通过Kinect探索3D视觉：《Making Things See》

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"Making Things See: 3D Vision with Kinect, Processing, Arduino, and MakerBot" 本书《Making Things See》由Greg Borenstein撰写，主要关注的是利用Kinect、Processing、Arduino以及MakerBot进行3D视觉技术的应用。这本书对那些希望涉足机器人视觉或3D图像处理领域的人来说是一个宝贵的资源。通过书中内容，读者可以了解到如何利用这些技术来实现物体的3D感知和交互。在现代科技中，Kinect设备以其独特的能力，如深度感应和人体骨架跟踪，成为了一个重要的工具，尤其在计算机视觉和机器人学中。作者深入浅出地介绍了如何利用Kinect获取和处理3D点云（point cloud）数据，这是3D成像的基础。点云是由一系列3D坐标点构成的集合，可以用来重建现实世界物体的三维形状。 Processing是一种开源编程语言和环境，专为艺术家、设计师和非程序员设计，用于创建视觉效果和交互式应用程序。在本书中，Processing被用来作为处理和可视化3D数据的工具，使读者能够更好地理解和操纵由Kinect获取的数据。 Arduino是另一个开放源代码硬件平台，它允许用户轻松构建和控制各种电子项目。在《Making Things See》中，Arduino可能被用来与Kinect数据集成，创建物理交互式装置或原型，从而将3D视觉技术应用到实际场景中。 MakerBot则是一个3D打印机品牌，通过它可以将数字化的3D模型转化为实物。书中的内容可能涵盖了如何使用Kinect获取的3D数据来设计和打印定制的实体模型，这为创新设计和制造开辟了新的可能性。书中的内容不仅涉及理论知识，还包含了大量的实践项目和代码示例，帮助读者将所学应用于实际。此外，作者可能还讨论了如何解决在实现3D视觉技术过程中遇到的技术挑战，如数据处理、噪声过滤和目标识别等。《Making Things See》为读者提供了一条进入3D视觉领域的路径，通过学习和应用书中的知识，读者能够掌握使用Kinect和相关工具进行3D感知和交互的核心技能，这对于推动机器人技术、增强现实和虚拟现实等领域的发展具有重要意义。

The Structure of This Book

Preface

xiv

3D Scanning for Digital Fabrication

In Chapter 5, we’ll move from people to objects. We’ll use the Kinect as a 3D

scanner to capture the geometry of a physical object in digital form and then

we’ll prepare that data for fabrication on a 3D printer. We’ll learn how to pro-

cess the depth points from the Kinect to turn them into a continuous surface

or mesh. Then we’ll learn how to export this mesh in a standard file format so

we can work with it outside of Processing. I’ll introduce you to a few free pro-

grams that help you clean up the mesh and prepare it for fabrication. Once our

mesh is ready to go, we’ll examine what it takes to print it out on a series of dif-

ferent rapid prototyping systems. We’ll use a MakerBot to print it out in plastic

and we’ll submit it to Shapeways, a website that will print out our object in a

variety of materials from sandstone to steel.

Computer Vision for Robotics

In Chapter 6, we’ll see what the Kinect can do for robotics. Robotic vision is

a huge topic that’s been around for more than 50 years. Its achievements

include robots that have driven on the moon and ones that assemble auto-

mobiles. For this chapter, we’ll build a simple robot arm that reproduces the

position of your real arm as detected by the Kinect. We’ll send the joint data

from Processing to the robot over a serial connection. Our robot’s brain will be

an Arduino microcontroller. Arduino is Processing’s electronic cousin; it makes

it just as easy to create interactive electronics as Processing does interactive

graphical applications. The Arduino will listen to the commands from Process-

ing and control the robot’s motors to execute them.

We’ll approach this project in two different ways. First we’ll reproduce the an-

gles of your joints as detected by the Kinect. This approach falls into forward

kinematics, an approach to robotics in which the robot’s final position is the

result of setting its joints to a series of known angles. Then we’ll reprogram our

robot so that it can follow the movement of any of your joints. This will be an

experiment in inverse kinematics. Rather than knowing exactly how we want

our robot to move, we’ll only know what we want its final position to be. We’ll

have to teach it how to calculate all the individual angle changes necessary to

get there. This is a much harder problem than the forward kinematic problem.

A serious solution to it can involve complex math and confusing code. Ours

will be quite simple and not very sophisticated, but will provide an interest-

ing introduction to the problems you’d encounter in more advanced robotics

applications.

None of these chapters are meant to be definitive guides to their respective

areas, but instead to give you just enough background to get started applying

these Kinect fundamentals in order to build your own ideas.

Unlike the first four chapters, which attempt to instill fundamental techniques

deeply, these last three are meant to inspire a sense of the breadth and di-

versity of what’s possible with the Kinect. Instead of proceeding slowly and

thoroughly through comprehensive explanations of principles, these later

chapters are structured as individual projects. They’ll take a single project idea

from one of these topic areas and execute it completely from beginning to

end. In the course of these projects, we’ll frequently find ourselves moving

Preface

Acknowledgments

beyond just writing Processing code. We’ll have to interview occupational

therapists, work with assistive technology patients, clean up 3D meshes, use

a 3D animation program, solder a circuit, and program an Arduino. Along the

way, you’ll gain brief exposure to a lot of new ideas and tools, but nothing like

the in-depth understanding of the first four chapters. We’ll move fast. It will be

exciting. You won’t believe the things you’ll make.

Every step of the way in these projects, we’ll rely on your knowledge from

the first half of the book. So pay close attention as we proceed through these

fundamentals, they’re the building blocks of everything else throughout this

book, and getting a good grasp on them will make it all the easier for you to

build whatever it is you’re dreaming of.

Then, at the end of the book, our scope will widen. Having come so far in your

3D programming chops and your understanding of the Kinect, I’ll point you

toward next steps that you can take to take your applications even further.

We’ll discuss other environments and programming languages besides Pro-

cessing where you can work with the Kinect. These range from creative coding

libraries in other languages such as C++ to interactive graphical environments

such as Max/MSP, Pure Data, and Quartz Composer. And there’s also Micro-

soft’s own set of development tools, which let you deeply integrate the Kinect

with Windows. I’ll explain some of the advantages and opportunities of each

environment to give you a sense of why you’d want to try it out. Also, I’ll point

you toward other resources that you can use to get started in each area.

In addition to exploring other programming environments, you can take your

Kinect work further by learning about 3D graphics in general. Under the hood,

Processing’s 3D drawing code is based on OpenGL, a widely used standard for

computer graphics. OpenGL is a huge, complex, and powerful system, and Pro-

cessing only exposes you to the tiniest bit of it. Learning more about OpenGL

itself will unlock all kinds of more advanced possibilities for your Kinect ap-

plications. I’ll point you toward resources both within Processing and outside

of it that will enable you to continue your graphics education and make ever

more beautiful and compelling 3D graphics.

Acknowledgments

It’s a cliché of acknowledgments to say that all books with solo bylines are

really collaborative efforts. In this case, I’ll go further and say that I myself am

one. Specifically, my possession of the necessary knowledge and abilities to

write this book was the direct product of the excellent and patient work of a

series of amazing teachers I had at NYU’s Interactive Telecommunications Pro-

gram. This book would have been inconceivable without them.

Dan Shiffman’s passion spurred my initial interest in the Kinect; his tireless aid

as a professor, technical editor, and friend got me through learning and writ-

ing about it; and his inspiring abilities as a teacher and writer gave me a goal

to aspire to.

Kyle McDonald and Zach Lieberman taught a short, seven-week class in the

spring of 2011 that changed my life. That course introduced me to many of

the techniques and concepts I attempt to pass on in this book. I hope my

Using Code Examples

Preface

xvi

presentation of this material is half as clear and thorough as theirs. Further,

Zach came up with the idea for the artist interviews, which ended up as one of

my favorite parts of this book. And Kyle was invaluable in helping me translate

his work on 3D scanning for fabrication, which makes up the soul of Chapter 5.

Dan O’Sullivan, the chair of ITP, and Red Burns, its founder and patron saint,

gave me the space and institutional support to take on this intimidating proj-

ect and created an environment that gave me the confidence and connec-

tions to complete it.

Lily Szajnberg was my first student and ideal reader. The best explanations in

this book were forced out of me by her hunger to understand and honesty

about when I wasn’t making sense.

I’d like to thank Andrew Odewahn and Brian Jepson from O’Reilly. Andrew

was the first person—even before me—to believe I could write a book. His

early feedback helped turn this project from a very long blog post into a book.

Brian’s constant and continuous work has made this book better in a thousand

ways I’ll never be able to fully recount.

Max Rheiner created the SimpleOpenNI library I use throughout this book and

acted as a technical editor making sure I got all the details right. This book

would have been more difficult and come out worse without his work.

I’d also like to thank all the artists who agreed to be interviewed: Robert

Hodgin, Elliot Woods, blablablLAB, Nicolas Burrus, Oliver Kreylos, Alejandro

Crawford, Kyle McDonald (again), Josh Blake, and Phil Torrone and Limor

Fried from Adafruit. Your work, and the hope of seeing more like it, is why I

wrote this book.

Huge thanks to Liz Arum and Matt Griffin from MakerBot as well as Catarina

Mota, who helped me get up to speed on making good prints, and Duann

Scott from Shapeways, who made sure my prints would arrive in time to be

included.

And finally, my family and friends and fellow ITP Residents who put up with

me while I was writing: I love you.

Using Code Examples

This book is here to help you get your job done. In general, you may use the

code in this book in your programs and documentation. You do not need to

the code. For example, writing a program that uses several chunks of code

from this book does not require permission. Selling or distributing a CD-ROM

of examples from O’Reilly books does require permission. Answering a ques-

tion by citing this book and quoting example code does not require permis-

sion. Incorporating a significant amount of example code from this book into

your product’s documentation does require permission.

Preface

xvii

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Conventions Used in This Book

The following typographical conventions are used in this book:

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Indicates new terms, URLs, email addresses, filenames, and file extensions.

Constant width

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