Collaborative soft object manipulation for game engine-based virtual reality surgery simulators

In this paper we analyse and evaluate the capabilities of popular game engines to simulate and interact with soft objects. We discuss how these engines can be used for simulated surgical training applications, determine their shortcomings and make suggestions how game engines can be extended to make them more suitable for such applications

A PROPOSED CHARACTER ANIMATION WORKFLOW FOR DIGITAL PRODUCTION ARTS WITH PREPARATION FOR CLOTH DYNAMICS

In a fast-paced production studio, procedures and standard operating practices have been created to ensure maximum use of resources, while being flexible enough to account for problems that might arise. For the animation section of the pipeline, it is imperative to produce animation in a timely manner so that the other sections of the pipeline that are dependent on animation can begin at an appropriate time. Using \u27Mileena Malign\u27 and \u27SpaceCat\u27 as case studies, a possible workflow for computer animation--specifically as it pertains to preparation for cloth dynamics--is developed, with highlights on the advantages and challenges encountered. This thesis presents a method for efficiently and effectively creating animation within a multi-tiered CG production pipeline

Animated surfaces in physically-based simulation

Physics-based animation has become a ubiquitous element in all application areas of computer animation, especially in the entertainment sector. Animation and feature films, video games, and advertisement contain visual effects using physically-based simulation that blend in seamlessly with animated or live-action productions. When simulating deformable materials and fluids, especially liquids, objects are usually represented by animated surfaces. The visual quality of these surfaces not only depends on the actual properties of the surface itself but also on its generation and relation to the underlying simulation. This thesis focuses on surfaces of cloth simulations and fluid simulations based on Smoothed Particle Hydrodynamics (SPH), and contributes to improving the creation of animations by specifying surface shapes, modeling contact of surfaces, and evaluating surface effects of fluids. In many applications, there is a reference given for a surface animation in terms of its shape. Matching a given reference with a simulation is a challenging task and similarity is often determined by visual inspection. The first part of this thesis presents a signature for cloth animations that captures characteristic shapes and their temporal evolution. It combines geometric features with physical properties to represent accurately the typical deformation behavior. The signature enables calculating similarities between animations and is applied to retrieve cloth animations from collections by example. Interactions between particle-based fluids and deformable objects are usually modeled by sampling the deformable objects with particles. When interacting with cloth, however, this would require resampling the surface at large planar deformations and the thickness of cloth would be bound to the particle size. This problem is addressed in this thesis by presenting a two-way coupling technique for cloth and fluids based on the simulation mesh of the textile. It allows robust contact handling and intuitive control of boundary conditions. Further, a solution for intersection-free fluid surface reconstruction at contact with thin flexible objects is presented. The visual quality of particle-based fluid animation highly depends on the properties of the reconstructed surface. An important aspect of the reconstruction method is that it accurately represents the underlying simulation. This thesis presents an evaluation of surfaces at interfaces of SPH simulations incorporating the connection to the simulation model. A typical approach in computer graphics is compared to surface reconstruction used in material sciences. The behavior of free surfaces in fluid animations is highly influenced by surface tension. This thesis presents an evaluation of three types of surface tension models in combination with different pressure force models for SPH to identify the individual characteristics of these models. Systematic tests using a set of benchmark scenes are performed to reveal strengths and weaknesses, and possible areas of applications.Physikalisch basierte Animationen sind ein allgegenwärtiger Teil in jeglichen Anwendungsbereichen der Computeranimation, insbesondere dem Unterhaltungssektor. Animations- und Spielfilme, Videospiele und Werbung enthalten visuelle Effekte unter Verwendung von physikalisch basierter Simulation, die sich nahtlos in Animations- oder Realfilme einfügen. Bei der Simulation von deformierbaren Materialien und Fluiden, insbesondere Flüssigkeiten, werden die Objekte gewöhnlich durch animierte Oberflächen dargestellt. Die visuelle Qualität dieser Oberflächen hängt nicht nur von den Eigenschaften der Fläche selbst ab, sondern auch von deren Erstellung und der Verbindung zu der zugrundeliegenden Simulation. Diese Dissertation widmet sich Oberflächen von Textil- und Fluidsimulationen mit der Methode der Smoothed Particle Hydrodynamics (SPH) und leistet einen Beitrag zur Verbesserung der Erstellung von Animationen durch die Beschreibung von Oberflächenformen, der Modellierung von Kontakt von Oberflächen und der Evaluierung von Oberflächeneffekten von Fluiden. In vielen Anwendungen gibt es eine Referenz für eine Oberflächenanimation, die ihre Form beschreibt. Das Abgleichen einer Referenz mit einer Simulation ist eine große Herausforderung und die Ähnlichkeit wird häufig visuell überprüft. Im ersten Teil der Dissertation wird eine Signatur für Textilanimationen vorgestellt, die charakteristische Formen und ihre zeitliche Veränderung erfasst. Sie ist eine Kombination aus geometrischen Merkmalen und physikalischen Eigenschaften, um das typische Deformationsverhalten genau zu repräsentieren. Die Signatur erlaubt es, Ähnlichkeiten zwischen Animationen zu berechnen, und wird angewendet, um Textilanimationen aus Kollektionen anhand eines Beispiels aufzufinden. Interaktionen zwischen partikelbasierten Fluiden und deformierbaren Objekten werden gewöhnlich durch das Abtasten des deformierbaren Objekts mit Partikeln modelliert. Bei der Interaktion mit Textilien würde dies jedoch ein neues Abtasten bei großen planaren Deformation erfordern und die Stärke des Textils wäre an die Partikelgröße gebunden. Mit diesem Problem befasst sich diese Dissertation und stellt eine Technik für die wechselseitige Kopplung zwischen Textilien und Fluiden vor, die auf dem Simulationsnetz des Textils beruht. Diese erlaubt eine robuste Kontaktbehandlung und intuitive Kontrolle von Randbedingungen. Des Weiteren wird ein Lösungsansatz für eine durchdringungsfreie Oberflächenrekonstruktion beim Kontakt mit dünnen flexiblen Objekten präsentiert. Die visuelle Qualität von partikelbasierten Fluidanimationen hängt stark von den Eigenschaften der rekonstruierten Oberfläche ab. Wichtig bei Rekonstruktionsmethoden ist, dass sie die zugrundeliegende Simulation genau repräsentieren. Die Dissertation präsentiert eine Evaluierung von Oberflächen an Grenzflächen, die den Zusammenhang zum Simulationsmodell miteinbezieht. Ein typischer Ansatz aus der Computergrafik wird mit der Oberflächenrekonstruktion in der Werkstoffkunde verglichen. Das Verhalten von freien Oberflächen in Fluidanimationen wird stark von der Oberflächenspannung beeinflusst. In dieser Dissertation wird eine Evaluierung von drei Oberflächenspannungsmodellen in Kombination mit verschiedenen Druckmodellen für SPH präsentiert, um die Charakteristika der jeweiligen Modelle zu identifizieren. Es werden systematische Tests mit Hilfe von Benchmark-Tests durchgeführt, um Stärken, Schwächen und mögliche Anwendungsbereiche deutlich zu machen

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

Agent-based Crowd Simulation Modelling for a Gaming Environment

Crowd simulation study has become a favorite subject in the computer graphics community in the past three decades. It usually is a sub-function within many applications such as video games, films, and public security. This thesis proposes an independent crowd simulation model that is capable of running an Agent-based method through a gaming environment. It can simulate realistic human crowds with user-controllable features to provide a gaming-like experience. Our approach features an enhanced rendering system based on Distinguishable Agents Generating Method (DAGM). This method can generate distinguishable and scalable 3D human models in real-time. We also introduce our Multi-layer Collision System (MCS), which features a collision-message collection system and an evaluation processing system. We also introduce Building & City-planning Generating System (BCGS) for the purpose of setting up obstacles for the crowd during an evacuation simulation. Moreover, in this thesis, we also extend the study to other aspects such as crisis training and human animations to provide a complete agent-based crowd simulation model

Animating Unpredictable Effects

Uncanny computer-generated animations of splashing waves, billowing smoke clouds, and characters’ flowing hair have become a ubiquitous presence on screens of all types since the 1980s. This Open Access book charts the history of these digital moving images and the software tools that make them. Unpredictable Visual Effects uncovers an institutional and industrial history that saw media industries conducting more private R&D as Cold War federal funding began to wane in the late 1980s. In this context studios and media software companies took concepts used for studying and managing unpredictable systems like markets, weather, and fluids and turned them into tools for animation. Unpredictable Visual Effects theorizes how these animations are part of a paradigm of control evident across society, while at the same time exploring what they can teach us about the relationship between making and knowing

Real-time simulation and visualisation of cloth using edge-based adaptive meshes

Real-time rendering and the animation of realistic virtual environments and characters has progressed at a great pace, following advances in computer graphics hardware in the last decade. The role of cloth simulation is becoming ever more important in the quest to improve the realism of virtual environments. The real-time simulation of cloth and clothing is important for many applications such as virtual reality, crowd simulation, games and software for online clothes shopping. A large number of polygons are necessary to depict the highly exible nature of cloth with wrinkling and frequent changes in its curvature. In combination with the physical calculations which model the deformations, the effort required to simulate cloth in detail is very computationally expensive resulting in much diffculty for its realistic simulation at interactive frame rates. Real-time cloth simulations can lack quality and realism compared to their offline counterparts, since coarse meshes must often be employed for performance reasons. The focus of this thesis is to develop techniques to allow the real-time simulation of realistic cloth and clothing. Adaptive meshes have previously been developed to act as a bridge between low and high polygon meshes, aiming to adaptively exploit variations in the shape of the cloth. The mesh complexity is dynamically increased or refined to balance quality against computational cost during a simulation. A limitation of many approaches is they do not often consider the decimation or coarsening of previously refined areas, or otherwise are not fast enough for real-time applications. A novel edge-based adaptive mesh is developed for the fast incremental refinement and coarsening of a triangular mesh. A mass-spring network is integrated into the mesh permitting the real-time adaptive simulation of cloth, and techniques are developed for the simulation of clothing on an animated character