Overview of the treatment of historical industrial heritage in engineering graphics

This article presents a comprehensive review of the stages of research when addressing the issue of historical industrial heritage from the point view of engineering graphics, looking at its influence on all stages of the value chain. It provides a contextual introduction, explaining the research, the aim pursued and the priority objectives of this type of work. It also presents the methodology and the materials used, specifying important details needed to obtain a realistic result, such as fieldwork, 3D virtual modeling, virtual reconstruction, and more usual techniques used such as augmented reality and virtual reality. Finally, the dissemination of the results and the advantages and disadvantages of the virtual reconstructions are presented

FDLS: A Deep Learning Approach to Production Quality, Controllable, and Retargetable Facial Performances

Visual effects commonly requires both the creation of realistic synthetic humans as well as retargeting actors' performances to humanoid characters such as aliens and monsters. Achieving the expressive performances demanded in entertainment requires manipulating complex models with hundreds of parameters. Full creative control requires the freedom to make edits at any stage of the production, which prohibits the use of a fully automatic ``black box'' solution with uninterpretable parameters. On the other hand, producing realistic animation with these sophisticated models is difficult and laborious. This paper describes FDLS (Facial Deep Learning Solver), which is Weta Digital's solution to these challenges. FDLS adopts a coarse-to-fine and human-in-the-loop strategy, allowing a solved performance to be verified and edited at several stages in the solving process. To train FDLS, we first transform the raw motion-captured data into robust graph features. Secondly, based on the observation that the artists typically finalize the jaw pass animation before proceeding to finer detail, we solve for the jaw motion first and predict fine expressions with region-based networks conditioned on the jaw position. Finally, artists can optionally invoke a non-linear finetuning process on top of the FDLS solution to follow the motion-captured virtual markers as closely as possible. FDLS supports editing if needed to improve the results of the deep learning solution and it can handle small daily changes in the actor's face shape. FDLS permits reliable and production-quality performance solving with minimal training and little or no manual effort in many cases, while also allowing the solve to be guided and edited in unusual and difficult cases. The system has been under development for several years and has been used in major movies.Comment: DigiPro '22: The Digital Production Symposiu

Modeling Caricature Expressions by 3D Blendshape and Dynamic Texture

The problem of deforming an artist-drawn caricature according to a given normal face expression is of interest in applications such as social media, animation and entertainment. This paper presents a solution to the problem, with an emphasis on enhancing the ability to create desired expressions and meanwhile preserve the identity exaggeration style of the caricature, which imposes challenges due to the complicated nature of caricatures. The key of our solution is a novel method to model caricature expression, which extends traditional 3DMM representation to caricature domain. The method consists of shape modelling and texture generation for caricatures. Geometric optimization is developed to create identity-preserving blendshapes for reconstructing accurate and stable geometric shape, and a conditional generative adversarial network (cGAN) is designed for generating dynamic textures under target expressions. The combination of both shape and texture components makes the non-trivial expressions of a caricature be effectively defined by the extension of the popular 3DMM representation and a caricature can thus be flexibly deformed into arbitrary expressions with good results visually in both shape and color spaces. The experiments demonstrate the effectiveness of the proposed method.Comment: Accepted by the 28th ACM International Conference on Multimedia (ACM MM 2020

2D to 3D non photo realistic character transformation and morphing (computer animation)

This research concerns the transformation and morphing between a full body 2D and 3D animated character. This practice based research will examine both technical and aesthetic techniques for enhancing morphing of animated characters. Stylized character transformations from A to B and from B to A, where details like facial expression, body motion, texture are to be expressively transformed aesthetically in a narrated story. Currently it is hard to separate 2D and 3D animation in a mix media usage. If we analyse and breakdown these graphical components, we could actually find a distinction as to how these 2D and 3D element increase the information level and complexity of storytelling. However, if we analyse it from character animation perspective, instance transformation of a digital character from 2D to 3D is not possible without post production techniques, pre-define 3D information such as blend shape or complex geometry data and mathematic calculation. There are mainly two elements to this investigation. The primary element is the design system of such stylizes character in 2D and 3D. Currently many design systems (morphing software) are based on photo realistic artifacts such as Fanta Morph, Morph Buster, Morpheus, Fun Morph and etc. This investigation will focus on non photo realistic character morphing. In seeking to define the targeted non photo realistic, illustrated stylize 2D and 3D character, I am examining the advantages and disadvantages of a number of 2D illustrated characters in respect to 3D morphing. This investigation could also help to analyse the efficiency and limitation of such 2D and 3D non photo realistic character design and transformation where broader techniques will be explored. The secondary element is the theoretical investigation by relating how such artistic and technical morphing idea is being used in past and today films/games. In a narrated story contain character that acts upon a starting question or situation and reacts on the event. The gap between his aim and the result of his acting, the gap between his vision and his personality creates the dramatic tension. I intend to distinguish the possibility of identifying a transitional process of voice between narrator and morphing character, while also illustrating, through visual terminology, the varying fluctuations between two speaking agents. I intend to prove and insert sample demonstrating “morphing” is not just visually important but have direct impact on storytelling

THREE DIMENSIONAL MODELING AND ANIMATION OF FACIAL EXPRESSIONS

Facial expression and animation are important aspects of the 3D environment featuring human characters. These animations are frequently used in many kinds of applications and there have been many efforts to increase the realism. Three aspects are still stimulating active research: the detailed subtle facial expressions, the process of rigging a face, and the transfer of an expression from one person to another. This dissertation focuses on the above three aspects. A system for freely designing and creating detailed, dynamic, and animated facial expressions is developed. The presented pattern functions produce detailed and animated facial expressions. The system produces realistic results with fast performance, and allows users to directly manipulate it and see immediate results. Two unique methods for generating real-time, vivid, and animated tears have been developed and implemented. One method is for generating a teardrop that continually changes its shape as the tear drips down the face. The other is for generating a shedding tear, which is a kind of tear that seamlessly connects with the skin as it flows along the surface of the face, but remains an individual object. The methods both broaden CG and increase the realism of facial expressions. A new method to automatically set the bones on facial/head models to speed up the rigging process of a human face is also developed. To accomplish this, vertices that describe the face/head as well as relationships between each part of the face/head are grouped. The average distance between pairs of vertices is used to place the head bones. To set the bones in the face with multi-density, the mean value of the vertices in a group is measured. The time saved with this method is significant. A novel method to produce realistic expressions and animations by transferring an existing expression to a new facial model is developed. The approach is to transform the source model into the target model, which then has the same topology as the source model. The displacement vectors are calculated. Each vertex in the source model is mapped to the target model. The spatial relationships of each mapped vertex are constrained

Game engines selection framework for high-fidelity serious applications

Serious games represent the state-of-the-art in the convergence of electronic gaming technologies with instructional design principles and pedagogies. Despite the value of high-fidelity content in engaging learners and providing realistic training environments, building games which deliver high levels of visual and functional realism is a complex, time consuming and expensive process. Therefore, commercial game engines, which provide a development environment and resources to more rapidly create high-fidelity virtual worlds, are increasingly used for serious as well as for entertainment applications. Towards this intention, the authors propose a new framework for the selection of game engines for serious applications and sets out five elements for analysis of engines in order to create a benchmarking approach to the validation of game engine selection. Selection criteria for game engines and the choice of platform for Serious Games are substantially different from entertainment games, as Serious Games have very different objectives, emphases and technical requirements. In particular, the convergence of training simulators with serious games, made possible by increasing hardware rendering capacity is enabling the creation of high-fidelity serious games, which challenge existing instructional approaches. This paper overviews several game engines that are suitable for high-fidelity serious games, using the proposed framework

Recreating East Asia creatures that exist in mythology as RPG fantasy characters

Today, MMORPG Games (massively multiplayer online role-playing games) are one of the most popular games in the PC online game genre because users can enjoy the game with other players. They can also choose their own characters and control the character`s avatar. Wide selection of characters available is one of the most important elements in the game. These characters have to be well-designed to draw the user`s attention. These characters, which appear in fantasy MMORPG (World of War craft), and their special features originate from Western myths and ancient stories. Likewise, East Asian has a long history with many myths and ancient stories. Creatures appear in these stories that have interesting features similar to Western creatures. After realizing the unique and interesting features of the creatures in East Asian myths, led to the idea of creating them as MMORPG characters For this project, Dokkebie (Pa-in Folk painting Research Institute) and Haetae, which are creatures that appear in Korea myths, were chosen because of their special and interesting elements that can be implemented as MMORPG characters. Dokkebie has a huge body, big canine teeth and a horn on the head in addition to similar features to humans. Haetae has the same form of a lion, skin of a fish, and two horns like a giraffe. In this project, their special features were recreated as important parts of the characters. The following thesis report is about the technical and artistic process of making these characters. For this project, characters that exist in East Asia myths and tales were created as MMORPG characters

Marker hiding methods: Applications in augmented reality

© 2015 Taylor & Francis Group, LLC.In augmented reality, the markers are noticeable by their simple design of a rectangular image with black and white areas that disturb the reality of the overall view. As the markerless techniques are not usually robust enough, hiding the markers has a valuable usage, which many researchers have focused on. Categorizing the marker hiding methods is the main motivation of this study, which explains each of them in detail and discusses the advantages and shortcomings of each. The main ideas, enhancements, and future works of the well-known techniques are also comprehensively summarized and analyzed in depth. The main goal of this study is to provide researchers who are interested in markerless or hiding-marker methods an easier approach for choosing the method that is best suited to their aims. This work reviews the different methods that hide the augmented reality marker by using information from its surrounding area. These methods have considerable differences in their smooth continuation of the textures that hide the marker area as well as their performance to hide the augmented reality marker in real time. It is also hoped that our analysis helps researchers find solutions to the drawbacks of each method. © 201