Demo Data from EDBT 2026 / reviewers in the wild / expert
Rick Sayre
dblp:14/5769
· DBLP profile ↗
1ranked-venue papers
0as first author
0since 2021 · last 1995
—ORCID · none
Domains — the database's venue-derived domains; a paper can count in several
Human-computer interaction and ubiquitous computing · 1
Expertise — from the expertise taxonomy: the topics of the expert's papers under the CCF categories. A weight counts papers with recency: 1 for a paper about the topic, 0.3 when the topic is its context, halved every five years.
| Computer graphics and multimedia
1 paper |
Computer animation and physical simulation · 100% | |
| Human-computer interaction and pervasive computing
1 paper |
Personal fabrication and tangible interfaces · 77% Interaction techniques and input · 23% |
Topics — the 3 heaviest of 4, each with the papers that count most for it
| Topic | Weight | Papers | Last | Evidence papers |
|---|---|---|---|---|
Computer animation and physical simulation
character animation |
0.0 | 1 | 1995 | Dinosaur Input Device · CHI 1995 |
Computer animation and physical simulation › animation production
stop-motion animation |
0.0 | 1 | 1995 | Dinosaur Input Device · CHI 1995 |
Personal fabrication and tangible interfaces › tangible interaction
tangible input device |
0.0 | 1 | 1995 | Dinosaur Input Device · CHI 1995 |
Methods — techniques the papers use, named apart from their topics
sensor-based motion capture · 0.0
| Year | Publication | Venue | Position |
|---|---|---|---|
| 1995 | Dinosaur Input DeviceabstractWe present a system for animating an articulate figure using a physical skeleton, or armature, connected to a workstation. The skeleton is covered with sensors that monitor the orientations of the joints and send this information to the computer via custom-built hardware. The system is precise, fast, compact, and easy to use. It lets traditional stop-motion animators produce animation on a computer without requiring them to learn complex software. The working environment is very similar to the traditional environment but without the nuisances of lights, a camera, and delicate foam-latex skin. The resulting animation lacks the artifacts of stop-motion animation, the pops and jerkiness, and yet retains the intentional subtleties and hard stops that computer animation often lacks. Brian Knep, Craig Hayes, Rick Sayre, Tom Williams 0002 |
CHI | 3 |