Proceedings of the ACM Symposium on Applied Perception (SAP’17), pages: 2:1-2:7, September 2017 (conference)
The individual shape of the human body, including the geometry of its articulated structure and the distribution of weight over that structure, influences the kinematics of a person's movements. How sensitive is the visual system to inconsistencies between shape and motion introduced by retargeting motion from one person onto the shape of another? We used optical motion capture to record five pairs of male performers with large differences in body weight, while they pushed, lifted, and threw objects. Based on a set of 67 markers, we estimated both the kinematics of the actions as well as the performer's individual body shape. To obtain consistent and inconsistent stimuli, we created animated avatars by combining the shape and motion estimates from either a single performer or from different performers. In a virtual reality environment, observers rated the perceived weight or thrown distance of the objects. They were also asked to explicitly discriminate between consistent and hybrid stimuli. Observers were unable to accomplish the latter, but hybridization of shape and motion influenced their judgements of action outcome in systematic ways. Inconsistencies between shape and motion were assimilated into an altered perception of the action outcome.
In Proceedings IEEE Conference on Computer Vision and Pattern Recognition (CVPR) 2017, IEEE, Piscataway, NJ, USA, July 2017 (inproceedings)
Estimating human pose, shape, and motion from images and videos are fundamental challenges with many applications. Recent advances in 2D human pose estimation use large amounts of manually-labeled training data for learning convolutional neural networks (CNNs). Such data is time consuming to acquire and difficult to extend. Moreover, manual labeling of 3D pose, depth and motion is impractical. In this work we present SURREAL (Synthetic hUmans foR REAL tasks): a new large-scale dataset with synthetically-generated but realistic images of people rendered from 3D sequences of human motion capture data. We generate more than 6 million frames together with ground truth pose, depth maps, and segmentation masks. We show that CNNs trained on our synthetic dataset allow for accurate human depth estimation and human part segmentation in real RGB images. Our results and the new dataset open up new possibilities for advancing person analysis using cheap and large-scale synthetic data.
A method for providing a three-dimensional body model which may be applied for an animation, based on a moving body, wherein the method comprises providing a parametric three-dimensional body model, which allows shape and pose variations; applying a standard set of body markers; optimizing the set of body markers by generating an additional set of body markers and applying the same for providing 3D coordinate marker signals for capturing shape and pose of the body and dynamics of soft tissue; and automatically providing an animation by processing the 3D coordinate marker signals in order to provide a personalized three-dimensional body model, based on estimated shape and an estimated pose of the body by means of predicted marker locations.
ACM Trans. Graphics (Proc. SIGGRAPH Asia), 34(6):248:1-248:16, ACM, New York, NY, October 2015 (article)
We present a learned model of human body shape and pose-dependent shape variation that is more accurate than previous models and is compatible with existing graphics pipelines. Our Skinned Multi-Person Linear model (SMPL) is a skinned vertex-based model that accurately represents a wide variety of body shapes in natural human poses. The parameters of the model are learned from data including the rest pose template, blend weights, pose-dependent blend shapes, identity-dependent blend shapes, and a regressor from vertices to joint locations. Unlike previous models, the pose-dependent blend shapes are a linear function of the elements of the pose rotation matrices. This simple formulation enables training the entire model from a relatively large number of aligned 3D meshes of different people in different poses. We quantitatively evaluate variants of SMPL using linear or dual-quaternion blend skinning and show that both are more accurate than a Blend-SCAPE model trained on the same data. We also extend SMPL to realistically model dynamic soft-tissue deformations. Because it is based on blend skinning, SMPL is compatible with existing rendering engines and we make it available for research purposes.
ACM Transactions on Graphics, (Proc. SIGGRAPH), 34(4):120:1-120:14, ACM, August 2015 (article)
To look human, digital full-body avatars need to have soft tissue deformations like those of real people. We learn a model of soft-tissue deformations from examples using a high-resolution 4D capture system and a method that accurately registers a template mesh to sequences of 3D scans. Using over 40,000 scans of ten subjects, we learn how soft tissue motion causes mesh triangles to deform relative to a base 3D body model. Our Dyna model uses a low-dimensional linear subspace to approximate soft-tissue deformation and relates the subspace coefficients to the changing pose of the body. Dyna uses a second-order auto-regressive model that predicts soft-tissue deformations based on previous deformations, the velocity and acceleration of the body, and the angular velocities and accelerations of the limbs. Dyna also models how deformations vary with a person’s body mass index (BMI), producing different deformations for people with different shapes. Dyna realistically represents the dynamics of soft tissue for previously unseen subjects and motions. We provide tools for animators to modify the deformations and apply them to new stylized characters.
ACM Transactions on Graphics, (Proc. SIGGRAPH Asia), 33(6):220:1-220:13, ACM, New York, NY, USA, November 2014 (article)
Marker-based motion capture (mocap) is widely criticized as producing lifeless animations. We argue that important information about body surface motion is present in standard marker sets but is lost in extracting a skeleton. We demonstrate a new approach called MoSh (Motion and Shape capture), that automatically extracts this detail from mocap data. MoSh estimates body shape and pose together using sparse marker data by exploiting a parametric model of the human body. In contrast to previous work, MoSh solves for the marker locations relative to the body and estimates accurate body shape directly from the markers without the use of 3D scans; this effectively turns a mocap system into an approximate body scanner. MoSh is able to capture soft tissue motions directly from markers
by allowing body shape to vary over time. We evaluate the effect of different marker sets on pose and shape accuracy and propose a new sparse marker set for capturing soft-tissue motion. We illustrate MoSh by recovering body shape, pose, and soft-tissue motion from archival mocap data and using this to produce animations with subtlety and realism. We also show soft-tissue motion retargeting to new characters and show how to magnify the 3D deformations of soft tissue to create animations with appealing exaggerations.
ACM Transactions on Graphics, (Proc. SIGGRAPH), 33(4):52:1-52:11, ACM, New York, NY, July 2014 (article)
Modeling how the human body deforms during breathing is important for the realistic animation of lifelike 3D avatars. We learn a model of body shape deformations due to breathing for different breathing types and provide simple animation controls to render lifelike breathing regardless of body shape. We capture and align high-resolution 3D scans of 58 human subjects. We compute deviations from each subject’s mean shape during breathing, and study the statistics of such shape changes for different genders, body shapes, and breathing types. We use the volume of the registered scans as a proxy for lung volume and learn a novel non-linear model relating volume and breathing type to 3D shape deformations and pose changes. We then augment a SCAPE body model so that body shape is determined by identity, pose, and the parameters of the breathing model. These parameters provide an intuitive interface with which animators can synthesize 3D human avatars with realistic breathing motions. We also develop a novel interface for animating breathing using a spirometer, which measures the changes in breathing volume of a “breath actor.”
Our goal is to understand the principles of Perception, Action and Learning in autonomous systems that successfully interact with complex environments and to use this understanding to design future systems