Computer puppetry: An importance-based approach
ACM Transactions on Graphics (TOG)
IEEE Computer Graphics and Applications
ShadowPlay: a generative model for nonverbal human-robot interaction
Proceedings of the 4th ACM/IEEE international conference on Human robot interaction
ShadowStory: creative and collaborative digital storytelling inspired by cultural heritage
Proceedings of the SIGCHI Conference on Human Factors in Computing Systems
Sketch-based skeleton-driven 2D animation and motion capture
Transactions on edutainment VI
Robust hand gesture recognition with kinect sensor
MM '11 Proceedings of the 19th ACM international conference on Multimedia
Human action segmentation and recognition via motion and shape analysis
Pattern Recognition Letters
Real-Time rendering of watercolor effects for virtual environments
PCM'04 Proceedings of the 5th Pacific Rim conference on Advances in Multimedia Information Processing - Volume Part III
Meet the Kinect: An Introduction to Programming Natural User Interfaces
Meet the Kinect: An Introduction to Programming Natural User Interfaces
Shape your body: control a virtual silhouette using body motion
CHI '12 Extended Abstracts on Human Factors in Computing Systems
eHeritage of shadow puppetry: creation and manipulation
Proceedings of the 21st ACM international conference on Multimedia
Touch the air: an event-driven framework for interactive environments
Proceedings of the 19th Brazilian symposium on Multimedia and the web
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This paper addresses the problem of using body gestures to control the Chinese shadow puppets with the Microsoft Kinect sensor. By analyzing the motion of the actors in the Chinese famous drama, Wusong Fights the Tiger, we propose a general framework for controlling two shadow puppets, a human model and an animal model. A performer can conduct simple actions such as turning the head, stretching the arms or kicking the legs. However, it is more difficult for a normal performer to simulate more complicated movements, for example, back flips and splits. Therefore we define some special postures to represent these difficult movements. Besides, in order to be compatible with the Chinese drama style, we use water color to paint the background scenery and the foreground characters. We show some preliminary results which demonstrate the effectiveness of this work.