Using image morphing for memory-efficient impostor rendering on GPU

Real-time rendering of large animated crowds consisting thousands of virtual humans is important for several applications including simulations, games and interactive walkthroughs; but cannot be performed using complex polygonal models at interactive frame rates. For that reason, several methods using large numbers of pre-computed image-based representations, which are called as impostors, have been proposed. These methods take the advantage of existing programmable graphics hardware to compensate the computational expense while maintaining the visual fidelity. Making the number of different virtual humans, which can be rendered in real-time, not restricted anymore by the required computational power but by the texture memory consumed for the variety and discretization of their animations. In this work, we proposed an alternative method that reduces the memory consumption by generating compelling intermediate textures using image-morphing techniques. In order to demonstrate the preserved perceptual quality of animations, where half of the key-frames were rendered using the proposed methodology, we have implemented the system using the graphical processing unit and obtained promising results at interactive frame rates

Painterly rendering techniques: A state-of-the-art review of current approaches

In this publication we will look at the different methods presented over the past few decades which attempt to recreate digital paintings. While previous surveys concentrate on the broader subject of non-photorealistic rendering, the focus of this paper is firmly placed on painterly rendering techniques. We compare different methods used to produce different output painting styles such as abstract, colour pencil, watercolour, oriental, oil and pastel. Whereas some methods demand a high level of interaction using a skilled artist, others require simple parameters provided by a user with little or no artistic experience. Many methods attempt to provide more automation with the use of varying forms of reference data. This reference data can range from still photographs, video, 3D polygonal meshes or even 3D point clouds. The techniques presented here endeavour to provide tools and styles that are not traditionally available to an artist. Copyright © 2012 John Wiley & Sons, Ltd

Automatically Controlled Morphing of 2D Shapes with Textures

This paper deals with 2D image transformations from a perspective of a 3D heterogeneous shape modeling and computer animation. Shape and image morphing techniques have attracted a lot of attention in artistic design, computer animation, and interactive and streaming applications. We present a novel method for morphing between two topologically arbitrary 2D shapes with sophisticated textures (raster color attributes) using a metamorphosis technique called space-time blending (STB) coupled with space-time transfinite interpolation. The method allows for a smooth transition between source and target objects by generating in-between shapes and associated textures without setting any correspondences between boundary points or features. The method requires no preprocessing and can be applied in 2D animation when position and topology of source and target objects are significantly different. With the conversion of given 2D shapes to signed distance fields, we have detected a number of problems with directly applying STB to them. We propose a set of novel and mathematically substantiated techniques, providing automatic control of the morphing process with STB and an algorithm of applying those techniques in combination. We illustrate our method with applications in 2D animation and interactive applications

gMotion: A spatio-temporal grammar for the procedural generation of motion graphics

Creating by hand compelling 2D animations that choreograph several groups of shapes requires a large number of manual edits. We present a method to procedurally generate motion graphics with timeslice grammars. Timeslice grammars are to time what split grammars are to space. We use this grammar to formally model motion graphics, manipulating them in both temporal and spatial components. We are able to combine both these aspects by representing animations as sets of affine transformations sampled uniformly in both space and time. Rules and operators in the grammar manipulate all spatio-temporal matrices as a whole, allowing us to expressively construct animation with few rules. The grammar animates shapes, which are represented as highly tessellated polygons, by applying the affine transforms to each shape vertex given the vertex position and the animation time. We introduce a small set of operators showing how we can produce 2D animations of geometric objects, by combining the expressive power of the grammar model, the composability of the operators with themselves, and the capabilities that derive from using a unified spatio-temporal representation for animation data. Throughout the paper, we show how timeslice grammars can produce a wide variety of animations that would take artists hours of tedious and time-consuming work. In particular, in cases where change of shapes is very common, our grammar can add motion detail to large collections of shapes with greater control over per-shape animations along with a compact rules structure

A survey of real-time crowd rendering

In this survey we review, classify and compare existing approaches for real-time crowd rendering. We first overview character animation techniques, as they are highly tied to crowd rendering performance, and then we analyze the state of the art in crowd rendering. We discuss different representations for level-of-detail (LoD) rendering of animated characters, including polygon-based, point-based, and image-based techniques, and review different criteria for runtime LoD selection. Besides LoD approaches, we review classic acceleration schemes, such as frustum culling and occlusion culling, and describe how they can be adapted to handle crowds of animated characters. We also discuss specific acceleration techniques for crowd rendering, such as primitive pseudo-instancing, palette skinning, and dynamic key-pose caching, which benefit from current graphics hardware. We also address other factors affecting performance and realism of crowds such as lighting, shadowing, clothing and variability. Finally we provide an exhaustive comparison of the most relevant approaches in the field.Peer ReviewedPostprint (author's final draft

Real Time Animation of Virtual Humans: A Trade-off Between Naturalness and Control

Virtual humans are employed in many interactive applications using 3D virtual environments, including (serious) games. The motion of such virtual humans should look realistic (or ‘natural’) and allow interaction with the surroundings and other (virtual) humans. Current animation techniques differ in the trade-off they offer between motion naturalness and the control that can be exerted over the motion. We show mechanisms to parametrize, combine (on different body parts) and concatenate motions generated by different animation techniques. We discuss several aspects of motion naturalness and show how it can be evaluated. We conclude by showing the promise of combinations of different animation paradigms to enhance both naturalness and control