chapter 17 character studio ...
Page 2268: ...Interface Crowd Animation User Interface 4949 ...
Page 2271: ...Interface 4952 Chapter 17 character studio ...
Page 2287: ...To filter a track on page 4503 4968 Chapter 17 character studio ...
Page 2535: ...Interface 5216 Chapter 18 Lights and Cameras ...