Morphing a Stereogram into Hologram

This paper develops a simple and fast method to reconstruct reality from stereoscopic images. We bring together ideas from robust optical flow techniques, morphing deformations and lightfield 3D rendering in order to create unsupervised multiview images of a scene. The reconstruction algorithm provides a good visualization of the virtual 3D imagery behind stereograms upon display on a headset-free Looking Glass 3D monitor. We discuss the possibility of applying the method for live 3D streaming optimized via an associated lookup table.Comment: PDF, 8 pages, 4 Fig

Doctor of Philosophy in Computing

dissertationPhysics-based animation has proven to be a powerful tool for creating compelling animations for film and games. Most techniques in graphics are based on methods developed for predictive simulation for engineering applications; however, the goals for graphics applications are dramatically different than the goals of engineering applications. As a result, most physics-based animation tools are difficult for artists to work with, providing little direct control over simulation results. In this thesis, we describe tools for physics-based animation designed with artist needs and expertise in mind. Most materials can be modeled as elastoplastic: they recover from small deformations, but large deformations permanently alter their rest shape. Unfortunately, large plastic deformations, common in graphical applications, cause simulation instabilities if not addressed. Most elastoplastic simulation techniques in graphics rely on a finite-element approach where objects are discretized into a tetrahedral mesh. Using these approaches, maintaining simulation stability during large plastic flows requires remeshing, a complex and computationally expensive process. We introduce a new point-based approach that does not rely on an explicit mesh and avoids the expense of remeshing. Our approach produces comparable results with much lower implementation complexity. Points are a ubiquitous primitive for many effects, so our approach also integrates well with existing artist pipelines. Next, we introduce a new technique for animating stylized images which we call Dynamic Sprites. Artists can use our tool to create digital assets that interact in a natural, but stylized, way in virtual environments. In order to support the types of nonphysical, exaggerated motions often desired by artists, our approach relies on a heavily modified deformable body simulator, equipped with a set of new intuitive controls and an example-based deformation model. Our approach allows artists to specify how the shape of the object should change as it moves and collides in interactive virtual environments. Finally, we introduce a new technique for animating destructive scenes. Our approach is built on the insight that the most important visual aspects of destruction are plastic deformation and fracture. Like with Dynamic Sprites, we use an example-based model of deformation for intuitive artist control. Our simulator treats objects as rigid when computing dynamics but allows them to deform plastically and fracture in between timesteps based on interactions with the other objects. We demonstrate that our approach can efficiently animate the types of destructive scenes common in film and games. These animation techniques are designed to exploit artist expertise to ease creation of complex animations. By using artist-friendly primitives and allowing artists to provide characteristic deformations as input, our techniques enable artists to create more compelling animations, more easily

Importance of Animation Actions in the Operation of Hungarian Local Action Groups

The EU LEADER initiative has been running for 20 years and plays an important role in the development of European rural areas, however, in countries joining to the EU after 2004 it is still a relatively new phenomenon. In Hungary, for example, the LEADER+ programme was launched in 2005 with an experimental phase (called a "LEADER type initiative") and has developed to be a fully applied EU programme only in the current programming period. This paper explores the implementation of the LEADER programme in eastern Hungary. The examined Local Action Groups face diverse challenges concerning human, social, physical and financial capital, networks and social learning. The study investigates the opportunities and threats faced by the LAGs, with special regard to institutions, governance and applied initiatives. The roles of the LAGs within the social, economic and cultural context of given areas are examined through Lukesch's (2007) model FOG - forms of governance. The model is a tool to explore the interrelationships local partnership, local needs and local socio-cultural environment. The results of the FOG test show that the prevailing mode of governance in the examined LAGs emphasises animation actions as important elements of operation. Although the importance of animation actions is underlined by the result of the test, their presence between the initiatives is less than it should be. Good examples of animation actions are given: participatory video and a case study of its Hungarian application are introduced. Finally the role of Universities in animation actions is emphasised and closer relation of them with RD networks is called for.LEADER, Hungary, rural development, social learning, animation actions, policy analysis

Model-based engineering of animated interactive systems for the interactive television environment

Les interfaces graphiques étaient la plupart du temps statiques, et représentaient une succession d'états logiciels les uns après les autres. Cependant, les transitions animées entre ces états statiques font partie intégrante des interfaces utilisateurs modernes, et leurs processus de design et d'implémentations constituent un défi pour les designers et les développeurs. Cette thèse propose un processus de conception de systèmes interactifs centré sur les animations, ainsi qu'une architecture pour la définition et l'implémentation d'animations au sein des interfaces graphiques. L'architecture met en avant une approche à deux niveaux pour définir une vue haut niveau d'une animation (avec un intérêt particulier pour les objets animés, leurs propriétés à être animé et la composition d'animations) ainsi qu'une vue bas niveau traitant des aspects détaillés des animations tels que les timings et les optimisations. Concernant les spécifications formelles de ces deux niveaux, nous utilisons une approche qui facilite les réseaux de Petri orientés objets pour la conception, l'implémentation et la validation d'interfaces utilisateurs animées en fournissant une description complète et non-ambiguë de l'ensemble de l'interface utilisateur, y compris les animations. Enfin, nous décrivons la mise en pratique du processus présenté, illustré par un cas d'étude d'un prototype haute-fidélité d'une interface utilisateur, pour le domaine de la télévision interactive. Ce processus conduira à une spécification formelle et détaillée du système interactif, et incluera des animations utilisant des réseaux de Petri orientés objet (conçus avec l'outil PetShop CASE).Graphical User Interfaces used to be mostly static, representing one software state after the other. However, animated transitions between these static states are an integral part in modern user interfaces and processes for both their design and implementation remain a challenge for designers and developers. This thesis proposes a process for designing interactive systems focusing on animations, along with an architecture for the definition and implementation of animation in user interfaces. The architecture proposes a two levels approach for defining a high-level view of an animation (focusing on animated objects, their properties to be animated and on the composition of animations) and a low-level one dealing with detailed aspects of animations such as timing and optimization. For the formal specification of these two levels, we are using an approach facilitating object-oriented Petri nets to support the design, implementation and validation of animated user interfaces by providing a complete and unambiguous description of the entire user interface including animations. Finally, we describe the application of the presented process exemplified by a case study for a high-fidelity prototype of a user interface for the interactive Television domain. This process will lead to a detailed formal specification of the interactive system, including animations using object-oriented Petri nets (designed with the PetShop CASE tool)

Video Acceleration Magnification

The ability to amplify or reduce subtle image changes over time is useful in contexts such as video editing, medical video analysis, product quality control and sports. In these contexts there is often large motion present which severely distorts current video amplification methods that magnify change linearly. In this work we propose a method to cope with large motions while still magnifying small changes. We make the following two observations: i) large motions are linear on the temporal scale of the small changes; ii) small changes deviate from this linearity. We ignore linear motion and propose to magnify acceleration. Our method is pure Eulerian and does not require any optical flow, temporal alignment or region annotations. We link temporal second-order derivative filtering to spatial acceleration magnification. We apply our method to moving objects where we show motion magnification and color magnification. We provide quantitative as well as qualitative evidence for our method while comparing to the state-of-the-art.Comment: Accepted paper at CVPR 2017. Project webpage: http://acceleration-magnification.github.io