Reviews on Physically Based Controllable Fluid Animation

In computer graphics animation, animation tools are required for fluid-like motions which are controllable by users or animator, since applying the techniques to commercial animations such as advertisement and film. Many developments have been proposed to model controllable fluid simulation with the need in realistic motion, robustness, adaptation, and support more required control model. Physically based models for different states of substances have been applied in general in order to permit animators to almost effortlessly create interesting, realistic, and sensible animation of natural phenomena such as water flow, smoke spread, etc. In this paper, we introduce the methods for simulation based on physical model and the techniques for control the flow of fluid, especially focus on particle based method. We then discuss the existing control methods within three performances; control ability, realism, and computation time. Finally, we give a brief of the current and trend of the research areas

Tools for fluid simulation control in computer graphics

L’animation basée sur la physique peut générer des systèmes aux comportements complexes et réalistes. Malheureusement, contrôler de tels systèmes est une tâche ardue. Dans le cas de la simulation de fluide, le processus de contrôle est particulièrement complexe. Bien que de nombreuses méthodes et outils ont été mis au point pour simuler et faire le rendu de fluides, trop peu de méthodes offrent un contrôle efficace et intuitif sur une simulation de fluide. Étant donné que le coût associé au contrôle vient souvent s’additionner au coût de la simulation, appliquer un contrôle sur une simulation à plus haute résolution rallonge chaque itération du processus de création. Afin d’accélérer ce processus, l’édition peut se faire sur une simulation basse résolution moins coûteuse. Nous pouvons donc considérer que la création d’un fluide contrôlé peut se diviser en deux phases: une phase de contrôle durant laquelle un artiste modifie le comportement d’une simulation basse résolution, et une phase d’augmentation de détail durant laquelle une version haute résolution de cette simulation est générée. Cette thèse présente deux projets, chacun contribuant à l’état de l’art relié à chacune de ces deux phases. Dans un premier temps, on introduit un nouveau système de contrôle de liquide représenté par un modèle particulaire. À l’aide de ce système, un artiste peut sélectionner dans une base de données une parcelle de liquide animé précalculée. Cette parcelle peut ensuite être placée dans une simulation afin d’en modifier son comportement. À chaque pas de simulation, notre système utilise la liste de parcelles actives afin de reproduire localement la vision de l’artiste. Une interface graphique intuitive a été développée, inspirée par les logiciels de montage vidéo, et permettant à un utilisateur non expert de simplement éditer une simulation de liquide. Dans un second temps, une méthode d’augmentation de détail est décrite. Nous proposons d’ajouter une étape supplémentaire de suivi après l’étape de projection du champ de vitesse d’une simulation de fumée eulérienne classique. Durant cette étape, un champ de perturbations de vitesse non-divergent est calculé, résultant en une meilleure correspondance des densités à haute et à basse résolution. L’animation de fumée résultante reproduit fidèlement l’aspect grossier de la simulation d’entrée, tout en étant augmentée à l’aide de détails simulés.Physics-based animation can generate dynamic systems of very complex and realistic behaviors. Unfortunately, controlling them is a daunting task. In particular, fluid simulation brings up particularly difficult problems to the control process. Although many methods and tools have been developed to convincingly simulate and render fluids, too few methods provide efficient and intuitive control over a simulation. Since control often comes with extra computations on top of the simulation cost, art-directing a high-resolution simulation leads to long iterations of the creative process. In order to shorten this process, editing could be performed on a faster, low-resolution model. Therefore, we can consider that the process of generating an art-directed fluid could be split into two stages: a control stage during which an artist modifies the behavior of a low-resolution simulation, and an upresolution stage during which a final high-resolution version of this simulation is driven. This thesis presents two projects, each one improving on the state of the art related to each of these two stages. First, we introduce a new particle-based liquid control system. Using this system, an artist selects patches of precomputed liquid animations from a database, and places them in a simulation to modify its behavior. At each simulation time step, our system uses these entities to control the simulation in order to reproduce the artist’s vision. An intuitive graphical user interface inspired by video editing tools has been developed, allowing a nontechnical user to simply edit a liquid animation. Second, a tracking solution for smoke upresolution is described. We propose to add an extra tracking step after the projection of a classical Eulerian smoke simulation. During this step, we solve for a divergence-free velocity perturbation field resulting in a better matching of the low-frequency density distribution between the low-resolution guide and the high-resolution simulation. The resulting smoke animation faithfully reproduces the coarse aspect of the low-resolution input, while being enhanced with simulated small-scale details

A Survey of Ocean Simulation and Rendering Techniques in Computer Graphics

This paper presents a survey of ocean simulation and rendering methods in computer graphics. To model and animate the ocean's surface, these methods mainly rely on two main approaches: on the one hand, those which approximate ocean dynamics with parametric, spectral or hybrid models and use empirical laws from oceanographic research. We will see that this type of methods essentially allows the simulation of ocean scenes in the deep water domain, without breaking waves. On the other hand, physically-based methods use Navier-Stokes Equations (NSE) to represent breaking waves and more generally ocean surface near the shore. We also describe ocean rendering methods in computer graphics, with a special interest in the simulation of phenomena such as foam and spray, and light's interaction with the ocean surface

Efficient Generation of Multimodal Fluid Simulation Data

Applying the representational power of machine learning to the prediction of complex fluid dynamics has been a relevant subject of study for years. However, the amount of available fluid simulation data does not match the notoriously high requirements of machine learning methods. Researchers have typically addressed this issue by generating their own datasets, preventing a consistent evaluation of their proposed approaches. Our work introduces a generation procedure for synthetic multi-modal fluid simulations datasets. By leveraging a GPU implementation, our procedure is also efficient enough that no data needs to be exchanged between users, except for configuration files required to reproduce the dataset. Furthermore, our procedure allows multiple modalities (generating both geometry and photorealistic renderings) and is general enough for it to be applied to various tasks in data-driven fluid simulation. We then employ our framework to generate a set of thoughtfully designed benchmark datasets, which attempt to span specific fluid simulation scenarios in a meaningful way. The properties of our contributions are demonstrated by evaluating recently published algorithms for the neural fluid simulation and fluid inverse rendering tasks using our benchmark datasets. Our contribution aims to fulfill the community's need for standardized benchmarks, fostering research that is more reproducible and robust than previous endeavors.Comment: 10 pages, 7 figure

Interactive simulation of fire, burn and decomposition

This work presents an approach to effectively integrate into one unified modular fire simulation framework the major processes related to fire, namely: a burning process, chemical combustion, heat distribution, decomposition and deformation of burning solids, and rigid body simulation of the residue. Simulators for every stage are described, and the modular structure enables switching to different simulators if more accuracy or more interactivity is desired. A “Stable Fluids” based three gas system is used to model the combustion process, and the heat generated during the combustion is used to drive the flow of the hot air. Objects, if exposed to enough heat, ignite and start burning. The decomposition of the burning object is modeled as a level set method, driven by the pyrolysis process, where the burning object releases combustible gases. Secondary deformation effects, such as bending burning matches and crumpling burning paper, are modeled as a proxy based deformation. Physically based simulation, done at interactive rates, enables the user to ef- ficiently test different setups, as well as interact and change the conditions during the simulation. The graphics card is used to generate additional frames for real-time visualization. This work further proposes a method for controlling and directing high resolution simulations. An interactive coarse resolution simulation is provided to the user as a “preview” to control and achieve the desired simulation behavior. A higher resolution “final” simulation that creates all the fine scale behavior is matched to the preview simulation such that the preview and final simulations behave in a similar manner. In this dissertation, we highlighted a gap within the CG community for the simulation of fire. There has not previously been a physically based yet interactive simulation for fire. This dissertation describes a unified simulation framework for physically based simulation of fire and burning. Our results show that our implementation can model fire, objects catching fire, burning objects, decomposition of burning objects, and additional secondary deformations. The results are plausible even at interactive frame rates, and controllable