Make Sense

Vertical Studio 2015

GROUP 2
HAND MOTION
Christian Brown
Matthew George
Levina Siswanto
Yan Chen
TABLE OF CONTENTS:
RANGE AND LIMITATIONS

MAPPING HAND MOTION

CAPTURING SOUND

APPENDIX
RANGE AND LIMITATIONS
According to research done in University of Electrical Engineering, Slovenia,1 the Leap Motion
controller provides a reliable static tracking within the range of 25-600 mm, however there is a
significant drop in accuracy for samples taken more than 250 mm above the device’s surface,
especially for dymanic movement.

The experiment was done in two parts, static and dynamic. The static experiment used a fake
hand model, while the dynamic one used a V-tool (two wooden sticks fixed together to form a V-
shape). The two points, which represent multiple joints in human’s fingers, were perfectly tracked
by the controller. However a model with five fingers proved to be impractical to be tracked.

To do the static measurement, a grid with less than 5 mm offset was used. However at
certain locations, especially when z > 0, the reading was difficult to obtain. Therefore the grid was
modified. In the end, the deviation was shown to be less than 0.5 mm at all times, which proved
the controller as a reliable and accurate system for tracking static points.

1
mdpi, Sensors: <www.mdpi.com/journal/sensors>[date accessed 11.5.15]
 RANGE AND LIMITATIONS:

Diagrams showing max range of movement capture from device:

Top View Side View Side View

Device position Device position Device position

Dimensional analysis:
3D MOTION TRACKING OF HAND POSITION (INDICATED BY DISTORTION
OF LATTICE):

SECTIONAL ANALYSIS OF XY PLANE:

Picture diagrams showing the process of determining the range on XY axis. Circles
go smaller in closer proximity with the hand. (0,0,0) is located in the middle.
 XY, XZ, and YZ
coordinates incorpo-
rated into diagrams.
masonry / lightweight cladding
DATA FROM The subtle line indi-
RECORDING AND on timber / light steel frame
cates the path of the
CALCULATION: movement

We used these co-ordinate Because each square in Rhino was set to be 9 cm in length,
values to produce a graph the coordinates could be exported into real length in cm
to visually represent the
maximum range of motion
in the planes XY, XZ and
YZ.
 MAX RANGE DIAGRAMS ALONG
EACH PLANE:
X-Y PLANE

Y-Z PLANE

X-Z PLANE
THREE DIMENSIONAL DIAGRAM OF
MAX RANGE ALONG EACH PLANE:
PREDICTED CONICAL FORM OF RANGE:
 FINAL RESULT OF RANGE RESEARCH:

Form differs slightly to that expected, indicating slight degree of innacuracy.

MAPPING HAND MOTION
 SINGLE FINGER SHAPE TRACING
1.

2.

3.
 FOUR FINGER SHAPE TRACING

4.

5.

6.

We briefly tested more complex movements, please refer to Appendix

GENERATING FORM FROM SOUND:
According to the proximity of your hand to the form, the number of subdivision changes, and then
on top of that the extrusion happens, and this is according to the sound value.

APPLYING SUBDIVISION TO FORMS:

FORM A

Location of finger

FORM B

Location of finger
TRiANGULATION AND APPLYING FURTHER RECURSIVE SUBDIVISION:

Basic principle of triangulating the form by recursion:

The number of times the surface is triangulated is proportional to the relative distance between
the surface and the finger point.
These triangles are then extruded into pyramids. The height of these pyramids is proportional
to the peak frequency of live sound.

Frequency Diagrams:

Frequency diagrams were remapped into 0.1 scale from the extrusion value of 0-250 mm,
which was calibrated to represent the audible frequency range for humans (20-20,000 Hz).

No frequency Mid frequency Max frequency

Forms derived from Group 3’s motion experiments:
The principles above have been applied on group 3s three dimentional form, produced by track-
ing the movement of the whole body, to create a dynamic and resposive form. controled by live
sound and movenment

Right view

Original form:

Extruded form:
Front view Top view
 Right view

Original form:

Extruded form:
Front view Top view
 Right view

Original form:

Extruded form:
Front view Top view
Appendix


SPRING SUMMER

EXPECTED HAND FORM:

3D FORM GENERATED:
 MAPPING HAND MOTION
-To understand more complex and dynamic movements, we compared each of Vivaldi’s Four
Seasons (Spring, Summer, Autumn, Winter) by mapping the choreography of the conductor’s
hand to generate 3D patterns. We were able to compare the pattern chnages in relation to their
location (time signature) and speed (tempo).

AUTUMN WINTER
We purposely chose this Baroque piece for its wide range of tempo, beats, and ambience.

SPRING TIME SIGNATURE BEATS

12/8 120-137 bpm

SUMMER 3/8 140-160 bpm

AUTUMN 3/4 70 bpm

WINTER 4/4 40-58 bpm

In ‘Summer’ the tempo is quite fast and lively and this is reflected in the form of the pattern
generated. In ‘Winter’ the tempo is much slower and the tone is more sombre, this is reflected in its
less lively form. Its slower pace also made it easier to track and so the formation has more clarity.
PICTURES:
Spring = chirping sounds, trill motions, clear, high-pitched Summer = energetic, horse marching sounds, fast-
paced Autumn = harmonic,
Springa=bit detached,
chirping like falling
sounds, leaves Winter
trill motions, clear,= high-pitched
ominous, sombre, flowing
v Summer = energetic, horse marching sounds, fast-paced
Autumn = harmonic, a bit detached, like falling leaves
Winter = ominous, sombre, flowing

SPRING SUMMER AUTUMN WINTER