Real-time rendering and simulation of trees and snow

Tree models created by an industry used package are exported and the structure extracted in order to procedurally regenerate the geometric mesh, addressing the limitations of the application's standard output. The structure, once extracted, is used to fully generate a high quality skeleton for the tree, individually representing each section in every branch to give the greatest achievable level of freedom of deformation and animation. Around the generated skeleton, a new geometric mesh is wrapped using a single, continuous surface resulting in the removal of intersection based render artefacts. Surface smoothing and enhanced detail is added to the model dynamically using the GPU enhanced tessellation engine. A real-time snow accumulation system is developed to generate snow cover on a dynamic, animated scene. Occlusion techniques are used to project snow accumulating faces and map exposed areas to applied accumulation maps in the form of dynamic textures. Accumulation maps are xed to applied surfaces, allowing moving objects to maintain accumulated snow cover. Mesh generation is performed dynamically during the rendering pass using surface o�setting and tessellation to enhance required detail

Using natural means to reduce surface transport noise during propagation outdoors

This paper reviews ways of reducing surface transport noise by natural means. The noise abatement solutions of interest can be easily (visually) incorporated in the landscape or help with greening the (sub)urban environment. They include vegetated surfaces (applied to faces or tops of noise walls and on building façades and roofs ), caged piles of stones (gabions), vegetation belts (tree belts, shrub zones and hedges), earth berms and various ways of exploiting ground-surface-related effects. The ideas presented in this overview have been tested in the laboratory and/or numerically evaluated in order to assess or enhance the noise abatement they could provide. Some in-situ experiments are discussed as well. When well-designed, such natural devices have the potential to abate surface transport noise, possibly by complementing and sometimes improving common (non-green) noise reducing devices or measures. Their applicability strongly depends on the available space reserved for the noise abatement and the receiver position

Integration of Z-Depth in Compositing

It is important for video compositors to be able to complete their jobs quickly and efficiently. One of the tasks they might encounter is to insert assets such as characters into a 3D rendered environment that has depth information embedded into the image sequence. Currently, a plug-in that facilitates this task (Depth Matte®) functions by looking at the depth information of the layer it\u27s applied to and showing or hiding pixels of that layer. In this plug-in, the Z-Depth used is locked to the layer the plug-in is applied. This research focuses on comparing Depth Matte® to a custom-made plug-in that looks at depth information of a layer other than the one it is applied to, yet showing or hiding the pixels of the layer that it is associated with. Nine subjects tested both Depth Matte® and the custom plug-in ZeDI to gather time and mouse-click data. Time was gathered to test speed and mouse-click data was gathered to test efficiency. ZeDI was shown to be significantly quicker and more efficient, and was also overwhelmingly preferred by the users. In conclusion a technique where pixels are shown dependent on depth information that does not necessarily come from the same layer it\u27s applied to, is quicker and more efficient than one where the depth information is locked to the layer that the plug-in is applied

Integration of Z-Depth in Compositing

It is important for video compositors to be able to complete their jobs quickly and efficiently. One of the tasks they might encounter is to insert assets such as characters into a 3D rendered environment that has depth information embedded into the image sequence. Currently, a plug-in that facilitates this task (Depth Matte®) functions by looking at the depth information of the layer it\u27s applied to and showing or hiding pixels of that layer. In this plug-in, the Z-Depth used is locked to the layer the plug-in is applied. This research focuses on comparing Depth Matte® to a custom-made plug-in that looks at depth information of a layer other than the one it is applied to, yet showing or hiding the pixels of the layer that it is associated with. Nine subjects tested both Depth Matte® and the custom plug-in ZeDI to gather time and mouse-click data. Time was gathered to test speed and mouse-click data was gathered to test efficiency. ZeDI was shown to be significantly quicker and more efficient, and was also overwhelmingly preferred by the users. In conclusion a technique where pixels are shown dependent on depth information that does not necessarily come from the same layer it\u27s applied to, is quicker and more efficient than one where the depth information is locked to the layer that the plug-in is applied

Interactive Generation of Time-Evolving Snow-Covered Landscaped with Avalanches

We introduce a novel method for interactive generation of visually consistent, snow-covered landscapes and provide control of their dynamic evolution over time. Our main contribution is the real-time phenomenological simulation of avalanches and other user-guided events, such as tracks left by Nordic skiing, which can be applied to interactively sculpt the landscape. The terrain is modeled as a height field with additional layers for stable, compacted, unstable, and powdery snow, which behave in combination as a semi-viscous fluid. We incorporate the impact of several phenomena, including sunlight, temperature, prevailing wind direction, and skiing activities. The snow evolution includes snow-melt and snow-drift, which affect stability of the snow mass and the probability of avalanches. A user can shape landscapes and their evolution either with a variety of interactive brushes, or by prescribing events along a winter season time-line. Our optimized GPU-implementation allows interactive updates of snow type and depth across a large (10×10km) terrain, including real-time avalanches, making this suitable for visual assets in computer games. We evaluate our method through perceptual comparison against exiting methods and real snow-depth data

Volumetric cloud generation using a Chinese brush calligraphy style

Includes bibliographical references.Clouds are an important feature of any real or simulated environment in which the sky is visible. Their amorphous, ever-changing and illuminated features make the sky vivid and beautiful. However, these features increase both the complexity of real time rendering and modelling. It is difficult to design and build volumetric clouds in an easy and intuitive way, particularly if the interface is intended for artists rather than programmers. We propose a novel modelling system motivated by an ancient painting style, Chinese Landscape Painting, to address this problem. With the use of only one brush and one colour, an artist can paint a vivid and detailed landscape efficiently. In this research, we develop three emulations of a Chinese brush: a skeleton-based brush, a 2D texture footprint and a dynamic 3D footprint, all driven by the motion and pressure of a stylus pen. We propose a hybrid mapping to generate both the body and surface of volumetric clouds from the brush footprints. Our interface integrates these components along with 3D canvas control and GPU-based volumetric rendering into an interactive cloud modelling system. Our cloud modelling system is able to create various types of clouds occurring in nature. User tests indicate that our brush calligraphy approach is preferred to conventional volumetric cloud modelling and that it produces convincing 3D cloud formations in an intuitive and interactive fashion. While traditional modelling systems focus on surface generation of 3D objects, our brush calligraphy technique constructs the interior structure. This forms the basis of a new modelling style for objects with amorphous shape

Microphysical processes in two stably stratified orographic cloud systems

August 1981.Includes bibliographical references (pages [146]-151).Sponsored by National Science Foundation ATM 78-19261

A framework for local terrain deformation based on diffusion theory

Terrains have a key role in making outdoor virtual scenes believable and immersive as they form the support for every other natural element in the scene. Although important, terrains are often given limited interactivity in real-time applications. However, in nature, terrains are dynamic and interact with the rest of the environment changing shape on different levels, from tracks left by a person running on a gravel soil (micro-scale), to avalanches on the side of a mountain (macro-scale). The challenge in representing dynamic terrains correctly is that the soil that forms them is vastly heterogeneous and behaves differently depending on its composition. This heterogeneity introduces difficulties at different levels in dynamic terrains simulations, from modelling the large amount of different elements that compose the oil to simulating their dynamic behaviour. This work presents a novel framework to simulate multi-material dynamic terrains by taking into account the soil composition and its heterogeneity. In the proposed framework soil information is obtained from a material description map applied to the terrain mesh. This information is used to compute deformations in the area of interaction using a novel mathematical model based on diffusion theory. The deformations are applied to the terrain mesh in different ways depending on the distance of the area of interaction from the camera and the soil material. Deformations away from the camera are simulated by dynamically displacing normals. While deformations in a neighbourhood of the camera are represented by displacing the terrain mesh, which is locally tessellated to better fit the displacement. For gravel based soils the terrain details are added near the camera by reconstructing the meshes of the small rocks from the texture image, thus simulating both micro and macro-structure of the terrain. The outcome of the framework is a realistic interactive dynamic terrain animation in real-time

Combining Procedural and Hand Modeling Techniques for Creating Animated Digital 3D Natural Environments

This thesis focuses on a systematic solution for rendering 3D photorealistic natural environments using Maya\u27s procedural methods and ZBrush. The methods used in this thesis started with comparing two industry specific procedural applications, Vue and Maya\u27s Paint Effects, to determine which is better suited for applying animated procedural effects with the highest level of fidelity and expandability. Generated objects from Paint Effects contained the highest potential through object attributes, texturing and lighting. To optimize results further, compatibility with sculpting programs such as ZBrush are required to sculpt higher levels of detail. The final combination workflow produces results used in the short film Fall. The need for producing these effects is attributed to the growth of the visual effect industry\u27s ability to deliver realistic simulated complexities of nature and as such, the public\u27s insatiable need to see them on screen. Usually, however, the requirements for delivering a photorealistic digital environment fall under tight deadlines due to various phases of the visual effects project being interconnected across multiple production houses, thereby requiring the need for effective methods to deliver a high-end visual presentation. The use of a procedural system, such as an L-system, is often an initial step within a workflow leading toward creating photorealistic vegetation for visual effects environments. Procedure-based systems, such as Maya\u27s Paint Effects, feature robust controls that can generate many natural objects. A balance is thus created between being able to model objects quickly, but with limited detail, and control. Other methods outside this system must be used to achieve higher levels of fidelity through the use of attributes, expressions, lighting and texturing. Utilizing the procedural engine within Maya\u27s Paint Effects allows the beginning stages of modeling a 3D natural environment. ZBrush\u27s manual system approach can further bring the aesthetics to a much finer degree of fidelity. The benefit in leveraging both types of systems results in photorealistic objects that preserve all of the procedural and dynamic forces specified within the Paint Effects procedural engine