Download - Bi Manual 3D Painting - An Interaction Paradigm for Augmented Reality Live Performance - slideshare
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Bi-manual
An interaction paradigm for augmented reality live
performance
Alexis Clay - Jean-Christophe Lombardo - Nadine Couture - Julien Conan
Human-Computer Interaction, Tourism and Cultural Heritage (HCITOCH 2012)
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4th March 2011
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Movement Interaction ▪ Emotion Recognition ▪ Cultural Applications
3D Painting – A. Clay, J.C. Lombardo, N. Couture and J. CONAN / ESTIA - INRIA / 12-09-26
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Feedback from the audience:
120 submitted forms
4th March 2011
3
Movement Interaction ▪ Emotion Recognition ▪ Cultural Applications
3D Painting – A. Clay, J.C. Lombardo, N. Couture and J. CONAN / ESTIA - INRIA / 12-09-26
80% return rate
90% found it innovative
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Audience bright interest for 3D ribbons following the dancer’s
hands
Feedback from the audience:
120 submitted forms
4th March 2011
4
Movement Interaction ▪ Emotion Recognition ▪ Cultural Applications
3D Painting – A. Clay, J.C. Lombardo, N. Couture and J. CONAN / ESTIA - INRIA / 12-09-26
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Feedback from the audience:
120 submitted forms
4th March 2011
5
Movement Interaction ▪ Emotion Recognition ▪ Cultural Applications
3D Painting – A. Clay, J.C. Lombardo, N. Couture and J. CONAN / ESTIA - INRIA / 12-09-26
>90% wish to witness the evolutionof the show
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1 VIRTUAL SCULPTURE
2 MANUAL INTERACTIONS
3 CAVE 3D PAINTING
4 STAGE 3D PAINTING
5 PERSPECTIVES
Summary
Hand Interactions Stereoscopic Display
CAVE and development tools
Live Performance Application
3D Painting – A. Clay, J.C. Lombardo, N. Couture and J. CONAN / ESTIA - INRIA / 12-09-26
Prototype1
Prototype2
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73D Painting – A. Clay, J.C. Lombardo, N. Couture and J. CONAN / ESTIA - INRIA / 12-09-26
Sketching SurfacesDeisinger et al - 2000
BLUIsculpt systemArctic Region Super Computing Center - 2002
State of the Art
2 MANUAL INTERACTIONS
3 CAVE 3D PAINTING
4 STAGE 3D PAINTING 5 PERSPECTIVES1 VIRTUAL
SCULPTURE
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Surface DrawingSchkölne, Pruett, Schröder- 2001
Sketching SurfacesDeisinger et al - 2000
Freehand InteractionLarge Space Interaction and
visualization
Direct Metaphor Virtual matter seems to come out
right under the user’s hand
Large Space Painting Dance application
3D Painting – A. Clay, J.C. Lombardo, N. Couture and J. CONAN / ESTIA - INRIA / 12-09-26
Outcomes
2 MANUAL INTERACTIONS
3 CAVE 3D PAINTING
4 STAGE 3D PAINTING 5 PERSPECTIVES1 VIRTUAL
SCULPTURE
1
2
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Schkolne et al. Surface Generation
Hands’ Joints Path
Application to DanceLive Performance
3D Painting – A. Clay, J.C. Lombardo, N. Couture and J. CONAN / ESTIA - INRIA / 12-09-26
Our Objective
2 MANUAL INTERACTIONS
3 CAVE 3D PAINTING
4 STAGE 3D PAINTING 5 PERSPECTIVES1 VIRTUAL
SCULPTURE
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103D Painting – A. Clay, J.C. Lombardo, N. Couture and J. CONAN / ESTIA - INRIA / 12-09-26
Our Objective
2 MANUAL INTERACTIONS
3 CAVE 3D PAINTING
4 STAGE 3D PAINTING 5 PERSPECTIVES1 VIRTUAL
SCULPTURE
Credits: Samsung Galaxy SIII advertisement - 2012
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Hand conformation
Wrists’ positions
Articulations and tip positions
Metaphor
3D Painting – A. Clay, J.C. Lombardo, N. Couture and J. CONAN / ESTIA - INRIA / 12-09-26
3 CAVE 3D PAINTING
4 STAGE 3D PAINTING 5 PERSPECTIVES1 VIRTUAL
SCULPTURE2 MANUAL
INTERACTIONS
Basic InformationGenerate Virtual Objects
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1/2s or 1/10s sample Surface between t and t-1
Movement parallel to the palm’s surface
3D Painting – A. Clay, J.C. Lombardo, N. Couture and J. CONAN / ESTIA - INRIA / 12-09-26
3 CAVE 3D PAINTING
4 STAGE 3D PAINTING 5 PERSPECTIVES1 VIRTUAL
SCULPTURE2 MANUAL
INTERACTIONS
Shapes of the generated surface
1
Curves Surfaces
1rst metaphor: Shapes
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Volume section = user hand visual surface2
3D Painting – A. Clay, J.C. Lombardo, N. Couture and J. CONAN / ESTIA - INRIA / 12-09-26
3 CAVE 3D PAINTING
4 STAGE 3D PAINTING 5 PERSPECTIVES1 VIRTUAL
SCULPTURE2 MANUAL
INTERACTIONS
2nd metaphor: Volumes
2
Movement perpendicularly to the palm’s surface
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More accurate Same as a tinier brush
Automatic closed surfaces fullfilment
3D Painting – A. Clay, J.C. Lombardo, N. Couture and J. CONAN / ESTIA - INRIA / 12-09-26
3 CAVE 3D PAINTING
4 STAGE 3D PAINTING 5 PERSPECTIVES1 VIRTUAL
SCULPTURE2 MANUAL
INTERACTIONS
3rd metaphor: Curves
3
Index/Middle finger conformation
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Thumb positions
3D Painting – A. Clay, J.C. Lombardo, N. Couture and J. CONAN / ESTIA - INRIA / 12-09-26
3 CAVE 3D PAINTING
4 STAGE 3D PAINTING 5 PERSPECTIVES1 VIRTUAL
SCULPTURE2 MANUAL
INTERACTIONS
Pen-writing metaphor
« Draw »
« Free To Move »
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Main interests
Simple
Direct metaphor
Natural modes
Hand orientation / Fingers tucked
1
2
3
3D Painting – A. Clay, J.C. Lombardo, N. Couture and J. CONAN / ESTIA - INRIA / 12-09-26
3 CAVE 3D PAINTING
4 STAGE 3D PAINTING 5 PERSPECTIVES1 VIRTUAL
SCULPTURE2 MANUAL
INTERACTIONS
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173D Painting – A. Clay, J.C. Lombardo, N. Couture and J. CONAN / ESTIA - INRIA / 12-09-26
2 MANUAL INTERACTIONS
4 STAGE 3D PAINTING 5 PERSPECTIVES1 VIRTUAL
SCULPTURE3 CAVE 3D PAINTING
CAVE 3D PAINTING PROTOTYPE STAGE 3D PAINTING PROTOTYPE
Immersion in virtual space Co-located interactions Display Accuracy Development Tools
Two users simultaneously max Cost 3mx3mx3m
3D Display in a Large Space Multi viewers Reduced cost
Dancer Blind From His Creations Occlusion Problem One Projection Screen
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Hand IR Trackers
Glasses with Positions Trackers
Virtual Platformwith AR-Dtrack
3D Painting – A. Clay, J.C. Lombardo, N. Couture and J. CONAN / ESTIA - INRIA / 12-09-26
2 MANUAL INTERACTIONS
4 STAGE 3D PAINTING 5 PERSPECTIVES1 VIRTUAL
SCULPTURE 3 CAVE 3D PAINTING
Instrumented Space
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isiVR
Multi-display Cluster Position Tracking
3D Painting – A. Clay, J.C. Lombardo, N. Couture and J. CONAN / ESTIA - INRIA / 12-09-26
2 MANUAL INTERACTIONS
4 STAGE 3D PAINTING 5 PERSPECTIVES1 VIRTUAL
SCULPTURE 3 CAVE 3D PAINTING
Scalable and Interactive Virtual Reality
Immersive 3D Visualization FrameWork
isiVR Features
Immersive ToolsReady-to-useOpenSceneGraph
Render Engine
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Inputs OutputsBehaviors
Facilitate Additions/Modifications
Immersive ToolsReady-to-useOpenSceneGraph
Render Engine
openSource license
3D Painting – A. Clay, J.C. Lombardo, N. Couture and J. CONAN / ESTIA - INRIA / 12-09-26
2 MANUAL INTERACTIONS
4 STAGE 3D PAINTING 5 PERSPECTIVES1 VIRTUAL
SCULPTURE 3 CAVE 3D PAINTING
isiVR
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Flat Polygons
Control Points
Bézier Surfaces according toHand’s Movement
Positions: Middle Finger Distal Phalanx Wrist
3D Painting – A. Clay, J.C. Lombardo, N. Couture and J. CONAN / ESTIA - INRIA / 12-09-26
2 MANUAL INTERACTIONS
4 STAGE 3D PAINTING 5 PERSPECTIVES1 VIRTUAL
SCULPTURE 3 CAVE 3D PAINTING
Schkölne Paradigm Application
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223D Painting – A. Clay, J.C. Lombardo, N. Couture and J. CONAN / ESTIA - INRIA / 12-09-26
2 MANUAL INTERACTIONS
4 STAGE 3D PAINTING 5 PERSPECTIVES1 VIRTUAL
SCULPTURE 3 CAVE 3D PAINTING
Surface Generation by Hand in a CAVE
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233D Painting – A. Clay, J.C. Lombardo, N. Couture and J. CONAN / ESTIA - INRIA / 12-09-26
2 MANUAL INTERACTIONS
4 STAGE 3D PAINTING 5 PERSPECTIVES1 VIRTUAL
SCULPTURE3 CAVE 3D PAINTING
CAVE 3D PAINTING PROTOTYPE STAGE 3D PAINTING PROTOTYPE
Immersion in virtual space Co-located interactions Display Accuracy Development Tools
Two users simultaneously max Cost Effective 3mx3mx3m
3D Display in a Large Space Multi viewers Reduced cost
Dancer Blind From His Creations Occlusion Problem One Projection Screen
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243D Painting – A. Clay, J.C. Lombardo, N. Couture and J. CONAN / ESTIA - INRIA / 12-09-26
2 MANUAL INTERACTIONS
3 CAVE 3D PAINTING 5 PERSPECTIVES1 VIRTUAL
SCULPTURE 4 STAGE 3D PAINTING
Prototype Scheme
Signals received are different format
Instrumented User
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17 Motion Trackers
Positions x,y,z(t)Orientations
SIGNALS
Gyroscope, magnetometers, and
accelerometers signals
Articulated and Rigid Kinematic Chain
IndividualBody Segments
Mtx Trackers
Xbus Master
Master Slave
XSens
3D Painting – A. Clay, J.C. Lombardo, N. Couture and J. CONAN / ESTIA - INRIA / 12-09-26
2 MANUAL INTERACTIONS
3 CAVE 3D PAINTING 5 PERSPECTIVES1 VIRTUAL
SCULPTURE 4 STAGE 3D PAINTING
Motion Capture Suit
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SIGNALS
0 < Flexion < 1
Erase Objects
Point an object
Choose color
Display Palette
Choose color
1
0
2
3
4
56
7
9
10
11 12138
Thumb_NearThumb_FarThumb_IndexIndex_NearIndex_FarIndex_MiddleIndex_NearIndex_FarIndex_RingRing_NearRing FarRing_LittleRing_NearRing_Far
123456789
1011121314
5DT14 Flexion Trackers
3D Painting – A. Clay, J.C. Lombardo, N. Couture and J. CONAN / ESTIA - INRIA / 12-09-26
2 MANUAL INTERACTIONS
3 CAVE 3D PAINTING 5 PERSPECTIVES1 VIRTUAL
SCULPTURE 4 STAGE 3D PAINTING
Data Gloves
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273D Painting – A. Clay, J.C. Lombardo, N. Couture and J. CONAN / ESTIA - INRIA / 12-09-26
2 MANUAL INTERACTIONS
3 CAVE 3D PAINTING 5 PERSPECTIVES1 VIRTUAL
SCULPTURE
Render EngineVisual Programming Editor
Procedural ApproachSDK
Behaviors Indirect Basis
Inputs Management Building Blocks
VIRTOOLS
4 STAGE 3D PAINTING
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OBJECT
Actions Reactions
Loop Process
Settings
Variable Configuration
Custom Dialog Box
Message Handler
Building Blocks
3D Painting – A. Clay, J.C. Lombardo, N. Couture and J. CONAN / ESTIA - INRIA / 12-09-26
2 MANUAL INTERACTIONS
3 CAVE 3D PAINTING 5 PERSPECTIVES1 VIRTUAL
SCULPTURE
VIRTOOLS
4 STAGE 3D PAINTING
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PROCESSING
ENTITY CREATION
BUFFER
COORDINATES Hands
x,y,z(t) vertices
Object Mesh
Lights
x,y,z(t+1) vertices
Material Texture
Camera
Shader
Main Object Sub Object
293D Painting – A. Clay, J.C. Lombardo, N. Couture and J. CONAN / ESTIA - INRIA / 12-09-26
2 MANUAL INTERACTIONS
3 CAVE 3D PAINTING 5 PERSPECTIVES1 VIRTUAL
SCULPTURE
VIRTOOLS
4 STAGE 3D PAINTING
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303D Painting – A. Clay, J.C. Lombardo, N. Couture and J. CONAN / ESTIA - INRIA / 12-09-26
2 MANUAL INTERACTIONS
3 CAVE 3D PAINTING 5 PERSPECTIVES1 VIRTUAL
SCULPTURE
Obje
ctGN
Mes
hGN
curv
eA(t)
curv
eB(t)
curv
eC(t)
curv
eD(t)
posA
(t-1)
posB
(t-1)
posC
(t-1)
posD
(t-1)
Mat
eria
lGN
Text
ureG
NOp
acity
Mod
eOp
acity
Aver
age
Mat
eria
lPal
ette
posA
(t)po
sB(t)
posC
(t)po
sD(t)
VIRTOOLS
4 STAGE 3D PAINTING
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313D Painting – A. Clay, J.C. Lombardo, N. Couture and J. CONAN / ESTIA - INRIA / 12-09-26
2 MANUAL INTERACTIONS
3 CAVE 3D PAINTING 5 PERSPECTIVES1 VIRTUAL
SCULPTURE 4 STAGE 3D PAINTING
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4.Tip
3.Distal
2.Medial
1.Proximal
More Details
Save CPU Resources
3D Painting – A. Clay, J.C. Lombardo, N. Couture and J. CONAN / ESTIA - INRIA / 12-09-26
2 MANUAL INTERACTIONS
3 CAVE 3D PAINTING 5 PERSPECTIVES1 VIRTUAL
SCULPTURE 4 STAGE 3D PAINTING
Tesselation Post-Process1)
2)
3)
Tesselation
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333D Painting – A. Clay, J.C. Lombardo, N. Couture and J. CONAN / ESTIA - INRIA / 12-09-26
2 MANUAL INTERACTIONS
3 CAVE 3D PAINTING 5 PERSPECTIVES1 VIRTUAL
SCULPTURE 4 STAGE 3D PAINTING
Occlusion SCENE
AUDIENCE
Projection Screen
Constraint
Semi-transparent projection screen (between dancer and
audience)
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343D Painting – A. Clay, J.C. Lombardo, N. Couture and J. CONAN / ESTIA - INRIA / 12-09-26
2 MANUAL INTERACTIONS
3 CAVE 3D PAINTING 5 PERSPECTIVES1 VIRTUAL
SCULPTURE 4 STAGE 3D PAINTING
« La Mer », Debussy - 1905
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353D Painting – A. Clay, J.C. Lombardo, N. Couture and J. CONAN / ESTIA - INRIA / 12-09-26
2 MANUAL INTERACTIONS
3 CAVE 3D PAINTING 5 PERSPECTIVES1 VIRTUAL
SCULPTURE 4 STAGE 3D PAINTING
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2 MANUAL INTERACTIONS
3 CAVE 3D PAINTING
4 STAGE 3D PAINTING
1 VIRTUAL SCULPTURE 5 PERSPECTIVES
3D Painting – A. Clay, J.C. Lombardo, N. Couture and J. CONAN / ESTIA - INRIA / 12-09-26
Current Work and Applications
Current Work
Credits: Proteigon - 2011
Dancer’s Movement Parameters:
Space Time Weight Flow
“Computational models of expressive gesture in multimedia systems”,
G.Volpe et al, 2003
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2 MANUAL INTERACTIONS
3 CAVE 3D PAINTING
4 STAGE 3D PAINTING
1 VIRTUAL SCULPTURE 5 PERSPECTIVES
3D Painting – A. Clay, J.C. Lombardo, N. Couture and J. CONAN / ESTIA - INRIA / 12-09-26
Perspectives
Creations Visual FeedbackCreations Haptic Feedback
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Authors
Alexis ClayJean-Christophe LombardoNadine CoutureJulien Conan
3D Painting – A. Clay, J.C. Lombardo, N. Couture and J. CONAN / ESTIA - INRIA / 12-09-26
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Bi-manual
An interaction paradigm for augmented reality live
performance
Alexis Clay - Jean-Christophe Lombardo - Nadine Couture - Julien Conan
Human-Computer Interaction, Tourism and Cultural Heritage (ESTIA - INRIA)