Water wave animation via wavefront parameter interpolation

We present an efficient wavefront tracking algorithm for animating bodies of water that interact with their environment. Our contributions include: a novel wavefront tracking technique that enables dispersion, refraction, reflection, and diffraction in the same simulation; a unique multivalued function interpolation method that enables our simulations to elegantly sidestep the Nyquist limit; a dispersion approximation for efficiently amplifying the number of simulated waves by several orders of magnitude; and additional extensions that allow for time-dependent effects and interactive artistic editing of the resulting animation. Our contributions combine to give us multitudes more wave details than similar algorithms, while maintaining high frame rates and allowing close camera zooms

Water wave packets

This paper presents a method for simulating water surface waves as a displacement field on a 2D domain. Our method relies on Lagrangian particles that carry packets of water wave energy; each packet carries information about an entire group of wave trains, as opposed to only a single wave crest. Our approach is unconditionally stable and can simulate high resolution geometric details. This approach also presents a straightforward interface for artistic control, because it is essentially a particle system with intuitive parameters like wavelength and amplitude. Our implementation parallelizes well and runs in real time for moderately challenging scenarios

Wave curves: Simulating Lagrangian water waves on dynamically deforming surfaces

We propose a method to enhance the visual detail of a water surface simulation. Our method works as a post-processing step which takes a simulation as input and increases its apparent resolution by simulating many detailed Lagrangian water waves on top of it. We extend linear water wave theory to work in non-planar domains which deform over time, and we discretize the theory using Lagrangian wave packets attached to spline curves. The method is numerically stable and trivially parallelizable, and it produces high frequency ripples with dispersive wave-like behaviors customized to the underlying fluid simulation

A Compositional Interface for Generative Audiovisual Systems

With a digitally implemented generative system for artistic purposes, controlling a non-trivial number of parameters is one of the difficulties in the process of temporal composition with the system. Unless done manually for every keyframe in the duration of the work, a kind of interface that facilitates the process is necessary. This research proposes an interface for temporal control on parameters of the generative audio-visual system. The proposed interface operates in `state space' formed by a simplex shape of arbitrary dimension with the barycentric coordinate to define the locations inside. Each vertex of simplex represents a reference point in the parameter space of the system. In this manner, regardless of geometric relation between reference points in parameter space, the artist can locate and use any mixed state of the reference states by simple interpolations. This decoupling of the relative coordinate of the states from the specific values of the parameters makes an abstraction for the artist to perform the manual design of the temporal structure efficiently. The state space is a connection between the generative system and the temporal control. With the proposed interface, three artworks are introduced as proof of concepts. Reconstruction is an installation piece, experimenting with virtual geographical shapes. The Reconstruction is a proof of concept that utilizes the state space model for its automatic control, hinting the possibility of a state space model for connection between the generative system and manual composition. Balanced Movement is a fixed length composition, using dynamic equilibrium from the stochastic system as the primary material of the visual. Balanced Movement utilizes state space to define its manual temporal composition. Wavefront is an immersive audio-visual performance using a mathematical abstraction of an ocean wave as visual material. In Wavefront state space is used to spawn entities in performance time dynamically

Reconstruction and rendering of time-varying natural phenomena

While computer performance increases and computer generated images get ever more realistic, the need for modeling computer graphics content is becoming stronger. To achieve photo-realism detailed scenes have to be modeled often with a significant amount of manual labour. Interdisciplinary research combining the fields of Computer Graphics, Computer Vision and Scientific Computing has led to the development of (semi-)automatic modeling tools freeing the user of labour-intensive modeling tasks. The modeling of animated content is especially challenging. Realistic motion is necessary to convince the audience of computer games, movies with mixed reality content and augmented reality applications. The goal of this thesis is to investigate automated modeling techniques for time-varying natural phenomena. The results of the presented methods are animated, three-dimensional computer models of fire, smoke and fluid flows.Durch die steigende Rechenkapazität moderner Computer besteht die Möglichkeit immer realistischere Bilder virtuell zu erzeugen. Dadurch entsteht ein größerer Bedarf an Modellierungsarbeit um die nötigen Objekte virtuell zu beschreiben. Um photorealistische Bilder erzeugen zu können müssen sehr detaillierte Szenen, oft in mühsamer Handarbeit, modelliert werden. Ein interdisziplinärer Forschungszweig, der Computergrafik, Bildverarbeitung und Wissenschaftliches Rechnen verbindet, hat in den letzten Jahren die Entwicklung von (semi-)automatischen Methoden zur Modellierung von Computergrafikinhalten vorangetrieben. Die Modellierung dynamischer Inhalte ist dabei eine besonders anspruchsvolle Aufgabe, da realistische Bewegungsabläufe sehr wichtig für eine überzeugende Darstellung von Computergrafikinhalten in Filmen, Computerspielen oder Augmented-Reality Anwendungen sind. Das Ziel dieser Arbeit ist es automatische Modellierungsmethoden für dynamische Naturerscheinungen wie Wasserfluss, Feuer, Rauch und die Bewegung erhitzter Luft zu entwickeln. Das Resultat der entwickelten Methoden sind dabei dynamische, dreidimensionale Computergrafikmodelle

Vector offset operators for deformable organic objects.

Many natural materials and most of living tissues exhibit complex deformable behaviours that may be characteriseda s organic. In computer animation, deformable organic material behaviour is needed for the development of characters and scenes based on living creatures and natural phenomena. This study addresses the problem of deformable organic material behaviour in computer animated objects. The focus of this study is concentrated on problems inherent in geometry based deformation techniques, such as non-intuitive interaction and difficulty in achieving realism. Further, the focus is concentrated on problems inherent in physically based deformation techniques, such as inefficiency and difficulty in enforcing spatial and temporal constraints. The main objective in this study is to find a general and efficient solution to interaction and animation of deformable 3D objects with natural organic material properties and constrainable behaviour. The solution must provide an interaction and animation framework suitable for the creation of animated deformable characters. An implementation of physical organic material properties such as plasticity, elasticity and iscoelasticity can provide the basis for an organic deformation model. An efficient approach to stress and strain control is introduced with a deformation tool named Vector Offset Operator. Stress / strain graphs control the elastoplastic behaviour of the model. Strain creep, stress relaxation and hysteresis graphs control the viscoelastic behaviour of the model. External forces may be applied using motion paths equipped with momentum / time graphs. Finally, spatial and temporal constraints are applied directly on vector operators. The suggested generic deformation tool introduces an intermediate layer between user interaction, deformation, elastoplastic and viscoelastic material behaviour and spatial and temporal constraints. This results in an efficient approach to deformation, frees object representation from deformation, facilitates the application of constraints and enables further development

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

Ocean Wave Rendering with Whitecap in the Visual System of a Maritime Simulator

The whitecap is an important oceanographic phenomenon. However, existing whitecap rendering methods do not successfully generate realistic whitecaps. To solve this problem, this paper presents a real-time whitecap rendering method applied to the visual system of a maritime simulator. The method takes the vertical acceleration on the wave crest as the criterion of whitecap generation. The Fourier coefficient of the vertical acceleration is provided, and a continuous mathematical model computing the whitecap coverage is built. The vertical acceleration is the variable of the model. The life time of the whitecap’s existence can be controlled by the parameter of the model, and the parameter is computed with the genetic algorithm. The average of the computed whitecap coverage is equal to the whitecap coverage computed by the stochastic method and is close to the whitecap coverage computed by the empirical formula. The whitecap coverage is used as the blending factor to blend the pixel color of the whitecap texture and that of the sea surface. The presented method has sound theoretical support, with small computational complexity. The rendered whitecap is closer to the description of the Beaufort wind force scale than before

Iterative Solvers for Physics-based Simulations and Displays

La génération d’images et de simulations réalistes requiert des modèles complexes pour capturer tous les détails d’un phénomène physique. Les équations mathématiques qui composent ces modèles sont compliquées et ne peuvent pas être résolues analytiquement. Des procédures numériques doivent donc être employées pour obtenir des solutions approximatives à ces modèles. Ces procédures sont souvent des algorithmes itératifs, qui calculent une suite convergente vers la solution désirée à partir d’un essai initial. Ces méthodes sont une façon pratique et efficace de calculer des solutions à des systèmes complexes, et sont au coeur de la plupart des méthodes de simulation modernes. Dans cette thèse par article, nous présentons trois projets où les algorithmes itératifs jouent un rôle majeur dans une méthode de simulation ou de rendu. Premièrement, nous présentons une méthode pour améliorer la qualité visuelle de simulations fluides. En créant une surface de haute résolution autour d’une simulation existante, stabilisée par une méthode itérative, nous ajoutons des détails additionels à la simulation. Deuxièmement, nous décrivons une méthode de simulation fluide basée sur la réduction de modèle. En construisant une nouvelle base de champ de vecteurs pour représenter la vélocité d’un fluide, nous obtenons une méthode spécifiquement adaptée pour améliorer les composantes itératives de la simulation. Finalement, nous présentons un algorithme pour générer des images de haute qualité sur des écrans multicouches dans un contexte de réalité virtuelle. Présenter des images sur plusieurs couches demande des calculs additionels à coût élevé, mais nous formulons le problème de décomposition des images afin de le résoudre efficacement avec une méthode itérative simple.Realistic computer-generated images and simulations require complex models to properly capture the many subtle behaviors of each physical phenomenon. The mathematical equations underlying these models are complicated, and cannot be solved analytically. Numerical procedures must thus be used to obtain approximate solutions. These procedures are often iterative algorithms, where an initial guess is progressively improved to converge to a desired solution. Iterative methods are a convenient and efficient way to compute solutions to complex systems, and are at the core of most modern simulation methods. In this thesis by publication, we present three papers where iterative algorithms play a major role in a simulation or rendering method. First, we propose a method to improve the visual quality of fluid simulations. By creating a high-resolution surface representation around an input fluid simulation, stabilized with iterative methods, we introduce additional details atop of the simulation. Second, we describe a method to compute fluid simulations using model reduction. We design a novel vector field basis to represent fluid velocity, creating a method specifically tailored to improve all iterative components of the simulation. Finally, we present an algorithm to compute high-quality images for multifocal displays in a virtual reality context. Displaying images on multiple display layers incurs significant additional costs, but we formulate the image decomposition problem so as to allow an efficient solution using a simple iterative algorithm