Many people have been familiar with subtractive color model based on pigment color compositing since their early childhood. However, the RGB color space is not comprehensible for children due to additive color compositing. In the RGB color space, the resulting mixture color is often different from colors viewer expected. CMYK is a well-known subtractive color space, but its three primal colors are not familiar. Kubelka-Munk model (KM model in short) simulates pigment compositing as well as paint-like appearance by physically-based simulation. However, it is difficult to use KM model because of many simulation parameters.
{"title":"Paint-like compositing based on RYB color model","authors":"Junichi Sugita, Tokiichiro Takahashi","doi":"10.1145/2787626.2792648","DOIUrl":"https://doi.org/10.1145/2787626.2792648","url":null,"abstract":"Many people have been familiar with subtractive color model based on pigment color compositing since their early childhood. However, the RGB color space is not comprehensible for children due to additive color compositing. In the RGB color space, the resulting mixture color is often different from colors viewer expected. CMYK is a well-known subtractive color space, but its three primal colors are not familiar. Kubelka-Munk model (KM model in short) simulates pigment compositing as well as paint-like appearance by physically-based simulation. However, it is difficult to use KM model because of many simulation parameters.","PeriodicalId":269034,"journal":{"name":"ACM SIGGRAPH 2015 Posters","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2015-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125052667","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
P. Debevec, G. Downing, M. Bolas, Hsuen-Yueh Peng, Jules Urbach
Todays most compelling virtual reality experiences shift the users viewpoint within the virtual environment based on input from a head-tracking system, giving a compelling sense of motion parallax. While this is straightforward for computer generated scenes, photographic VR content generally does not provide motion parallax in response to head motion. Even 360° stereo panoramas, which offer separated left and right views, fail to allow the vantage point to change in response to head motion.
{"title":"Spherical light field environment capture for virtual reality using a motorized pan/tilt head and offset camera","authors":"P. Debevec, G. Downing, M. Bolas, Hsuen-Yueh Peng, Jules Urbach","doi":"10.1145/2787626.2787648","DOIUrl":"https://doi.org/10.1145/2787626.2787648","url":null,"abstract":"Todays most compelling virtual reality experiences shift the users viewpoint within the virtual environment based on input from a head-tracking system, giving a compelling sense of motion parallax. While this is straightforward for computer generated scenes, photographic VR content generally does not provide motion parallax in response to head motion. Even 360° stereo panoramas, which offer separated left and right views, fail to allow the vantage point to change in response to head motion.","PeriodicalId":269034,"journal":{"name":"ACM SIGGRAPH 2015 Posters","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2015-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128435881","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In the ray-tracing community, the surface-area heuristic (SAH) has been employed as a de facto standard strategy for building a high-quality kd-tree. Aiming to improve both time and space efficiency of the conventional SAH-based kd-tree in ray tracing, we propose to use an extended kd-tree representation for which an effective tree-construction algorithm is provided. Our experiments with several test scenes revealed that the presented kd-tree scheme significantly reduced the memory requirement for representing the tree structure, while also increasing the overall frame rate for rendering.
{"title":"Enhancing time and space efficiency of kd-tree for ray-tracing static scenes","authors":"Byeongjun Choi, Woong Seo, I. Ihm","doi":"10.1145/2787626.2787658","DOIUrl":"https://doi.org/10.1145/2787626.2787658","url":null,"abstract":"In the ray-tracing community, the surface-area heuristic (SAH) has been employed as a de facto standard strategy for building a high-quality kd-tree. Aiming to improve both time and space efficiency of the conventional SAH-based kd-tree in ray tracing, we propose to use an extended kd-tree representation for which an effective tree-construction algorithm is provided. Our experiments with several test scenes revealed that the presented kd-tree scheme significantly reduced the memory requirement for representing the tree structure, while also increasing the overall frame rate for rendering.","PeriodicalId":269034,"journal":{"name":"ACM SIGGRAPH 2015 Posters","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2015-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129587479","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
We present a framework for modeling solid-fluid phase change. Our framework is physically-motivated, with geometric constraints applied to define rigid dynamics using shape matching. In each simulation step, particle positions are updated using an extended SPH solver where they are treated as fluid. Then a geometric constraint is computed based on current particle configuration, which consists of an optimal translation and an optimal rotation. Our approach differs from methods such as [Carlson et al. 2004] in that we solve rigid dynamics by using a stable geometric constraint [Müller et al. 2005] embedded in a fluid simulator.
我们提出了一个模拟固-流相变的框架。我们的框架是物理驱动的，使用几何约束来定义使用形状匹配的刚性动力学。在每个模拟步骤中，使用扩展SPH求解器更新粒子位置，其中它们被视为流体。然后基于当前粒子的构型计算几何约束，该约束由最优平移和最优旋转组成。我们的方法与[Carlson et al. 2004]等方法不同，因为我们通过使用嵌入在流体模拟器中的稳定几何约束[m ller et al. 2005]来求解刚性动力学。
{"title":"Rigid fluid","authors":"Yu Wang, M. Olano","doi":"10.1145/2787626.2787654","DOIUrl":"https://doi.org/10.1145/2787626.2787654","url":null,"abstract":"We present a framework for modeling solid-fluid phase change. Our framework is physically-motivated, with geometric constraints applied to define rigid dynamics using shape matching. In each simulation step, particle positions are updated using an extended SPH solver where they are treated as fluid. Then a geometric constraint is computed based on current particle configuration, which consists of an optimal translation and an optimal rotation. Our approach differs from methods such as [Carlson et al. 2004] in that we solve rigid dynamics by using a stable geometric constraint [Müller et al. 2005] embedded in a fluid simulator.","PeriodicalId":269034,"journal":{"name":"ACM SIGGRAPH 2015 Posters","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2015-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130160212","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Liang-Chen Wu, Jia-Ye Li, Yu-Hsuan Huang, M. Ouhyoung
In making 3D animation with traditional method, we usually edit 3D objects in 3-dimension space on the screen; therefore, we have to use input devices to edit and to observe 3D models. However, those processes can be improved. With the improvement in gesture recognition nowadays, virtual information operations are no longer confined to the mouse and keyboard. We can use the recognized gestures to apply to difficult operations in editing model motion. And for observing 3D model, we would use head tracking from external devices to improve it. It would be easy to observe the interactive results without complicated operation because the system will accurately map the real world head movements.
{"title":"First-person view animation editing utilizing video see-through augmented reality","authors":"Liang-Chen Wu, Jia-Ye Li, Yu-Hsuan Huang, M. Ouhyoung","doi":"10.1145/2787626.2787656","DOIUrl":"https://doi.org/10.1145/2787626.2787656","url":null,"abstract":"In making 3D animation with traditional method, we usually edit 3D objects in 3-dimension space on the screen; therefore, we have to use input devices to edit and to observe 3D models. However, those processes can be improved. With the improvement in gesture recognition nowadays, virtual information operations are no longer confined to the mouse and keyboard. We can use the recognized gestures to apply to difficult operations in editing model motion. And for observing 3D model, we would use head tracking from external devices to improve it. It would be easy to observe the interactive results without complicated operation because the system will accurately map the real world head movements.","PeriodicalId":269034,"journal":{"name":"ACM SIGGRAPH 2015 Posters","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2015-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132976718","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
M. Bolas, Ashok Kuruvilla, Shravani Chintalapudi, Fernando Rabelo, V. Lympouridis, Christine Barron, Evan A. Suma, Catalina Matamoros, Cristina Brous, Alicja Jasina, Yawen Zheng, Andrew Jones, P. Debevec, D. Krum
There is rapidly growing interest in the creation of rendered environments and content for tracked head-mounted stereoscopic displays for virtual reality. Currently, the most popular approaches include polygonal environments created with game engines, as well as 360 degree spherical cameras used to capture live action video. These tools were not originally designed to leverage the more complex visual cues available in VR when users laterally shift viewpoints, manually interact with models, and employ stereoscopic vision. There is a need for a fresh look at graphics techniques that can capitalize upon the unique affordances that make VR so compelling.
{"title":"Creating near-field VR using stop motion characters and a touch of light-field rendering","authors":"M. Bolas, Ashok Kuruvilla, Shravani Chintalapudi, Fernando Rabelo, V. Lympouridis, Christine Barron, Evan A. Suma, Catalina Matamoros, Cristina Brous, Alicja Jasina, Yawen Zheng, Andrew Jones, P. Debevec, D. Krum","doi":"10.1145/2787626.2787640","DOIUrl":"https://doi.org/10.1145/2787626.2787640","url":null,"abstract":"There is rapidly growing interest in the creation of rendered environments and content for tracked head-mounted stereoscopic displays for virtual reality. Currently, the most popular approaches include polygonal environments created with game engines, as well as 360 degree spherical cameras used to capture live action video. These tools were not originally designed to leverage the more complex visual cues available in VR when users laterally shift viewpoints, manually interact with models, and employ stereoscopic vision. There is a need for a fresh look at graphics techniques that can capitalize upon the unique affordances that make VR so compelling.","PeriodicalId":269034,"journal":{"name":"ACM SIGGRAPH 2015 Posters","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2015-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132021064","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Graphics hardware has become ubiquitous: Integrated into CPUs and into mobile devices and recently even embedded into cars. With the advent of WebGL, accelerated graphics is finally accessible from within the web browser. However, still the capabilities of GPUs are almost exclusively exploited by the video game industry, where experts produce specialized content for game engines.
{"title":"The XML3D architecture","authors":"K. Sons, F. Klein, Jan Sutter, P. Slusallek","doi":"10.1145/2787626.2792623","DOIUrl":"https://doi.org/10.1145/2787626.2792623","url":null,"abstract":"Graphics hardware has become ubiquitous: Integrated into CPUs and into mobile devices and recently even embedded into cars. With the advent of WebGL, accelerated graphics is finally accessible from within the web browser. However, still the capabilities of GPUs are almost exclusively exploited by the video game industry, where experts produce specialized content for game engines.","PeriodicalId":269034,"journal":{"name":"ACM SIGGRAPH 2015 Posters","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2015-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126364139","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Fur simulation is crucial in many graphic applications since it can greatly enhance the realistic visual effect of virtual objects, e.g. animal avatars. However, due to its high computational cost of massive fur strands processing and motion complexity, dynamic fur is regarded as a challenging task, especially on the mobile platforms with low computing power. In order to support real-time fur rendering in mobile applications, we propose a novel method called textured offset surfaces (TOS). In particular, the furry surface is represented by a set of offset surfaces, as shown in Figure 1(a). The offset surfaces are shifted outwards from the original mesh. Each offset surface is textured with scattering density (red rectangles in Figure 1(a)) to implicitly represent the fur geometry, whose value can be changed by texture warping to simulate the fur animation. In order to achieve high quality anisotropic illumination result, as shown in Figure 1(b), Kajiya/Banks lighting model is employed in the rendering phase.
{"title":"Dynamic fur on mobile using textured offset surfaces","authors":"Shaohui Jiao, Xiaofeng Tong, Eric Li, Wenlong Li","doi":"10.1145/2787626.2787649","DOIUrl":"https://doi.org/10.1145/2787626.2787649","url":null,"abstract":"Fur simulation is crucial in many graphic applications since it can greatly enhance the realistic visual effect of virtual objects, e.g. animal avatars. However, due to its high computational cost of massive fur strands processing and motion complexity, dynamic fur is regarded as a challenging task, especially on the mobile platforms with low computing power. In order to support real-time fur rendering in mobile applications, we propose a novel method called textured offset surfaces (TOS). In particular, the furry surface is represented by a set of offset surfaces, as shown in Figure 1(a). The offset surfaces are shifted outwards from the original mesh. Each offset surface is textured with scattering density (red rectangles in Figure 1(a)) to implicitly represent the fur geometry, whose value can be changed by texture warping to simulate the fur animation. In order to achieve high quality anisotropic illumination result, as shown in Figure 1(b), Kajiya/Banks lighting model is employed in the rendering phase.","PeriodicalId":269034,"journal":{"name":"ACM SIGGRAPH 2015 Posters","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2015-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"113946401","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Shugo Yamaguchi, Chie Furusawa, Takuya Kato, Tsukasa Fukusato, S. Morishima
Anime designers often paint actual sceneries to serve as background images based on photographs to complement characters. As painting background scenery is time consuming and cost ineffective, there is a high demand for techniques that can convert photographs into anime styled graphics. Previous approaches for this purpose, such as Image Quilting [Efros and Freeman 2001] transferred a source texture onto a target photograph. These methods synthesized corresponding source patches with the target elements in a photograph, and correspondence was achieved through nearest-neighbor search such as PatchMatch [Barnes et al. 2009]. However, the nearest-neighbor patch is not always the most suitable patch for anime transfer because photographs and anime background images differ in color and texture. For example, real-world color need to be converted into specific colors for anime; further, the type of brushwork required to realize an anime effect, is different for different photograph elements (e.g. sky, mountain, grass). Thus, to get the most suitable patch, we propose a method, wherein we establish global region correspondence before local patch match. In our proposed method, BGMaker, (1) we divide the real and anime images into regions; (2) then, we automatically acquire correspondence between each region on the basis of color and texture features, and (3) search and synthesize the most suitable patch within the corresponding region. Our primary contribution in this paper is a method for automatically acquiring correspondence between target regions and source regions of different color and texture, which allows us to generate an anime background image while preserving the details of the source image.
动画设计师经常根据照片绘制真实的风景作为背景图像，以补充角色。由于绘制背景风景耗时且成本低，因此对可以将照片转换为动画风格图形的技术有很高的需求。先前用于此目的的方法，如图像绗缝[Efros和Freeman 2001]将源纹理转移到目标照片上。这些方法与照片中的目标元素合成相应的源补丁，并通过PatchMatch等最近邻搜索实现对应[Barnes et al. 2009]。然而，由于照片和动画背景图像在颜色和纹理上的不同，最近邻居的补丁并不总是最适合动画转移的补丁。例如，现实世界的颜色需要转换成动画的特定颜色;此外，实现动画效果所需的笔触类型对于不同的照片元素(例如天空，山，草)是不同的。因此，为了得到最合适的补丁，我们提出了一种方法，在局部补丁匹配之前先建立全局区域对应关系。在我们提出的BGMaker方法中，(1)我们将真实图像和动画图像划分为区域;(2)然后根据颜色和纹理特征自动获取各区域之间的对应关系;(3)在相应区域内搜索并合成最合适的patch。我们在本文中的主要贡献是一种自动获取不同颜色和纹理的目标区域和源区域之间对应关系的方法，使我们能够在保留源图像细节的同时生成动画背景图像。
{"title":"BGMaker: example-based anime background image creation from a photograph","authors":"Shugo Yamaguchi, Chie Furusawa, Takuya Kato, Tsukasa Fukusato, S. Morishima","doi":"10.1145/2787626.2787646","DOIUrl":"https://doi.org/10.1145/2787626.2787646","url":null,"abstract":"Anime designers often paint actual sceneries to serve as background images based on photographs to complement characters. As painting background scenery is time consuming and cost ineffective, there is a high demand for techniques that can convert photographs into anime styled graphics. Previous approaches for this purpose, such as Image Quilting [Efros and Freeman 2001] transferred a source texture onto a target photograph. These methods synthesized corresponding source patches with the target elements in a photograph, and correspondence was achieved through nearest-neighbor search such as PatchMatch [Barnes et al. 2009]. However, the nearest-neighbor patch is not always the most suitable patch for anime transfer because photographs and anime background images differ in color and texture. For example, real-world color need to be converted into specific colors for anime; further, the type of brushwork required to realize an anime effect, is different for different photograph elements (e.g. sky, mountain, grass). Thus, to get the most suitable patch, we propose a method, wherein we establish global region correspondence before local patch match. In our proposed method, BGMaker, (1) we divide the real and anime images into regions; (2) then, we automatically acquire correspondence between each region on the basis of color and texture features, and (3) search and synthesize the most suitable patch within the corresponding region. Our primary contribution in this paper is a method for automatically acquiring correspondence between target regions and source regions of different color and texture, which allows us to generate an anime background image while preserving the details of the source image.","PeriodicalId":269034,"journal":{"name":"ACM SIGGRAPH 2015 Posters","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2015-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131280824","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
M. Saenz, J. Strunk, Kelly Maset, J. Seo, E. Malone
We present FlexAR, a kinetic tangible augmented reality [Billinghurst,2008] application for anatomy education. Anatomy has been taught traditionally in two dimensions, particularly for those in non-medical fields such as artists. Medical students gain hands-on experience through cadaver dissection [[Winkelmann, 2007]. However, with dissection becoming less practical, researchers have begun evaluating techniques for teaching anatomy through technology.
{"title":"FlexAR: anatomy education through kinetic tangible augmented reality","authors":"M. Saenz, J. Strunk, Kelly Maset, J. Seo, E. Malone","doi":"10.1145/2787626.2792629","DOIUrl":"https://doi.org/10.1145/2787626.2792629","url":null,"abstract":"We present FlexAR, a kinetic tangible augmented reality [Billinghurst,2008] application for anatomy education. Anatomy has been taught traditionally in two dimensions, particularly for those in non-medical fields such as artists. Medical students gain hands-on experience through cadaver dissection [[Winkelmann, 2007]. However, with dissection becoming less practical, researchers have begun evaluating techniques for teaching anatomy through technology.","PeriodicalId":269034,"journal":{"name":"ACM SIGGRAPH 2015 Posters","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2015-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127685529","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：