Dancing-to-Music Character Animation
In computer graphics, considerable research has been conducted on realistic human motion synthesis. However, most research does not consider human emotional aspects, which often strongly affect human motion. This paper presents a new approach for synthesizing dance performance matched to input music...
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Published in | Computer graphics forum Vol. 25; no. 3; pp. 449 - 458 |
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Main Authors | , , |
Format | Journal Article |
Language | English |
Published |
Oxford, UK and Boston, USA
Blackwell Publishing, Inc
01.09.2006
Blackwell Publishing Ltd |
Subjects | |
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Abstract | In computer graphics, considerable research has been conducted on realistic human motion synthesis. However, most research does not consider human emotional aspects, which often strongly affect human motion. This paper presents a new approach for synthesizing dance performance matched to input music, based on the emotional aspects of dance performance. Our method consists of a motion analysis, a music analysis, and a motion synthesis based on the extracted features. In the analysis steps, motion and music feature vectors are acquired. Motion vectors are derived from motion rhythm and intensity, while music vectors are derived from musical rhythm, structure, and intensity. For synthesizing dance performance, we first find candidate motion segments whose rhythm features are matched to those of each music segment, and then we find the motion segment set whose intensity is similar to that of music segments. Additionally, our system supports having animators control the synthesis process by assigning desired motion segments to the specified music segments. The experimental results indicate that our method actually creates dance performance as if a character was listening and expressively dancing to the music.
Categories and Subject Descriptors (according to ACM CCS): I.3.7 [Computer Graphics]: Three‐Dimensional Graphics and Realism Animation; J.5 [Arts and Humanities]: Performing Arts Music |
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AbstractList | In computer graphics, considerable research has been conducted on realistic human motion synthesis. However, most research does not consider human emotional aspects, which often strongly affect human motion. This paper presents a new approach for synthesizing dance performance matched to input music, based on the emotional aspects of dance performance. Our method consists of a motion analysis, a music analysis, and a motion synthesis based on the extracted features. In the analysis steps, motion and music feature vectors are acquired. Motion vectors are derived from motion rhythm and intensity, while music vectors are derived from musical rhythm, structure, and intensity. For synthesizing dance performance, we first find candidate motion segments whose rhythm features are matched to those of each music segment, and then we find the motion segment set whose intensity is similar to that of music segments. Additionally, our system supports having animators control the synthesis process by assigning desired motion segments to the specified music segments. The experimental results indicate that our method actually creates dance performance as if a character was listening and expressively dancing to the music. In computer graphics, considerable research has been conducted on realistic human motion synthesis. However, most research does not consider human emotional aspects, which often strongly affect human motion. This paper presents a new approach for synthesizing dance performance matched to input music, based on the emotional aspects of dance performance. Our method consists of a motion analysis, a music analysis, and a motion synthesis based on the extracted features. In the analysis steps, motion and music feature vectors are acquired. Motion vectors are derived from motion rhythm and intensity, while music vectors are derived from musical rhythm, structure, and intensity. For synthesizing dance performance, we first find candidate motion segments whose rhythm features are matched to those of each music segment, and then we find the motion segment set whose intensity is similar to that of music segments. Additionally, our system supports having animators control the synthesis process by assigning desired motion segments to the specified music segments. The experimental results indicate that our method actually creates dance performance as if a character was listening and expressively dancing to the music. Categories and Subject Descriptors (according to ACM CCS): I.3.7 [Computer Graphics]: Three‐Dimensional Graphics and Realism Animation; J.5 [Arts and Humanities]: Performing Arts Music In computer graphics, considerable research has been conducted on realistic human motion synthesis. However, most research does not consider human emotional aspects, which often strongly affect human motion. This paper presents a new approach for synthesizing dance performance matched to input music, based on the emotional aspects of dance performance. Our method consists of a motion analysis, a music analysis, and a motion synthesis based on the extracted features. In the analysis steps, motion and music feature vectors are acquired. Motion vectors are derived from motion rhythm and intensity, while music vectors are derived from musical rhythm, structure, and intensity. For synthesizing dance performance, we first find candidate motion segments whose rhythm features are matched to those of each music segment, and then we find the motion segment set whose intensity is similar to that of music segments. Additionally, our system supports having animators control the synthesis process by assigning desired motion segments to the specified music segments. The experimental results indicate that our method actually creates dance performance as if a character was listening and expressively dancing to the music. [PUBLICATION ABSTRACT] |
Author | Nakazawa, Atsushi Shiratori, Takaaki Ikeuchi, Katsushi |
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(e_1_2_12_3_2) 2000; 22 e_1_2_12_13_2 e_1_2_12_12_2 e_1_2_12_11_2 LU L. (e_1_2_12_24_2) 2003 e_1_2_12_7_2 e_1_2_12_10_2 e_1_2_12_6_2 KOVAR L. (e_1_2_12_17_2) 2002; 21 e_1_2_12_9_2 |
References_xml | – reference: BRUDERLIN A., WILLIAMS L.: Motion signal processing. In Proc. ACM SIGGRAPH 95 (1995), pp. 97-104. – reference: SETHARES W. A., MORRIS R. D., SETHARES J. C.: Beat tracking of musical performance using low-level audio features. IEEE Trans. on Speech and Audio Processing 13, 2 (2005). – reference: BREGMAN A.S.: Auditory Scene Analysis: The Perceptual Organization of sound. The MIT Press, 1990. – reference: GLEICHER M.: Retargetting moiton to new characters. In Proc. ACM SIGGRAPH 98 (1998), pp. 33-42. – reference: GOTO M.: An audio-based real-time beat tracking system for music with or without drum-sounds. Journal of New Music Research 30, 2 (2001), 159-171. – reference: KOVAR L., GLEICHER M., PIGHIN F.: Motion graphs. ACM Trans. on Graphics 21, 3 (2002), 473-482. – reference: COOKE M., BROWN G.: Computational auditory scene analysis: Exploiting principles of perceived continuity. Speech Communication 13 (1993), 391-399. – reference: LEE J., CHAI J., REITSMA P. S. A., HODGINS J. K., POLLARD N. S.: Interactive control of avatars animated with human motion data. ACM Trans. on Graphics 21, 3 (2002), 491-500. – reference: SCHERIER E.D.: Tempo and beat analysis of acoustic musical signals. Journal of the Acoustic Society of America 103, 1 (1998), 588-601. – reference: LOGAN B., CHU S.: Music summarization using key phrases. In Proc. IEEE Int'l Conf. on Acoustics, Speech, and Signal Processing (2000). – reference: LU L., ZHANG H. -J.: Automated extraction of music snippets. In Proc. ACM Multimedia (2003), pp. 140-147. – reference: ARIKAN O., FORSYTH D. A.: Interactive motion generation from examples. ACM Trans. on Graphics 21, 3 (2002), 483-490. – reference: CEMGIL A. T., KAPPEN B., DESIAN P., HONING H.: On tempo tracking: Tempogram representation and kalman filtering. Journal of New Music Research 29, 4 (2001), 259-273. – reference: NAKATA T., MORI T., SATO T.: Analysis of impression of robot bodily expression. Journal of Robotics and Mechatoronics 14, 1 (2002), 27-36. – reference: DESAIN P., HONING H.: The quantization of musical time: A connectionist approach. Computer Music Journal 13, 3 (1989), 56-66. – reference: HSU E., PULLI K., POPOVIĆ J.: Style translation for human motion. ACM Trans. on Graphics 24, 3 (2005), 1082-1089. – reference: WITKIN A., POPOVIĆ Z.: Motion warping. In Proc. ACM SIGGRAPH 95 (1995), pp. 105-108. – reference: HSUE. , GENTRY S., POPOVI C´J.: Example-based control of human motion. In Proc. SIGGRAPH/Eurographics Symposium on Computer Animation 2004 (2004), pp. 69-77. – reference: TODD N. P. M.: The auditory primal sketch: A multi-scale model of rhythmic group. Journal of New Music Research 23, 1 (1994), 25-70. – reference: ROADS C.: The Computer Music Tutorial. The MIT Press, 1996. – reference: YAMANE K., KUFFNER J., HODGINS J.K.: Synthesizing animations of human manipulation tasks. ACM Trans. on Graphics 23, 3 (2004), 532-539. – reference: NAVA G. P., TANAKA H.: Finding music beats and tempo by using an image processing technique. In Proc. Int'l Conf. on Information Technology for Application (2004). – reference: PULLEN K., BREGLER C.: Motion capture assisted animation: Texturing and synthesis. ACM Trans. on Graphics 21, 3 (2002), 501-508. – reference: LI Y., WANG T., SHUM H. -Y.: Motion texture: a two-level statistical model for character motion synthesis. ACM Trans. on Graphics 21, 3 (2002), 465-472. – reference: SHAO X., XU C., WANG Y., SKANKANHALLI M.: Automatic music summarization in compressed domain. In Proc. IEEE Int'l Conf. on Acoustics, Speech, and Signal Processing (2004). – reference: LABAN R., ULLMANN L.: Mastery of Movement. Princeton Book Company Publishers, 1960. – reference: GROCHOW K., MARTIN S. 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SubjectTerms | Analysis Animation Computer graphics Computer programming Dance Movement Music Studies |
Title | Dancing-to-Music Character Animation |
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