3D Fractal Flame Wisps

This thesis presents a method for integrating two algorithms, fractal flames and wisps, to create visually rich and interesting patterns with 3D volumetric structure. Twenty-one single 3D flame variations are described and specified. These patterns were used to produce an aesthetically designed animation, inspired by both Hubble Telescope photographs and data from a simulation of a predicted collision between the Milky Way and Sagittarius galaxies. The thesis also describes Python tools and a Houdini pre-visualization pipeline that were developed to facilitate the animation design and production

ReliTalk: Relightable Talking Portrait Generation from a Single Video

Recent years have witnessed great progress in creating vivid audio-driven portraits from monocular videos. However, how to seamlessly adapt the created video avatars to other scenarios with different backgrounds and lighting conditions remains unsolved. On the other hand, existing relighting studies mostly rely on dynamically lighted or multi-view data, which are too expensive for creating video portraits. To bridge this gap, we propose ReliTalk, a novel framework for relightable audio-driven talking portrait generation from monocular videos. Our key insight is to decompose the portrait's reflectance from implicitly learned audio-driven facial normals and images. Specifically, we involve 3D facial priors derived from audio features to predict delicate normal maps through implicit functions. These initially predicted normals then take a crucial part in reflectance decomposition by dynamically estimating the lighting condition of the given video. Moreover, the stereoscopic face representation is refined using the identity-consistent loss under simulated multiple lighting conditions, addressing the ill-posed problem caused by limited views available from a single monocular video. Extensive experiments validate the superiority of our proposed framework on both real and synthetic datasets. Our code is released in https://github.com/arthur-qiu/ReliTalk

Synthesizing interactive fires

Thesis (M.S.)--Massachusetts Institute of Technology, Program in Media Arts & Sciences, 1994.Includes bibliographical references (leaves 58-60).by Christopher Harton Perry.M.S

UnifiedGesture: A Unified Gesture Synthesis Model for Multiple Skeletons

The automatic co-speech gesture generation draws much attention in computer animation. Previous works designed network structures on individual datasets, which resulted in a lack of data volume and generalizability across different motion capture standards. In addition, it is a challenging task due to the weak correlation between speech and gestures. To address these problems, we present UnifiedGesture, a novel diffusion model-based speech-driven gesture synthesis approach, trained on multiple gesture datasets with different skeletons. Specifically, we first present a retargeting network to learn latent homeomorphic graphs for different motion capture standards, unifying the representations of various gestures while extending the dataset. We then capture the correlation between speech and gestures based on a diffusion model architecture using cross-local attention and self-attention to generate better speech-matched and realistic gestures. To further align speech and gesture and increase diversity, we incorporate reinforcement learning on the discrete gesture units with a learned reward function. Extensive experiments show that UnifiedGesture outperforms recent approaches on speech-driven gesture generation in terms of CCA, FGD, and human-likeness. All code, pre-trained models, databases, and demos are available to the public at https://github.com/YoungSeng/UnifiedGesture.Comment: 16 pages, 11 figures, ACM MM 202

HumanTOMATO: Text-aligned Whole-body Motion Generation

This work targets a novel text-driven whole-body motion generation task, which takes a given textual description as input and aims at generating high-quality, diverse, and coherent facial expressions, hand gestures, and body motions simultaneously. Previous works on text-driven motion generation tasks mainly have two limitations: they ignore the key role of fine-grained hand and face controlling in vivid whole-body motion generation, and lack a good alignment between text and motion. To address such limitations, we propose a Text-aligned whOle-body Motion generATiOn framework, named HumanTOMATO, which is the first attempt to our knowledge towards applicable holistic motion generation in this research area. To tackle this challenging task, our solution includes two key designs: (1) a Holistic Hierarchical VQ-VAE (aka H$^2$VQ) and a Hierarchical-GPT for fine-grained body and hand motion reconstruction and generation with two structured codebooks; and (2) a pre-trained text-motion-alignment model to help generated motion align with the input textual description explicitly. Comprehensive experiments verify that our model has significant advantages in both the quality of generated motions and their alignment with text.Comment: 31 pages, 15 figures, 16 tables. Project page: https://lhchen.top/HumanTOMAT

Video looping of human cyclic motion

In this thesis, a system called Video Looping is developed to analyze human cyclic motions. Video Looping allows users to extract human cyclic motion from a given video sequence. This system analyzes similarities from a large amount of live footage to find the point of smooth transition. The final cyclic loop is created using only a few output images. Video Looping is useful not only to learn and understand human movements, but also to apply the cyclic loop to various artistic applications. To provide practical animation references, the output images are presented as photo plate sequences to visualize human cyclic motion similar to Eadweard Muybridge's image sequences. The final output images can be used to create experimental projects such as composited multiple video loops or small size of web animations. Furthermore, they can be imported into animation packages, and animators can create keyframe animations by tracing them in 3D software

Shadows, touch and digital puppeteering: a media archaeological approach

Aims The practical aim of this research project is to create a multi-touch digital puppetry system that simulates shadow theatre environments and translates gestural acts of touch into live and expressive control of virtual shadow figures. The research is focussed on the qualities of movement achievable through the haptics of single and multi-touch control of the digital puppets in the simulation. An associated aim is to create a collaborative environment where multiple performers can control dynamic animation and scenography, and create novel visualisations and narratives. The conceptual aim is to link traditional and new forms of puppetry seeking cultural significance in the ‘remediation’ of old forms that avail themselves of new haptic resources and collaborative interfaces. The thesis evaluates related prior art where traditional worlds of shadow performance meet new media, digital projection and 3D simulation, in order to investigate how changing technical contexts transform the potential of shadows as an expressive medium. Methodology The thesis uses cultural analysis of relevant documentary material to contextualise the practical work by relating the media archaeology of 2D puppetry—shadows, shadowgraphs and silhouettes—to landmark work in real-time computer graphics and performance animation. The survey considers the work of puppeteers, animators, computer graphics specialists and media artists. Through practice and an experimental approach to critical digital creativity, the study provides practical evidence of multiple iterations of controllable physics-based animation delivering expressive puppet motion through touch and multiuser interaction. Video sequences of puppet movement and written observational analysis document the intangible aspects of animation in performance. Through re-animation of archival shadow puppets, the study presents an emerging artistic media archaeological method. The major element of this method has been the restoration of a collection of Turkish Karagöz Shadow puppets from the Institut International de la Marionnette (Charleville, France) into a playable digital form. Results The thesis presents a developing creative and analytical framework for digital shadow puppetry. It proposes a media archaeological method for working creatively with puppet archives that unlock the kinetic and expressive potential of restored figures. The interaction design introduces novel approaches to puppetry control systems—using spring networks—with objects under physics-simulation that demonstrate emergent expressive qualities. The system facilitates a dance of agency¹ between puppeteer and digital instrument. The practical elements have produced several software iterations and a tool-kit for generating elegant, nuanced multi-touch shadow puppetry. The study presents accidental discoveries—serendipitous benefits of open-ended practical exploration. For instance: the extensible nature of the control system means novel input—other than touch—can provide exciting potential for accessible user interaction, e.g. with gaze duration and eye direction. The study also identifies limitations including the rate of software change and obsolescence, the scope of physics-based animation and failures of simulation. Originality/value The work has historical value in that it documents and begins a media archaeology of digital puppetry, an animated phenomenon of increasing academic and commercial interest. The work is of artistic value providing an interactive approach to making digital performance from archival material in the domain of shadow theatre. The work contributes to the electronic heritage of existing puppetry collections. The study establishes a survey of digital puppetry, setting a research agenda for future studies. Work may proceed to digitise, rig and create collaborative and web-mediated touch-based motion control systems for 2D and 3D puppets. The present study thus provides a solid platform to restore past performances and create new work from old, near forgotten-forms. ¹ Following Andrew Pickering, puppetry is ‘a temporally extended back-and-forth dance of human and non-human agency in which activity and passivity on both sides are reciprocally intertwined’ PICKERING, A. 2010. Material Culture and the Dance of Agency. In: BEAUDRY, M. C. & HICKS, D. (eds.) Oxford Handbook of Material Culture Studies. Oxford University Press.

Raum-Zeit Interpolationstechniken

The photo-realistic modeling and animation of complex scenes in 3D requires a lot of work and skill of artists even with modern acquisition techniques. This is especially true if the rendering should additionally be performed in real-time. In this thesis we follow another direction in computer graphics to generate photo-realistic results based on recorded video sequences of one or multiple cameras. We propose several methods to handle scenes showing natural phenomena and also multi-view footage of general complex 3D scenes. In contrast to other approaches, we make use of relaxed geometric constraints and focus especially on image properties important to create perceptually plausible in-between images. The results are novel photo-realistic video sequences rendered in real-time allowing for interactive manipulation or to interactively explore novel view and time points.Das Modellieren und die Animation von 3D Szenen in fotorealistischer Qualität ist sehr arbeitsaufwändig, auch wenn moderne Verfahren benutzt werden. Wenn die Bilder in Echtzeit berechnet werden sollen ist diese Aufgabe um so schwieriger zu lösen. In dieser Dissertation verfolgen wir einen alternativen Ansatz der Computergrafik, um neue photorealistische Ergebnisse aus einer oder mehreren aufgenommenen Videosequenzen zu gewinnen. Es werden mehrere Methoden entwickelt die für natürlicher Phänomene und für generelle Szenen einsetzbar sind. Im Unterschied zu anderen Verfahren nutzen wir abgeschwächte geometrische Einschränkungen und berechnen eine genaue Lösung nur dort wo sie wichtig für die menschliche Wahrnehmung ist. Die Ergebnisse sind neue fotorealistische Videosequenzen, die in Echtzeit berechnet und interaktiv manipuliert, oder in denen neue Blick- und Zeitpunkte der Szenen frei erkundet werden können