Interactive Procedural Modelling of Coherent Waterfall Scenes

International audienceCombining procedural generation and user control is a fundamental challenge for the interactive design of natural scenery. This is particularly true for modelling complex waterfall scenes where, in addition to taking charge of geometric details, an ideal tool should also provide a user with the freedom to shape the running streams and falls, while automatically maintaining physical plausibility in terms of flow network, embedding into the terrain, and visual aspects of the waterfalls. We present the first solution for the interactive procedural design of coherent waterfall scenes. Our system combines vectorial editing, where the user assembles elements to create a waterfall network over an existing terrain, with a procedural model that parametrizes these elements from hydraulic exchanges; enforces consistency between the terrain and the flow; and generates detailed geometry, animated textures and shaders for the waterfalls and their surroundings. The tool is interactive, yielding visual feedback after each edit

WorldBrush: Interactive Example-based Synthesis of Procedural Virtual Worlds

International audienceWe present a novel approach for the interactive synthesis and editing of virtual worlds. Our method is inspired by painting operations and uses methods for statistical example-based synthesis to automate content synthesis and deformation. Our real-time approach takes a form of local inverse procedural modeling based on intermediate statistical models: selected regions of procedurally and manually constructed example scenes are analyzed, and their parameters are stored as distributions in a palette, similar to colors on a painter’s palette. These distributions can then be interactively applied with brushes and combined in various ways, like in painting systems. Selected regions can also be moved or stretched while maintaining the consistency of their content. Our method captures both distributions of elements and structured objects, and models their interactions. Results range from the interactive editing of 2D artwork maps to the design of 3D virtual worlds, where constraints set by the terrain’s slope are also taken into account

Space-time sculpting of liquid animation

International audienceWe propose an interactive sculpting system for seamlessly editing pre-computed animations of liquid, without the need for any re-simulation. The input is a sequence of meshes without correspondences representing the liquid surface over time. Our method enables the efficient selection of consistent space-time parts of this animation, such as moving waves or droplets, which we call space-time features. Once selected, a feature can be copied, edited, or duplicated and then pasted back anywhere in space and time in the same or in another liquid animation sequence. Our method circumvents tedious user interactions by automatically computing the spatial and temporal ranges of the selected feature. We also provide space-time shape editing tools for non-uniform scaling, rotation, trajectory changes, and temporal editing to locally speed up or slow down motion. Using our tools, the user can edit and progressively refine any input simulation result, possibly using a library of pre-computed space-time features extracted from other animations. In contrast to the trial-and-error loop usually required to edit animation results through the tuning of indirect simulation parameters, our method gives the user full control over the edited space-time behaviors

Replaceable Substructures for Efficient Part-Based Modeling

International audienceA popular mode of shape synthesis involves mixing and matching parts from different objects to form a coherent whole. The key challenge is to efficiently synthesize shape variations that are plausible, both locally and globally. A major obstacle is to assemble the objects with local consistency, i.e., all the connections between parts are valid with no dangling open connections. The combinatorial complexity of this problem limits existing methods in geometric and/or topological variations of the synthesized models. In this work, we introduce replaceable substructures as arrangements of parts that can be interchanged while ensuring boundary consistency. The consistency information is extracted from part labels and connections in the original source models. We present a polynomial time algorithm that discovers such substructures by working on a dual of the original shape graph that encodes inter-part connectivity. We demonstrate the algorithm on a range of test examples producing plausible shape variations, both from a geometric and from a topological viewpoint

D3.8 Final version of the personalization and positioning software tool with documentation. PIPER EU Project

The aim of this report is to provide an overview of the final version of the PIPER framework and application. The software, along with its documentation, and not the report, constitutes the main part of the deliverable. The software and documentation were already distributed at the Final Workshop and online (under the Open Source license GPLv2 or later for the software, and the GNU FDL 1.3 license for the documentation). The documentation includes detailed descriptions of the framework principles, user interface, metadata, along with the modules and their parameters. It also includes application scenarios (called workflows). Information about the use of the modules is complemented by Tutorials that were developed as part of WP1 (online on the wiki) and explanatory videos were developed as part of WP4 (videos of the final workshop, now available on YouTube). The headers in the source code files (also available online) list the main contributors to the software. The report will therefore not provide details about information that is already available elsewhere but will only provide a very brief summary of the functionalities available. Some of the descriptions are excerpts of the manual

Directorium divini cultus ad Cathedralis Ecclesiae Minoriccensis : eiusque Dioecesis usum

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Nouvelles méthodes pour la modélisation interactive d'objets complexes et d'animations

As virtual content continually grows in quantity and quality, new challenges arise.Amongst others, generating and manipulating 3D shapes and animations have become intricate tasks.State of the art methods attempt to hide this complexity through complex tools, which exploit content semantics for running optimization procedures, yielding constraint matching outputs.However, the control offered by such methods is often indirect, object-specific, and heavy, which imposes long trial-and-error cycles and restrains artistic freedom.The focus of this thesis is twofolds:First, improving user control through interactive and direct content manipulation;Second, enlarging the spectrum of manipulable content with innovative or generic content representations.We introduce three new mehods related to 3D shapes design:A part-based modeling tool allowing to generate assembly shapes with semantic adjacency constraints;A painting tool for distributing objects in a 3D scene;And a grammar-based hierarchical deformation paradigm, enabling the interactive deformation of complex models.We also propose two methods related to the design of animated contents: A vectorial editing tool to synthesize consistent waterfall scenes;And finally a sculpting method enabling to design new liquid animation from examples.L'accroissement de la demande en contenu virtuel, tant en termes qualitatifs que quantitatifs, révèle de nouveaux défis scientifiques.Par exemple, la génération et la manipulation de formes 3D et d'animation sont particulièrement difficiles.Les méthodes modernes contournent ces difficultés en proposant des approches basées sur des algorithmes d'optimisation.Ces derniers utilisent des connaissances a priori sur les données à manipuler afin de générer de nouvelles données satisfaisant des contraintes dictées par l'utilisateur.De tels outils présentent le désaventage d'être indirects, couteux, et non génériques, ce qui limite la liberté artistique de l'utilisateur en le contraignant à de nombreux essais.Les objectifs de cette thèse sont pluriels.D'une part, elle vise à améliorer le contrôle de l'utilisateur en proposant des méthodes de manipulation interactives et directes.D'une autre, elle cherche à rendre ces méthodes capables de manipuler des contenus plus variés en proposant des outils novateurs et génériques.Plus précisément, cette thèse introduis trois méthodes de modélisation d'objets 3D.La première est une méthode basée exemple de génération d'objets composites caractérisés par l'adjacence de leur sous-parties.La seconde propose une interface de types "peinture" pour décrire les distributions d'objets dans une scène 3D.La troisième étend le princides des grammaires génératives à la déformation d'objets hiérarchiques.Nous proposons également deux méthodes de modélisation d'animation.La première offre de modéliser des scènes natuelles de cascades grâce à des controlleurs vectoriels.La seconde permet de sculpter une animation de liquide en manipulant directement ses éléments spatio-temporels saillants

Novel methods for the interactive design of complex objects and animations

L'accroissement de la demande en contenu virtuel, tant en termes qualitatifs que quantitatifs, révèle de nouveaux défis scientifiques.Par exemple, la génération et la manipulation de formes 3D et d'animation sont particulièrement difficiles.Les méthodes modernes contournent ces difficultés en proposant des approches basées sur des algorithmes d'optimisation.Ces derniers utilisent des connaissances a priori sur les données à manipuler afin de générer de nouvelles données satisfaisant des contraintes dictées par l'utilisateur.De tels outils présentent le désaventage d'être indirects, couteux, et non génériques, ce qui limite la liberté artistique de l'utilisateur en le contraignant à de nombreux essais.Les objectifs de cette thèse sont pluriels.D'une part, elle vise à améliorer le contrôle de l'utilisateur en proposant des méthodes de manipulation interactives et directes.D'une autre, elle cherche à rendre ces méthodes capables de manipuler des contenus plus variés en proposant des outils novateurs et génériques.Plus précisément, cette thèse introduis trois méthodes de modélisation d'objets 3D.La première est une méthode basée exemple de génération d'objets composites caractérisés par l'adjacence de leur sous-parties.La seconde propose une interface de types "peinture" pour décrire les distributions d'objets dans une scène 3D.La troisième étend le princides des grammaires génératives à la déformation d'objets hiérarchiques.Nous proposons également deux méthodes de modélisation d'animation.La première offre de modéliser des scènes natuelles de cascades grâce à des controlleurs vectoriels.La seconde permet de sculpter une animation de liquide en manipulant directement ses éléments spatio-temporels saillants.As virtual content continually grows in quantity and quality, new challenges arise.Amongst others, generating and manipulating 3D shapes and animations have become intricate tasks.State of the art methods attempt to hide this complexity through complex tools, which exploit content semantics for running optimization procedures, yielding constraint matching outputs.However, the control offered by such methods is often indirect, object-specific, and heavy, which imposes long trial-and-error cycles and restrains artistic freedom.The focus of this thesis is twofolds:First, improving user control through interactive and direct content manipulation;Second, enlarging the spectrum of manipulable content with innovative or generic content representations.We introduce three new mehods related to 3D shapes design:A part-based modeling tool allowing to generate assembly shapes with semantic adjacency constraints;A painting tool for distributing objects in a 3D scene;And a grammar-based hierarchical deformation paradigm, enabling the interactive deformation of complex models.We also propose two methods related to the design of animated contents: A vectorial editing tool to synthesize consistent waterfall scenes;And finally a sculpting method enabling to design new liquid animation from examples

Déformation d’objet complexe par graphe d’interaction

National audienc

Déformation d’objet complexe par graphe d’interaction

National audienc