SIGGRAPH '95 Proceedings of the 22nd annual conference on Computer graphics and interactive techniques
Rough Sets: Theoretical Aspects of Reasoning about Data
Rough Sets: Theoretical Aspects of Reasoning about Data
A New Version of Rough Set Exploration System
TSCTC '02 Proceedings of the Third International Conference on Rough Sets and Current Trends in Computing
Efficient synthesis of physically valid human motion
ACM SIGGRAPH 2003 Papers
Motion sketching for control of rigid-body simulations
ACM Transactions on Graphics (TOG)
Performance timing for keyframe animation
SCA '04 Proceedings of the 2004 ACM SIGGRAPH/Eurographics symposium on Computer animation
Analysis and generation of emotionally-charged animated gesticulation
RSFDGrC'05 Proceedings of the 10th international conference on Rough Sets, Fuzzy Sets, Data Mining, and Granular Computing - Volume Part II
The rough set exploration system
Transactions on Rough Sets III
Fuzzy logic = computing with words
IEEE Transactions on Fuzzy Systems
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This research study is intended to analyze emotionally-charged animated character’s gestures. Animation methods and rules are first shortly reviewed in this paper. Then the experiment layout is presented. For the purpose of the experiment, the keyframe method is used to create animated objects characterized by differentiating emotions. The method comprised the creation of an animation achieved by changing the properties of a temporal structure of an animated sequence. The sequence is then analyzed in terms of identifying the locations and spacing of keyframes, as well as the features that could be related to emotions present in the animation. On the basis of this analysis several parameters contained in feature vectors describing each object emotions at key moments are derived. The labels are assigned to particular sequences by viewers participating in subjective tests. This served as a decision attribute. The rough set system is used to process the data. Rules related to various categories of emotions are derived. They are then compared with the ones used in traditional animation. Also, the most significant parameters are identified. The second part of the experiment is aimed at checking the viewers’ ability to discern less dominant emotional charge in gestures. A time-mixing method is proposed and utilized for the generation of new gestures emotionally-charged with differentiated intensity. Viewers’ assessment of the animations quality is presented and analyzed. Conclusions and future experiments are shortly outlined.