News
Face recognition.. | Korash | HMC | Aardmanthe technology behind the Simpsoniser… http://www.betaface.com/
Iris recognition | Korash | HMC | Aardmansome interesting movies on youtube uncovered by the team…
Where we going to end up! | Korash | HMC | AardmanDeliverables
Having fleshed out a number of different routes and discussed the pros and cons of the various ideas we decided upon two strands of research, covering both Face/Iris Tracking and Voice Recognition. Each strand will extract a key problem and produce, within the constraints of time and technology, a digital experiment in an attempt to solve it.
The two experiments will then inform a third production, which will have higher production values and include elements of the previous experiments but with complete animated characters. It may also be presented in one of the formats suggested in our discussions around ‘Digital Portals’.
Brainstorming… Answers on the back of a postcard please?! | Korash | HMC | AardmanResearch Questions?
Could reflected IR light from a person’s irises be used to establish the positions of a users head?
If so, could the standard distance between the irises help with identifying multiple users?
Is it safe???
Could it even help understand the 3 dimensional rotation of a users head?
How well could we track multiple people?
Can hand and leg positions be included in that tracking?
Could the back of a 2-way mirror be projected to include characters alongside the user?
Would it be strong enough to replace the user’s reflection if wanted?
Can shapes within the sound waves be analysed to recognise phonetics, and in turn mouth shapes?
How many of the classic animated shapes are needed to portray a decent level of realism?
Brainstorming… ideas | Korash | HMC | AardmanIdeas
The technologies we are considering form the basis of what was regarded as two elements of animation (movement and interaction) and how we could explore those elements and replicate them within a physical framework. With the timeframe, it was felt that the technologies could be developed to give a successful proof of concept with a final showcase technology being unveiled.
It was agreed that further research and development could uncover other properties that would add to potential portfolio of pervasive techniques to perform physical cartooning.Delivery concepts for our pervasive techniques…
Digital Portals
The general process involves forcing the user into a particular controllable situation to allow successful simulation of real world events using digital screens and projections. For example, a microscope reduces the user to only one eye, so they would not expect 3D representations. Brain the Plankton (Creature Comforts) was looked at to become the Worlds Smallest Host to a visitor centre for instance and character appeared as a product of this idea because of the simplicity of animation. Something like a periscope that forces both eyes into a controlled and contained space could also simulate 3 dimensions using a Stereoscopic output. This would be perfect to allow cartoon characters to be layered into live feeds.
Digital Surroundings
Methods were also discussed of how to influence the surroundings using projection/back projection and display systems that are hidden and found in unusual spaces that are taken for granted such as shop windows, letter boxes and drains. After working through a number of possibilities, a magic mirror was settled up giving the impression of a morphing experience that would replace the users face with that of an animated character, controlled by iris recognition. It was decided to prototype the Iris tracking as it was felt that there was sufficient development and control that could be associated with this type of human computer based interaction.
Digital Puppeteer
The use of various technologies to allow real actors to control and manipulate digital ‘puppets’ were discussed and assessed as viable under the current research and development framework. Techniques included voice recognition and analysis to control a character’s mouth, in an attempt to lip-sync a character using live inputs. Utilising a series of embedded screens, animatronics and subtle controls, it was discussed that it would be possible to create a personal puppet outfit, allowing an actor wearing it to bring small puppets out into the audience. Imagine a small mouse popping in and out of an actor’s top pocket, before running around his back under his coat and out of another pocket. The system would use a number of small, localised areas (pockets, hats, sleeves, coat lining) connected to a laptop wirelessly. Very ambitious although a fusion of man and machine, if well thought out, would give the impression of a cartoon alive in the real world.
