Daniel Celis | Universidad Autónoma de Tamaulipas (original) (raw)
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Papers by Daniel Celis
Today Motion capture Systems (MoCap) are expensive and cumbersome. Only big companies can afford ... more Today Motion capture Systems (MoCap) are expensive and cumbersome. Only big companies can afford to
have one of these systems designing a new cheap and practical MoCap system is imperative. The aim of this work is
to integrate human figure in 3D animation from architectural projects, using video and image processing techniques
with 3D graphics in order to create 3D animations. Our study uses UV-A “Black Lights”, two Handy cams, glow-inthe-
dark spheres and tracking algorithm. Our research focuses on finding out how many UV-A “Black Lights” are
needed and the best fluorescent colours for the markers. These markers were followed through a video frame
sequence using a tracking algorithm designed for the purpose. We were able to track the markers’ 3D coordinates
from a live performer and use them off-line to animate a 3D character. This system can be use to include human
movement that looks more realistic and not robotic in 3D environmental or architectural animations.
Today Motion capture Systems (MoCap) are expensive and cumbersome. Only big companies can afford ... more Today Motion capture Systems (MoCap) are expensive and cumbersome. Only big companies can afford to
have one of these systems designing a new cheap and practical MoCap system is imperative. The aim of this work is
to integrate human figure in 3D animation from architectural projects, using video and image processing techniques
with 3D graphics in order to create 3D animations. Our study uses UV-A “Black Lights”, two Handy cams, glow-inthe-
dark spheres and tracking algorithm. Our research focuses on finding out how many UV-A “Black Lights” are
needed and the best fluorescent colours for the markers. These markers were followed through a video frame
sequence using a tracking algorithm designed for the purpose. We were able to track the markers’ 3D coordinates
from a live performer and use them off-line to animate a 3D character. This system can be use to include human
movement that looks more realistic and not robotic in 3D environmental or architectural animations.