1,350 research outputs found

    Implicit Skinning: Real-Time Skin Deformation with Contact Modeling

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    SIGGRAPH 2013 Conference ProceedingsInternational audienceGeometric skinning techniques, such as smooth blending or dualquaternions, are very popular in the industry for their high performances, but fail to mimic realistic deformations. Other methods make use of physical simulation or control volume to better capture the skin behavior, yet they cannot deliver real-time feedback. In this paper, we present the first purely geometric method handling skin contact effects and muscular bulges in real-time. The insight is to exploit the advanced composition mechanism of volumetric, implicit representations for correcting the results of geometric skinning techniques. The mesh is first approximated by a set of implicit surfaces. At each animation step, these surfaces are combined in real-time and used to adjust the position of mesh vertices, starting from their smooth skinning position. This deformation step is done without any loss of detail and seamlessly handles contacts between skin parts. As it acts as a post-process, our method fits well into the standard animation pipeline. Moreover, it requires no intensive computation step such as collision detection, and therefore provides real-time performances

    Composing quadrilateral meshes for animation

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    The modeling-by-composition paradigm can be a powerful tool in modern animation pipelines. We propose two novel interactive techniques to compose 3D assets that enable the artists to freely remove, detach and combine components of organic models. The idea behind our methods is to preserve most of the original information in the input characters and blend accordingly where necessary. The first method, QuadMixer, provides a robust tool to compose the quad layouts of watertight pure quadrilateral meshes, exploiting the boolean operations defined on triangles. Quad Layout is a crucial property for many applications since it conveys important information that would otherwise be destroyed by techniques that aim only at preserving the shape. Our technique keeps untouched all the quads in the patches which are not involved in the blending. The resulting meshes preserve the originally designed edge flows that, by construction, are captured and incorporated into the new quads. SkinMixer extends this approach to compose skinned models, taking into account not only the surface but also the data structures for animating the character. We propose a new operation-based technique that preserves and smoothly merges meshes, skeletons, and skinning weights. The retopology approach of QuadMixer is extended to work on quad-dominant and arbitrary complex surfaces. Instead of relying on boolean operations on triangle meshes, we manipulate signed distance fields to generate an implicit surface. The results preserve most of the information in the input assets, blending accordingly in the intersection regions. The resulting characters are ready to be used in animation pipelines. Given the high quality of the results generated, we believe that our methods could have a huge impact on the entertainment industry. Integrated into current software for 3D modeling, they would certainly provide a powerful tool for the artists. Allowing them to automatically reuse parts of their well-designed characters could lead to a new approach for creating models, which would significantly reduce the cost of the process

    Zero-shot Pose Transfer for Unrigged Stylized 3D Characters

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    Transferring the pose of a reference avatar to stylized 3D characters of various shapes is a fundamental task in computer graphics. Existing methods either require the stylized characters to be rigged, or they use the stylized character in the desired pose as ground truth at training. We present a zero-shot approach that requires only the widely available deformed non-stylized avatars in training, and deforms stylized characters of significantly different shapes at inference. Classical methods achieve strong generalization by deforming the mesh at the triangle level, but this requires labelled correspondences. We leverage the power of local deformation, but without requiring explicit correspondence labels. We introduce a semi-supervised shape-understanding module to bypass the need for explicit correspondences at test time, and an implicit pose deformation module that deforms individual surface points to match the target pose. Furthermore, to encourage realistic and accurate deformation of stylized characters, we introduce an efficient volume-based test-time training procedure. Because it does not need rigging, nor the deformed stylized character at training time, our model generalizes to categories with scarce annotation, such as stylized quadrupeds. Extensive experiments demonstrate the effectiveness of the proposed method compared to the state-of-the-art approaches trained with comparable or more supervision. Our project page is available at https://jiashunwang.github.io/ZPTComment: CVPR 202

    Déformation de la peau d'un personnage avec prise en compte des contacts

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    National audienceLors de l'animation d'un maillage représentant la peau d'un personnage ou d'un animal par exemple, des techniques dites de skinning sont utilisées pour le déformer au niveau des articulations. Bien que très populaires dans l'industrie pour leur très faible coût d'évaluation, les techniques de skinning géométrique comme le LBS (Linear Blending Skinning) ou les dual quaternions, ne permettent pas d'imiter de façon crédible les déformations des membres. Pour mieux capturer le comportement de la peau, d'autres méthodes basées seulement sur le maillage, utilisent des calculs coûteux comme la détection de collisions ou la correction de volume. Toutefois ces approches restent seulement adaptées au rendu hors ligne. Nous présentons la première méthode temps réel produisant une déformation du maillage en prenant en compte le contact de la peau et, éventuellement, le gonflement des muscles. Nous proposons d'utiliser de façon conjointe le maillage et une représentation volumique. Le maillage est approximé avec une surface implicite qui nous permet de le déformer de façon plausible tout en traitant les collisions et en conservant les détails du maillage

    Sketch-based character prototyping by deformation

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    Master'sMASTER OF SCIENC

    Real-time Deformation with Coupled Cages and Skeletons

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    Real-time character deformation is an essential topic in Computer Animation. Deformations can be achieved by using several techniques, but the skeleton-based ones are the most popular. Skeletons allow artists to deform articulated parts of the digital characters by moving their bones. Other techniques, like cage-based ones, are gaining popularity but struggle to be included in animation workflows because they require to change the animation pipeline substantially. This thesis formalizes a technique that allows animators to embed cage-based deformations in standard skeleton-based pipelines. The described skeleton/cage hybrid allows artists to enrich the expressive powers of the skeletons with the degrees of freedom offered by cages. Furthermore, this thesis describes two Graphical User Interfaces dedicated to deformations and animations. The first one, CageLab, allows artists to define cage-based deformations and perform cage editing. The second one, SuperCages GUI, allows artists to author animations and deformations by using the skeleton/cage hybrid described earlier

    Doctor of Philosophy in Computing

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    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

    Shape deformations based on vector fields

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    This thesis explores applications of vector field processing to shape deformations. We present a novel method to construct divergence-free vector fields which are used to deform shapes by vector field integration (Chapter 2). The resulting deformation is volume-preserving and no self-intersections occur. We add more controllability to this approach by introducing implicit boundaries (Chapter 3), a shape editing method which resembles the well-known boundary constraint modeling metaphor. While the vector fields are originally defined in space, we also present a surface-based version of this approach which allows for more exact boundary selection and deformation control (Chapter 4). We show that vectorfield- based shape deformations can be used to animate elastic motions without complex physical simulations (Chapter 5). We also introduce an alternative approach to exactly preserve the volume of skinned triangle meshes (Chapter 6). This is accomplished by constructing a displacement field on the mesh surface which restores the original volume after deformation. Finally, we demonstrate that shape deformation by vector field integration can also be used to visualize smoke-like streak surfaces in dynamic flow fields (Chapter 7).In dieser Dissertation werden verschiedene Anwendungen der Vektorfeldverarbeitung im Bereich Objektdeformation untersucht. Wir präsentieren eine neuartige Methode zur Konstruktion von divergenzfreien Vektorfeldern, welche mittels Integration zum Deformieren von Objekten verwendet werden (Kapitel 2). Die so entstehende Deformation ist volumenerhaltend und keine Selbstüberschneidungen treten auf. Inspiriert von etablierten, auf Randbedingungen beruhenden Methoden, erweitern wir diese Idee hinsichtlich Kontrollierbarkeit mittels impliziten Abgrenzungen (Kapitel 3). Während die ursprüngliche Konstruktion im Raum definiert ist, präsentieren wir auch eine oberflächenbasierte Version, welche ein genaueres Festlegen der Abgrenzungen und bessere Kontrolle ermöglicht (Kapitel 4). Wir zeigen, dass vektorfeldbasierte Deformationen auch zur Animation von elastischen Bewegungen benutzt werden können, ohne dass komplexe Simulationen nötig sind (Kapitel 5). Des weiteren zeigen wir eine alternative Möglichkeit, mit der man das Volumen von Dreiecksnetzen erhalten kann, welche mittels Skelett-Animation deformiert werden (Kapitel 6). Dies erreichen wir durch ein Deformationsfeld auf der Oberfläche, das das ursprüngliche Volumen wieder hergestellt. Wir zeigen außerdem, dass Deformierungen mittels Vektorfeld-Integration auch zur Visualisierung von Rauch in dynamischen Flüssen genutzt werden können(Kapitel 7)
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