Here is another example. Take a look at the Torso bending over forward to 90 degrees ( ).This is similar to the arm going up a full 90 with out moving the shoulder. For this character I am splitting up the motion of the spine into four parts. The Hips, Torso, Chest and Upper Chest. They can look odd by themselves but when I animate this character bending forward I will be using all four of the spine controls to achieve a pose ( ).
The existing action tubelet detectors often depend on heuristic anchor design and placement, which might be computationally expensive and sub-optimal for precise localization. In this paper, we present a conceptually simple, computationally efficient, and more precise action tubelet detection framework, termed as MovingCenter Detector (MOC-detector), by treating an action instance as a trajectory of moving points. Based on the insight that movement information could simplify and assist action tubelet detection, our MOC-detector is composed of three crucial head branches: (1) Center Branch for instance center detection and action recognition, (2) Movement Branch for movement estimation at adjacent frames to form trajectories of moving points, (3) Box Branch for spatial extent detection by directly regressing bounding box size at each estimated center. These three branches work together to generate the tubelet detection results, which could be further linked to yield video-level tubes with a matching strategy. Our MOC-detector outperforms the existing state-of-the-art methods for both metrics of frame-mAP and video-mAP on the JHMDB and UCF101-24 datasets. The performance gap is more evident for higher video IoU, demonstrating that our MOC-detector is particularly effective for more precise action detection. We provide the code at -NJU/MOC-Detector.
We develop external data structures for storing points in one or two dimensions, each moving along a linear trajectory, so that a range query at a given time t q can be answered efficiently. The novel feature of our data structures is that the number of I/Os required to answer a query depends not only on the size of the data set and on the number of points in the answer but also on the difference between t q and the current time; queries close to the current time are answered fast, while queries that are far away in the future or in the past may take more time.
Sometimes it's handy to be able to manipulate all the points in a primitive, in order to move the position of that promitive or multiple primitives. You can do this in various ways, including using the Primitive sop, but this is how you do it using Vex.
Abstract:Three-dimensional (3D) point cloud maps are widely used in autonomous driving scenarios. These maps are usually generated by accumulating sequential LiDAR scans. When generating a map, moving objects (such as vehicles or moving pedestrians) will leave long trails on the assembled map. This is undesirable and reduces the map quality. In this paper, we propose MapCleaner, an approach that can effectively remove the moving objects from the map. MapCleaner first estimates a dense and continuous terrain surface, based on which the map point cloud is then divided into a noisy part below the terrain, the terrain, and the object part above the terrain. Next, a specifically designed moving points identification algorithm is performed on the object part to find moving objects. Experiments are performed on the SemanticKITTI dataset. Results show that the proposed MapCleaner outperforms state-of-the-art approaches on all five tested SemanticKITTI sequences. MapCleaner is a learning-free method and has few parameters to tune. It is also successfully evaluated on our own dataset collected with a different type of LiDAR.Keywords: LiDAR point cloud; map cleaning; autonomous driving; dynamic object
You can use snapping to help you position objectsas you move them. For example, you can snap the pointer to guidesand anchor points and snap object boundaries to gridlines. You canalso use the Align panel to position objects in relation to eachother.
Youuse the Align panel (Window > Align) and the align optionsin the Control panel to align or distribute selected objects alongthe axis you specify. You can use either the object edges or anchorpoints as the reference point, and you can align to a selection,an artboard, or a key object. A key object is one specific objectin a selection of multiple objects.
Drag the node to its new place. It will stick to the other objects (if they are visible) and snap-to those objects, where that feature is activated (View > Snap menu). Hold down the Shift key to move it vertically or horizontally. Pressing AltShift before moving a corner point away from its neighboring point will limit the segment to twice its original length.
To move a node without moving its handles or control points, press and hold the Alt key when you drag it. The node will move, leaving its handles and control points at their original positions:
Power Nudge mode is a special mode that affects the movement of nodes. Usually, when you move several selected nodes at the same time, only the selected nodes are moved, and the remaining (unselected) nodes stay in place. Sometimes, it is useful to move adjacent points proportionally. In these situations, the Power Nudge mode can help.
Kinetic art is art from any medium that contains movement perceivable by the viewer or that depends on motion for its effect. Canvas paintings that extend the viewer's perspective of the artwork and incorporate multidimensional movement are the earliest examples of kinetic art. More pertinently speaking, kinetic art is a term that today most often refers to three-dimensional sculptures and figures such as mobiles that move naturally or are machine operated (see e. g. videos on this page of works of George Rickey, Uli Aschenborn and Sarnikoff). The moving parts are generally powered by wind, a motor or the observer. Kinetic art encompasses a wide variety of overlapping techniques and styles.
Edgar Degas is believed to be the intellectual extension of Manet, but more radical for the impressionist community. Degas' subjects are the epitome of the impressionist era; he finds great inspiration in images of ballet dancers and horse races. His "modern subjects" never obscured his objective of creating moving art. In his 1860 piece Jeunes Spartiates s'exerçant à la lutte, he capitalizes on the classic impressionist nudes but expands on the overall concept. He places them in a flat landscape and gives them dramatic gestures, and for him this pointed to a new theme of "youth in movement".
Gleizes first stressed the necessity for rhythm in art. To him, rhythm meant the visually pleasant coinciding of figures in a two-dimensional or three-dimensional space. Figures should be spaced mathematically, or systematically so that they appeared to interact with one another. Figures should also not have features that are too definite. They need to have shapes and compositions that are almost unclear, and from there the viewer can believe that the figures themselves are moving in that confined space. He wanted paintings, sculptures, and even the flat works of mid-19th-century artists to show how figures could impart on the viewer that there was great movement contained in a certain space. As a philosopher, Gleizes also studied the concept of artistic movement and how that appealed to the viewer. Gleizes updated his studies and publications through the 1930s, just as kinetic art was becoming popular.
This style evolved into his drip technique. Pollock repeatedly took buckets of paint and paintbrushes and flicked them around until the canvas was covered with squiggly lines and jagged strokes. In the next phase of his work, Pollock tested his style with uncommon materials. He painted his first work with aluminum paint in 1947, titled Cathedral and from there he tried his first "splashes" to destroy the unity of the material itself. He believed wholeheartedly that he was liberating the materials and structure of art from their forced confinements, and that is how he arrived at the moving or kinetic art that always existed.
Russian artist Alexander Rodchenko, Tatlin's friend and peer who insisted his work was complete, continued the study of suspended mobiles and created what he deemed to be "non-objectivism". This style was a study less focused on mobiles than on canvas paintings and objects that were immovable. It focuses on juxtaposing objects of different materials and textures as a way to spark new ideas in the mind of the viewer. By creating discontinuity with the work, the viewer assumed that the figure was moving off the canvas or the medium to which it was restricted. One of his canvas works titled Dance, an Objectless Composition (1915) embodies that desire to place items and shapes of different textures and materials together to create an image that drew in the viewer's focus.
It can be argued, based on their similar shape and stance, that Calder's earliest object mobiles have very little to do with kinetic art or moving art. By the 1960s, most art critics believed that Calder had perfected the style of object mobiles in such creations as the Cat Mobile (1966). In this piece, Calder allows the cat's head and its tail to be subject to random motion, but its body is stationary. Calder did not start the trend in suspended mobiles, but he was the artist that became recognized for his apparent originality in mobile construction.
As the Resources Center was completed in phases, the moving of objects occurred in stages in tandem, starting in 2012. The collections traveled on a special truck with enhanced suspension that reduces vibrations when riding over bumps.
The skills necessary to find the distance between moving points are reviewed by this quiz and worksheet. Completing this quiz will require you to find the answer to several math problems, including those formatted as word problems. 2b1af7f3a8