A challenging goal for both the game industry and the research community of computer graphics is the generation of 3D virtual avatars that automatically perform realistic human motions with high speed at low monetary cost. So far, full body motion estimation of human complexity remains an important open problem. We propose a realistic motion estimation framework to control the animation of 3D avatars. Instead of relying on a motion capture device as the control signal, we use low-cost and ubiquitously available 3D accelerometer sensors. The framework is developed in a data-driven fashion, which includes two phases: model learning from an existing high quality motion database, and motion synthesis from the control signal. In the phase of model learning, we built a high quality motion model of less complexity that learned from a large motion capture database. Then, by taking the 3D accelerometer sensor signal as input, we were able to synthesize high-quality motion from the motion model we learned. In this thesis, we present two different techniques for model learning and motion synthesis, respectively. Linear and nonlinear reduction techniques for data dimensionality are applied to search for the proper low dimensional representation of motion data. Two motion synthesis methods, interpolation and optimization, are compared using the 3D acceleration signals with high noise. We evaluate the result visually compared to the real video and quantitatively compared to the ground truth motion. The system performs well, which makes it available to a wide range of interactive applications, such as character control in 3D virtual environments and occupational training. / Master of Science

Interactive 3D animation of human figures is very common in video games, animation studios and virtual environments. However, it is difficult to produce full body animation that looks realistic enough to be comparable to studio quality human motion data. The commercial motion capture systems are expensive and not suitable for capture in everyday environments. Real-time requirements tend to reduce quality of animation. We present a motion graph based framework to produce high quality motion sequences in real-time using a set of inertial sensor based controllers. The user's action generates signals from the controllers that provide constraints to select appropriate sequence of motions from a structured database of human motions, namely \emph{motion graph}. Our local search algorithm utilizes noise prone and rapidly varying input sensor signals for querying a large database in real-time. The ability to waive the controllers for producing high quality animation provides a simple 3D user interface that is intuitive to use. The proposed framework is low cost and easy to setup. / Master of Science

3D Motion capture is a medium that plots motion, typically human motion, converting it into a form that can be represented digitally. It is a fast evolving field and recent inertial technology may provide new artistic possibilities for its use in live performance. Although not often used in this context, motion capture has a combination of attributes that can provide unique forms of collaboration with performance arts. The inertial motion capture suit used for this study has orientation sensors placed at strategic points on the body to map body motion. Its portability, real-time performance, ease of use, and its immunity from line-of-sight problems inherent in optical systems suggest it would work well as a live performance technology. Many animation techniques can be used in real-time. This research examines a broad cross-section of these techniques using four practice-led cases to assess the suitability of inertial motion capture to live performance. Although each case explores different visual possibilities, all make use of the performativity of the medium, using either an improvisational format or interactivity among stage, audience and screen that would be difficult to emulate any other way. A real-time environment is not capable of reproducing the depth and sophistication of animation people have come to expect through media. These environments take many hours to render. In time the combination of what can be produced in real-time and the tools available in a 3D environment will no doubt create their own tree of aesthetic directions in live performance. The case study looks at the potential of interactivity that this technology offers.

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