A Survey of Ocean Simulation and Rendering Techniques in Computer Graphics

This paper presents a survey of ocean simulation and rendering methods in computer graphics. To model and animate the ocean's surface, these methods mainly rely on two main approaches: on the one hand, those which approximate ocean dynamics with parametric, spectral or hybrid models and use empirical laws from oceanographic research. We will see that this type of methods essentially allows the simulation of ocean scenes in the deep water domain, without breaking waves. On the other hand, physically-based methods use Navier-Stokes Equations (NSE) to represent breaking waves and more generally ocean surface near the shore. We also describe ocean rendering methods in computer graphics, with a special interest in the simulation of phenomena such as foam and spray, and light's interaction with the ocean surface

Real-time lattice boltzmann shallow waters method for breaking wave simulations

We present a new approach for the simulation of surfacebased fluids based in a hybrid formulation of Lattice Boltzmann Method for Shallow Waters and particle systems. The modified LBM can handle arbitrary underlying terrain conditions and arbitrary fluid depth. It also introduces a novel method for tracking dry-wet regions and moving boundaries. Dynamic rigid bodies are also included in our simulations using a two-way coupling. Certain features of the simulation that the LBM can not handle because of its heightfield nature, as breaking waves, are detected and automatically turned into splash particles. Here we use a ballistic particle system, but our hybrid method can handle more complex systems as SPH. Both the LBM and particle systems are implemented in CUDA, although dynamic rigid bodies are simulated in CPU. We show the effectiveness of our method with various examples which achieve real-time on consumer-level hardware.Peer ReviewedPostprint (author's final draft

Multiphase flow of immiscible fluids on unstructured moving meshes

pre-printIn this paper, we present a method for animating multiphase flow of immiscible fluids using unstructured moving meshes. Our underlying discretization is an unstructured tetrahedral mesh, the deformable simplicial complex (DSC), that moves with the flow in a Lagrangian manner. Mesh optimization operations improve element quality and avoid element inversion. In the context of multiphase flow, we guarantee that every element is occupied by a single fluid and, consequently, the interface between fluids is represented by a set of faces in the simplicial complex. This approach ensures that the underlying discretization matches the physics and avoids the additional book-keeping required in grid-based methods where multiple fluids may occupy the same cell. Our Lagrangian approach naturally leads us to adopt a finite element approach to simulation, in contrast to the finite volume approaches adopted by a majority of fluid simulation techniques that use tetrahedral meshes. We characterize fluid simulation as an optimization problem allowing for full coupling of the pressure and velocity fields and the incorporation of a second-order surface energy. We introduce a preconditioner based on the diagonal Schur complement and solve our optimization on the GPU. We provide the results of parameter studies as well as a performance analysis of our method, together with suggestions for performance optimization

Animating jellyfish through numerical simulation and symmetry exploitation

This thesis presents an automatic animation system for jellyfish that is based on a physical simulation of the organism and its surrounding fluid. Our goal is to explore the unusual style of locomotion, namely jet propulsion, which is utilized by jellyfish. The organism achieves this propulsion by contracting its body, expelling water, and propelling itself forward. The organism then expands again to refill itself with water for a subsequent stroke. We endeavor to model the thrust achieved by the jellyfish, and also the evolution of the organism's geometric configuration. We restrict our discussion of locomotion to fully grown adult jellyfish, and we restrict our study of locomotion to the resonant gait, which is the organism's most active mode of locomotion, and is characterized by a regular contraction rate that is near one of the creature's resonant frequencies. We also consider only species that are axially symmetric, and thus are able to reduce the dimensionality of our model. We can approximate the full 3D geometry of a jellyfish by simulating a 2D slice of the organism. This model reduction yields plausible results at a lower computational cost. From the 2D simulation, we extrapolate to a full 3D model. To prevent our extrapolated model from being artificially smooth, we give the final shape more variation by adding noise to the 3D geometry. This noise is inspired by empirical data of real jellyfish, and also by work with continuous noise functions from the graphics community. Our 2D simulations are done numerically with ideas from the field of computational fluid dynamics. Specifically, we simulate the elastic volume of the jellyfish with a spring-mass system, and we simulate the surrounding fluid using the semi-Lagrangian method. To couple the particle-based elastic representation with the grid-based fluid representation, we use the immersed boundary method. We find this combination of methods to be a very efficient means of simulating the 2D slice with a minimal compromise in physical accuracy

Tools for fluid simulation control in computer graphics

L’animation basée sur la physique peut générer des systèmes aux comportements complexes et réalistes. Malheureusement, contrôler de tels systèmes est une tâche ardue. Dans le cas de la simulation de fluide, le processus de contrôle est particulièrement complexe. Bien que de nombreuses méthodes et outils ont été mis au point pour simuler et faire le rendu de fluides, trop peu de méthodes offrent un contrôle efficace et intuitif sur une simulation de fluide. Étant donné que le coût associé au contrôle vient souvent s’additionner au coût de la simulation, appliquer un contrôle sur une simulation à plus haute résolution rallonge chaque itération du processus de création. Afin d’accélérer ce processus, l’édition peut se faire sur une simulation basse résolution moins coûteuse. Nous pouvons donc considérer que la création d’un fluide contrôlé peut se diviser en deux phases: une phase de contrôle durant laquelle un artiste modifie le comportement d’une simulation basse résolution, et une phase d’augmentation de détail durant laquelle une version haute résolution de cette simulation est générée. Cette thèse présente deux projets, chacun contribuant à l’état de l’art relié à chacune de ces deux phases. Dans un premier temps, on introduit un nouveau système de contrôle de liquide représenté par un modèle particulaire. À l’aide de ce système, un artiste peut sélectionner dans une base de données une parcelle de liquide animé précalculée. Cette parcelle peut ensuite être placée dans une simulation afin d’en modifier son comportement. À chaque pas de simulation, notre système utilise la liste de parcelles actives afin de reproduire localement la vision de l’artiste. Une interface graphique intuitive a été développée, inspirée par les logiciels de montage vidéo, et permettant à un utilisateur non expert de simplement éditer une simulation de liquide. Dans un second temps, une méthode d’augmentation de détail est décrite. Nous proposons d’ajouter une étape supplémentaire de suivi après l’étape de projection du champ de vitesse d’une simulation de fumée eulérienne classique. Durant cette étape, un champ de perturbations de vitesse non-divergent est calculé, résultant en une meilleure correspondance des densités à haute et à basse résolution. L’animation de fumée résultante reproduit fidèlement l’aspect grossier de la simulation d’entrée, tout en étant augmentée à l’aide de détails simulés.Physics-based animation can generate dynamic systems of very complex and realistic behaviors. Unfortunately, controlling them is a daunting task. In particular, fluid simulation brings up particularly difficult problems to the control process. Although many methods and tools have been developed to convincingly simulate and render fluids, too few methods provide efficient and intuitive control over a simulation. Since control often comes with extra computations on top of the simulation cost, art-directing a high-resolution simulation leads to long iterations of the creative process. In order to shorten this process, editing could be performed on a faster, low-resolution model. Therefore, we can consider that the process of generating an art-directed fluid could be split into two stages: a control stage during which an artist modifies the behavior of a low-resolution simulation, and an upresolution stage during which a final high-resolution version of this simulation is driven. This thesis presents two projects, each one improving on the state of the art related to each of these two stages. First, we introduce a new particle-based liquid control system. Using this system, an artist selects patches of precomputed liquid animations from a database, and places them in a simulation to modify its behavior. At each simulation time step, our system uses these entities to control the simulation in order to reproduce the artist’s vision. An intuitive graphical user interface inspired by video editing tools has been developed, allowing a nontechnical user to simply edit a liquid animation. Second, a tracking solution for smoke upresolution is described. We propose to add an extra tracking step after the projection of a classical Eulerian smoke simulation. During this step, we solve for a divergence-free velocity perturbation field resulting in a better matching of the low-frequency density distribution between the low-resolution guide and the high-resolution simulation. The resulting smoke animation faithfully reproduces the coarse aspect of the low-resolution input, while being enhanced with simulated small-scale details

SIGGRAPH

The current state of the art in real-time two-dimensional water wave simulation requires developers to choose between efficient Fourier-based methods, which lack interactions with moving obstacles, and finite-difference or finite element methods, which handle environmental interactions but are significantly more expensive. This paper attempts to bridge this long-standing gap between complexity and performance, by proposing a new wave simulation method that can faithfully simulate wave interactions with moving obstacles in real time while simultaneously preserving minute details and accommodating very large simulation domains. Previous methods for simulating 2D water waves directly compute the change in height of the water surface, a strategy which imposes limitations based on the CFL condition (fast moving waves require small time steps) and Nyquist's limit (small wave details require closely-spaced simulation variables). This paper proposes a novel wavelet transformation that discretizes the liquid motion in terms of amplitude-like functions that vary over space, frequency, and direction, effectively generalizing Fourier-based methods to handle local interactions. Because these new variables change much more slowly over space than the original water height function, our change of variables drastically reduces the limitations of the CFL condition and Nyquist limit, allowing us to simulate highly detailed water waves at very large visual resolutions. Our discretization is amenable to fast summation and easy to parallelize. We also present basic extensions like pre-computed wave paths and two-way solid fluid coupling. Finally, we argue that our discretization provides a convenient set of variables for artistic manipulation, which we illustrate with a novel wave-painting interface

Visual modeling and simulation of multiscale phenomena

Many large-scale systems seen in real life, such as human crowds, fluids, and granular materials, exhibit complicated motion at many different scales, from a characteristic global behavior to important small-scale detail. Such multiscale systems are computationally expensive for traditional simulation techniques to capture over the full range of scales. In this dissertation, I present novel techniques for scalable and efficient simulation of these large, complex phenomena for visual computing applications. These techniques are based on a new approach of representing a complex system by coupling together separate models for its large-scale and fine-scale dynamics. In fluid simulation, it remains a challenge to efficiently simulate fine local detail such as foam, ripples, and turbulence without compromising the accuracy of the large-scale flow. I present two techniques for this problem that combine physically-based numerical simulation for the global flow with efficient local models for detail. For surface features, I propose the use of texture synthesis, guided by the physical characteristics of the macroscopic flow. For turbulence in the fluid motion itself, I present a technique that tracks the transfer of energy from the mean flow to the turbulent fluctuations and synthesizes these fluctuations procedurally, allowing extremely efficient visual simulation of turbulent fluids. Another large class of problems which are not easily handled by traditional approaches is the simulation of very large aggregates of discrete entities, such as dense pedestrian crowds and granular materials. I present a technique for crowd simulation that couples a discrete per-agent model of individual navigation with a novel continuum formulation for the collective motion of pedestrians. This approach allows simulation of dense crowds of a hundred thousand agents at near-real-time rates on desktop computers. I also present a technique for simulating granular materials, which generalizes this model and introduces a novel computational scheme for friction. This method efficiently reproduces a wide range of granular behavior and allows two-way interaction with simulated solid bodies. In all of these cases, the proposed techniques are typically an order of magnitude faster than comparable existing methods. Through these applications to a diverse set of challenging simulation problems, I demonstrate the benefits of the proposed approach, showing that it is a powerful and versatile technique for the simulation of a broad range of large and complex systems

Digital Technologies for virtual recomposition. The case study of Serpotta stuccoes.

The matter that lies beneath the smooth and shining surface of stuccoes of the Serpotta family, who used to work in Sicily from 1670 to 1730, has been thoroughly studied in previous papers, disclosing the deep, even if empirical, knowledge of materials science that guided the artists in creating their masterworks. In this work the attention is focused on the solid perspective and on the scenographic sculpture by Giacomo Serpotta, who is acknowledged as the leading exponent of the School. The study deals with some particular works of the artist, the so-called “teatrini” (Toy Theater), made by him for the San Lorenzo Oratory in Palermo. On the basis of archive documents and previous analogical photogrammetric plotting, integrated with digital solutions and methodologies of computer-based technologies, the study investigates and interprets the geometric-formal genesis of the examined works of art, until the prototyping of the whole scenic apparatus

Physics-Based Modeling, Analysis and Animation

The idea of using physics-based models has received considerable interest in computer graphics and computer vision research the last ten years. The interest arises from the fact that simple geometric primitives cannot accurately represent natural objects. In computer graphics physics-based models are used to generate and visualize constrained shapes, motions of rigid and nonrigid objects and object interactions with the environment for the purposes of animation. On the other hand, in computer vision, the method applies to complex 3-D shape representation, shape reconstruction and motion estimation. In this paper we review two models that have been used in computer graphics and two models that apply to both areas. In the area of computer graphics, Miller [48] uses a mass-spring model to animate three forms of locomotion of snakes and worms. To overcome the problem of the multitude of degrees of freedom associated with the mass-spring lattices, Witkin and Welch [87] present a geometric method to model global deformations. To achieve the same result Pentland and Horowitz in [54] delineate the object motion into rigid and nonrigid deformation modes. To overcome problems of these two last approaches, Metaxas and Terzopoulos in [45] successfully combine local deformations with global ones. Modeling based on physical principles is a potent technique for computer graphics and computer vision. It is a rich and fruitful area for research in terms of both theory and applications. It is important, though, to develop concepts, methodologies, and techniques which will be widely applicable to many types of applications

Real-time 3D rendering of water using CUDA

This thesis addresses the real-time simulation of 3D water, both on the CPU and on the GPU. The stable fluids method is extended to 3D, and implemented both on the CPU and on the GPU. The GPU-based implementation is done using the NVIDIA Compute Unified Device Architecture API (Application Programming Interface), shortly CUDA. The stable fluids method requires the use of an iterative sparse linear system solver. Therefore, three solvers were implemented on both CPU and GPU, namely Jacobi, Gauss-Seidel, and Conjugate Gradient solvers. Rendering of water or its velocities, of the moving obstacles, of the static obstacles, and of the world are done using Vertex Buffer Objects (VBOs). In the CPU-based version standard OpenGL VBOs are used, while on the GPU-based version OpenGL-CUDA interoperability VBOs and standard OpenGL VBOs are used