Generation and Rendering of Interactive Ground Vegetation for Real-Time Testing and Validation of Computer Vision Algorithms

During the development process of new algorithms for computer vision applications, testing and evaluation in real outdoor environments is time-consuming and often difficult to realize. Thus, the use of artificial testing environments is a flexible and cost-efficient alternative. As a result, the development of new techniques for simulating natural, dynamic environments is essential for real-time virtual reality applications, which are commonly known as Virtual Testbeds. Since the first basic usage of Virtual Testbeds several years ago, the image quality of virtual environments has almost reached a level close to photorealism even in real-time due to new rendering approaches and increasing processing power of current graphics hardware. Because of that, Virtual Testbeds can recently be applied in application areas like computer vision, that strongly rely on realistic scene representations. The realistic rendering of natural outdoor scenes has become increasingly important in many application areas, but computer simulated scenes often differ considerably from real-world environments, especially regarding interactive ground vegetation. In this article, we introduce a novel ground vegetation rendering approach, that is capable of generating large scenes with realistic appearance and excellent performance. Our approach features wind animation, as well as object-to-grass interaction and delivers realistically appearing grass and shrubs at all distances and from all viewing angles. This greatly improves immersion, as well as acceptance, especially in virtual training applications. Nevertheless, the rendered results also fulfill important requirements for the computer vision aspect, like plausible geometry representation of the vegetation, as well as its consistence during the entire simulation. Feature detection and matching algorithms are applied to our approach in localization scenarios of mobile robots in natural outdoor environments. We will show how the quality of computer vision algorithms is influenced by highly detailed, dynamic environments, like observed in unstructured, real-world outdoor scenes with wind and object-to-vegetation interaction

CLiFF Notes: Research in the Language, Information and Computation Laboratory of the University of Pennsylvania

One concern of the Computer Graphics Research Lab is in simulating human task behavior and understanding why the visualization of the appearance, capabilities and performance of humans is so challenging. Our research has produced a system, called Jack, for the definition, manipulation, animation and human factors analysis of simulated human figures. Jack permits the envisionment of human motion by interactive specification and simultaneous execution of multiple constraints, and is sensitive to such issues as body shape and size, linkage, and plausible motions. Enhanced control is provided by natural behaviors such as looking, reaching, balancing, lifting, stepping, walking, grasping, and so on. Although intended for highly interactive applications, Jack is a foundation for other research. The very ubiquitousness of other people in our lives poses a tantalizing challenge to the computational modeler: people are at once the most common object around us, and yet the most structurally complex. Their everyday movements are amazingly fluid, yet demanding to reproduce, with actions driven not just mechanically by muscles and bones but also cognitively by beliefs and intentions. Our motor systems manage to learn how to make us move without leaving us the burden or pleasure of knowing how we did it. Likewise we learn how to describe the actions and behaviors of others without consciously struggling with the processes of perception, recognition, and language. Present technology lets us approach human appearance and motion through computer graphics modeling and three dimensional animation, but there is considerable distance to go before purely synthesized figures trick our senses. We seek to build computational models of human like figures which manifest animacy and convincing behavior. Towards this end, we: Create an interactive computer graphics human model; Endow it with reasonable biomechanical properties; Provide it with human like behaviors; Use this simulated figure as an agent to effect changes in its world; Describe and guide its tasks through natural language instructions. There are presently no perfect solutions to any of these problems; ultimately, however, we should be able to give our surrogate human directions that, in conjunction with suitable symbolic reasoning processes, make it appear to behave in a natural, appropriate, and intelligent fashion. Compromises will be essential, due to limits in computation, throughput of display hardware, and demands of real-time interaction, but our algorithms aim to balance the physical device constraints with carefully crafted models, general solutions, and thoughtful organization. The Jack software is built on Silicon Graphics Iris 4D workstations because those systems have 3-D graphics features that greatly aid the process of interacting with highly articulated figures such as the human body. Of course, graphics capabilities themselves do not make a usable system. Our research has therefore focused on software to make the manipulation of a simulated human figure easy for a rather specific user population: human factors design engineers or ergonomics analysts involved in visualizing and assessing human motor performance, fit, reach, view, and other physical tasks in a workplace environment. The software also happens to be quite usable by others, including graduate students and animators. The point, however, is that program design has tried to take into account a wide variety of physical problem oriented tasks, rather than just offer a computer graphics and animation tool for the already computer sophisticated or skilled animator. As an alternative to interactive specification, a simulation system allows a convenient temporal and spatial parallel programming language for behaviors. The Graphics Lab is working with the Natural Language Group to explore the possibility of using natural language instructions, such as those found in assembly or maintenance manuals, to drive the behavior of our animated human agents. (See the CLiFF note entry for the AnimNL group for details.) Even though Jack is under continual development, it has nonetheless already proved to be a substantial computational tool in analyzing human abilities in physical workplaces. It is being applied to actual problems involving space vehicle inhabitants, helicopter pilots, maintenance technicians, foot soldiers, and tractor drivers. This broad range of applications is precisely the target we intended to reach. The general capabilities embedded in Jack attempt to mirror certain aspects of human performance, rather than the specific requirements of the corresponding workplace. We view the Jack system as the basis of a virtual animated agent that can carry out tasks and instructions in a simulated 3D environment. While we have not yet fooled anyone into believing that the Jack figure is real , its behaviors are becoming more reasonable and its repertoire of actions more extensive. When interactive control becomes more labor intensive than natural language instructional control, we will have reached a significant milestone toward an intelligent agent

HOLOGRAPHICS: Combining Holograms with Interactive Computer Graphics

Among all imaging techniques that have been invented throughout the last decades, computer graphics is one of the most successful tools today. Many areas in science, entertainment, education, and engineering would be unimaginable without the aid of 2D or 3D computer graphics. The reason for this success story might be its interactivity, which is an important property that is still not provided efficiently by competing technologies – such as holography. While optical holography and digital holography are limited to presenting a non-interactive content, electroholography or computer generated holograms (CGH) facilitate the computer-based generation and display of holograms at interactive rates [2,3,29,30]. Holographic fringes can be computed by either rendering multiple perspective images, then combining them into a stereogram [4], or simulating the optical interference and calculating the interference pattern [5]. Once computed, such a system dynamically visualizes the fringes with a holographic display. Since creating an electrohologram requires processing, transmitting, and storing a massive amount of data, today’s computer technology still sets the limits for electroholography. To overcome some of these performance issues, advanced reduction and compression methods have been developed that create truly interactive electroholograms. Unfortunately, most of these holograms are relatively small, low resolution, and cover only a small color spectrum. However, recent advances in consumer graphics hardware may reveal potential acceleration possibilities that can overcome these limitations [6]. In parallel to the development of computer graphics and despite their non-interactivity, optical and digital holography have created new fields, including interferometry, copy protection, data storage, holographic optical elements, and display holograms. Especially display holography has conquered several application domains. Museum exhibits often use optical holograms because they can present 3D objects with almost no loss in visual quality. In contrast to most stereoscopic or autostereoscopic graphics displays, holographic images can provide all depth cues—perspective, binocular disparity, motion parallax, convergence, and accommodation—and theoretically can be viewed simultaneously from an unlimited number of positions. Displaying artifacts virtually removes the need to build physical replicas of the original objects. In addition, optical holograms can be used to make engineering, medical, dental, archaeological, and other recordings—for teaching, training, experimentation and documentation. Archaeologists, for example, use optical holograms to archive and investigate ancient artifacts [7,8]. Scientists can use hologram copies to perform their research without having access to the original artifacts or settling for inaccurate replicas. Optical holograms can store a massive amount of information on a thin holographic emulsion. This technology can record and reconstruct a 3D scene with almost no loss in quality. Natural color holographic silver halide emulsion with grain sizes of 8nm is today’s state-of-the-art [14]. Today, computer graphics and raster displays offer a megapixel resolution and the interactive rendering of megabytes of data. Optical holograms, however, provide a terapixel resolution and are able to present an information content in the range of terabytes in real-time. Both are dimensions that will not be reached by computer graphics and conventional displays within the next years – even if Moore’s law proves to hold in future. Obviously, one has to make a decision between interactivity and quality when choosing a display technology for a particular application. While some applications require high visual realism and real-time presentation (that cannot be provided by computer graphics), others depend on user interaction (which is not possible with optical and digital holograms). Consequently, holography and computer graphics are being used as tools to solve individual research, engineering, and presentation problems within several domains. Up until today, however, these tools have been applied separately. The intention of the project which is summarized in this chapter is to combine both technologies to create a powerful tool for science, industry and education. This has been referred to as HoloGraphics. Several possibilities have been investigated that allow merging computer generated graphics and holograms [1]. The goal is to combine the advantages of conventional holograms (i.e. extremely high visual quality and realism, support for all depth queues and for multiple observers at no computational cost, space efficiency, etc.) with the advantages of today’s computer graphics capabilities (i.e. interactivity, real-time rendering, simulation and animation, stereoscopic and autostereoscopic presentation, etc.). The results of these investigations are presented in this chapter

An Introduction to 3D User Interface Design

3D user interface design is a critical component of any virtual environment (VE) application. In this paper, we present a broad overview of three-dimensional (3D) interaction and user interfaces. We discuss the effect of common VE hardware devices on user interaction, as well as interaction techniques for generic 3D tasks and the use of traditional two-dimensional interaction styles in 3D environments. We divide most user interaction tasks into three categories: navigation, selection/manipulation, and system control. Throughout the paper, our focus is on presenting not only the available techniques, but also practical guidelines for 3D interaction design and widely held myths. Finally, we briefly discuss two approaches to 3D interaction design, and some example applications with complex 3D interaction requirements. We also present an annotated online bibliography as a reference companion to this article

A survey of comics research in computer science

Graphical novels such as comics and mangas are well known all over the world. The digital transition started to change the way people are reading comics, more and more on smartphones and tablets and less and less on paper. In the recent years, a wide variety of research about comics has been proposed and might change the way comics are created, distributed and read in future years. Early work focuses on low level document image analysis: indeed comic books are complex, they contains text, drawings, balloon, panels, onomatopoeia, etc. Different fields of computer science covered research about user interaction and content generation such as multimedia, artificial intelligence, human-computer interaction, etc. with different sets of values. We propose in this paper to review the previous research about comics in computer science, to state what have been done and to give some insights about the main outlooks

MetaSpace II: Object and full-body tracking for interaction and navigation in social VR

MetaSpace II (MS2) is a social Virtual Reality (VR) system where multiple users can not only see and hear but also interact with each other, grasp and manipulate objects, walk around in space, and get tactile feedback. MS2 allows walking in physical space by tracking each user's skeleton in real-time and allows users to feel by employing passive haptics i.e., when users touch or manipulate an object in the virtual world, they simultaneously also touch or manipulate a corresponding object in the physical world. To enable these elements in VR, MS2 creates a correspondence in spatial layout and object placement by building the virtual world on top of a 3D scan of the real world. Through the association between the real and virtual world, users are able to walk freely while wearing a head-mounted device, avoid obstacles like walls and furniture, and interact with people and objects. Most current virtual reality (VR) environments are designed for a single user experience where interactions with virtual objects are mediated by hand-held input devices or hand gestures. Additionally, users are only shown a representation of their hands in VR floating in front of the camera as seen from a first person perspective. We believe, representing each user as a full-body avatar that is controlled by natural movements of the person in the real world (see Figure 1d), can greatly enhance believability and a user's sense immersion in VR.Comment: 10 pages, 9 figures. Video: http://living.media.mit.edu/projects/metaspace-ii