Wavelets have proven to be powerful bases for use in numerical analysis and signal processing. Their power lies in the fact that they only require a small number of coefficients to represent general functions and large data sets accurately. This allows compression and efficient computations. Classical constructions have been limited to simple domains such as intervals and rectangles. In this paper we present a wavelet construction for scalar functions defined on the sphere. We show how biorthogonal wavelets with custom properties can be constructed with the lifting scheme. The bases are extremely easy to implement and allow fully adaptive subdivisions. We give examples of functions defined on the sphere, such as topographic data, bidirectional reflection distribution functions, and illumination, and show how they can be efficiently represented with spherical wavelets. CR
{"title":"Spherical wavelets: efficiently representing functions on the sphere","authors":"P. Schröder, W. Sweldens","doi":"10.1145/218380.218439","DOIUrl":"https://doi.org/10.1145/218380.218439","url":null,"abstract":"Wavelets have proven to be powerful bases for use in numerical analysis and signal processing. Their power lies in the fact that they only require a small number of coefficients to represent general functions and large data sets accurately. This allows compression and efficient computations. Classical constructions have been limited to simple domains such as intervals and rectangles. In this paper we present a wavelet construction for scalar functions defined on the sphere. We show how biorthogonal wavelets with custom properties can be constructed with the lifting scheme. The bases are extremely easy to implement and allow fully adaptive subdivisions. We give examples of functions defined on the sphere, such as topographic data, bidirectional reflection distribution functions, and illumination, and show how they can be efficiently represented with spherical wavelets. CR","PeriodicalId":447770,"journal":{"name":"Proceedings of the 22nd annual conference on Computer graphics and interactive techniques","volume":"14 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1995-09-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126548783","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}
A. Addison, D. MacLeod, Gerald Margolis, Beit Hashoah, M. Naimark, H. Schwarz
What role should computer graphics, multimedia, virtual reality, and networks play in the 'Museum of the Future' and what effect will these technologies have upon it? This panel is focused on the evolving nature of the museum in the information age. Society's traditional methods of presenting and exhibiting cultural, social, and historic artifacts and information are being profoundly affected by the proliferation of computers, multimedia, and networks. Museum directors and designers around the world are rapidly discovering that older passive and static presentation models are increasingly inappropriate in an 'instant gratification' society raised on television and accustomed to computers and other new media. Can and should museums attempt to keep pace with the media of the 'Nintendo' generation? A proliferation of World Wide Web "museum" sites on the Internet begs the question of what makes a museum today-is physical presence still a defining criteria? Is an interactive, networked 'virtual museum' a viable substitute for a physical place, or do we need both? How can and should traditional museum facilities work with and link to virtual ones? Just as a good novel can be more powerful than an interactive, multimedia CD-ROM story, technology alone does not necessarily make a better museum. How much media is appropriate? How interactive should it and does it need to be? When does media begin to overpower the message of the museum itself? How do we overcome (or should we even care about) problems of graphic realism 'brainwashing' visitors who may come to museums to see 'truths' about their society and history? With technology providing the potential to customize the museum to the visitor's interests, new dilemmas arise, and old debates resurface. Do the curatorial advantages of being able to present multiple 'tours' through a virtual site outweigh the losses of not being able to physically see an artifact itself? And how does a museum fund high technology with computer power and features advancing at a dizzying pace? These and similar questions are among those the panelists are grappling with in their own work, have previously discussed, and are looking forward to debating with each other and the SIGGRAPH audience. The panelists bring a multitude of perspectives to the discussion. From roles as museum directors and designers, to educators and artists, they have all dealt with the issues surrounding the museum of the future. They have similarly faced the challenges of being at the technologic forefront-from the difficulties of synchronizing and ensuring nonstop operation of a multitude of electronics for days on end, to the problems of creating and maintaining a state-ofthe-art showplace in the era of rapid media obsolescence. Although many of the experiences of the panelists are in many respects similar, different museums, artifacts, and ideas require different types and levels of technology-what works at the Museum of Tolerance may not be appropriate
{"title":"Museums without walls (panel session): new media for new museums","authors":"A. Addison, D. MacLeod, Gerald Margolis, Beit Hashoah, M. Naimark, H. Schwarz","doi":"10.1145/218380.218513","DOIUrl":"https://doi.org/10.1145/218380.218513","url":null,"abstract":"What role should computer graphics, multimedia, virtual reality, and networks play in the 'Museum of the Future' and what effect will these technologies have upon it? This panel is focused on the evolving nature of the museum in the information age. Society's traditional methods of presenting and exhibiting cultural, social, and historic artifacts and information are being profoundly affected by the proliferation of computers, multimedia, and networks. Museum directors and designers around the world are rapidly discovering that older passive and static presentation models are increasingly inappropriate in an 'instant gratification' society raised on television and accustomed to computers and other new media. Can and should museums attempt to keep pace with the media of the 'Nintendo' generation? A proliferation of World Wide Web \"museum\" sites on the Internet begs the question of what makes a museum today-is physical presence still a defining criteria? Is an interactive, networked 'virtual museum' a viable substitute for a physical place, or do we need both? How can and should traditional museum facilities work with and link to virtual ones? Just as a good novel can be more powerful than an interactive, multimedia CD-ROM story, technology alone does not necessarily make a better museum. How much media is appropriate? How interactive should it and does it need to be? When does media begin to overpower the message of the museum itself? How do we overcome (or should we even care about) problems of graphic realism 'brainwashing' visitors who may come to museums to see 'truths' about their society and history? With technology providing the potential to customize the museum to the visitor's interests, new dilemmas arise, and old debates resurface. Do the curatorial advantages of being able to present multiple 'tours' through a virtual site outweigh the losses of not being able to physically see an artifact itself? And how does a museum fund high technology with computer power and features advancing at a dizzying pace? These and similar questions are among those the panelists are grappling with in their own work, have previously discussed, and are looking forward to debating with each other and the SIGGRAPH audience. The panelists bring a multitude of perspectives to the discussion. From roles as museum directors and designers, to educators and artists, they have all dealt with the issues surrounding the museum of the future. They have similarly faced the challenges of being at the technologic forefront-from the difficulties of synchronizing and ensuring nonstop operation of a multitude of electronics for days on end, to the problems of creating and maintaining a state-ofthe-art showplace in the era of rapid media obsolescence. Although many of the experiences of the panelists are in many respects similar, different museums, artifacts, and ideas require different types and levels of technology-what works at the Museum of Tolerance may not be appropriate","PeriodicalId":447770,"journal":{"name":"Proceedings of the 22nd annual conference on Computer graphics and interactive techniques","volume":"96 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1995-09-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127084291","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}
Gregory P. Garvey, B. Laurel, Rob Tow, Joan I. Staveley, A. R. Stone
Panel Topic Description Grids, Guys and Gals: Are you oppressed by the Cartesian Coordinate System? examined the very real and palpable issues of gender differences regarding computer technology in general and computer graphics in particular. This panel brought to the SlGGRAPH audience the ongoing debate in the classroom, academic journals, and the popular press regarding significant differences between men and women especially in learning, using, and designing technology. Research points to measurable gender differences involving spatial cognition that may well contribute to the formation of social and cultural norms. Issues of gender and technology linked even to a discussion of identity are no longer seen as irrelevant to such practical concerns as the design of the user interface, input devices and visualization tools. Many of the women and men who utilize computer technology are legitimately engaged in a critical appraisal of their role in the technological and scientific order. There is much to be gained by challenging certain assumptions, examining and critiquing gendered constructions of space or the interface and proposing alternatives (a feminist computer?, non-Euclidean computer graphics?). It reflects the will to transform and remake technology that is responsive to the range of human capabilities, limitations, needs and desires. In many ways, Joan Staveley, artist and agent provocateur is responsible for the existence of this panel. At SIGGRAPH 93 during the NANOSEX Panel her remark encapsulated the issues at hand. The statement that the Cartesian Coordinate System is oppressive refers directly to the constraints of the tools and is of utmost importance because only by criticizing our current tools and seeing the limitations then can better models of the user interface can be developed. Her statement of course reaches much further in daring to suggest there are shortcomings to Cartesian rationalism. However it would be a mistake to reject this view as that of a 20th-century Luddite. As an artist she is demanding more of the tools and seeking to reveal the barriers and biases that are only reluctantly acknowledged in what was a previously male dominated field. The near future promises a continuing transformation of this field as women increasingly play a more prominent role. OSMOSE is a new work by Montreal based artist Char Davies, supported by SOFTIMAGE-Microsoft that confronts the limitations of Cartesian Rationalism. Davies, formerly a painter, is well-known for her series of large-scale lightboxes of still images created on SOFTIMAGE which explored metaphorical aspects of Nature with an aesthetic which was rich, multi-layered and ambiguous. OSMOSE continues this research, bringing it into fully-immersive and interactive virtual space. As in Davies' previous work, OSMOSE's visual aesthetic deliberately circumvents the Cartesian coordinate system (i.e. static, solid, hard-edged objects in empty space) to create spatially-complex an
{"title":"Grids, guys and gals: are you oppressed by the Cartesian coordinate system? (panel session)","authors":"Gregory P. Garvey, B. Laurel, Rob Tow, Joan I. Staveley, A. R. Stone","doi":"10.1145/218380.218536","DOIUrl":"https://doi.org/10.1145/218380.218536","url":null,"abstract":"Panel Topic Description Grids, Guys and Gals: Are you oppressed by the Cartesian Coordinate System? examined the very real and palpable issues of gender differences regarding computer technology in general and computer graphics in particular. This panel brought to the SlGGRAPH audience the ongoing debate in the classroom, academic journals, and the popular press regarding significant differences between men and women especially in learning, using, and designing technology. Research points to measurable gender differences involving spatial cognition that may well contribute to the formation of social and cultural norms. Issues of gender and technology linked even to a discussion of identity are no longer seen as irrelevant to such practical concerns as the design of the user interface, input devices and visualization tools. Many of the women and men who utilize computer technology are legitimately engaged in a critical appraisal of their role in the technological and scientific order. There is much to be gained by challenging certain assumptions, examining and critiquing gendered constructions of space or the interface and proposing alternatives (a feminist computer?, non-Euclidean computer graphics?). It reflects the will to transform and remake technology that is responsive to the range of human capabilities, limitations, needs and desires. In many ways, Joan Staveley, artist and agent provocateur is responsible for the existence of this panel. At SIGGRAPH 93 during the NANOSEX Panel her remark encapsulated the issues at hand. The statement that the Cartesian Coordinate System is oppressive refers directly to the constraints of the tools and is of utmost importance because only by criticizing our current tools and seeing the limitations then can better models of the user interface can be developed. Her statement of course reaches much further in daring to suggest there are shortcomings to Cartesian rationalism. However it would be a mistake to reject this view as that of a 20th-century Luddite. As an artist she is demanding more of the tools and seeking to reveal the barriers and biases that are only reluctantly acknowledged in what was a previously male dominated field. The near future promises a continuing transformation of this field as women increasingly play a more prominent role. OSMOSE is a new work by Montreal based artist Char Davies, supported by SOFTIMAGE-Microsoft that confronts the limitations of Cartesian Rationalism. Davies, formerly a painter, is well-known for her series of large-scale lightboxes of still images created on SOFTIMAGE which explored metaphorical aspects of Nature with an aesthetic which was rich, multi-layered and ambiguous. OSMOSE continues this research, bringing it into fully-immersive and interactive virtual space. As in Davies' previous work, OSMOSE's visual aesthetic deliberately circumvents the Cartesian coordinate system (i.e. static, solid, hard-edged objects in empty space) to create spatially-complex an","PeriodicalId":447770,"journal":{"name":"Proceedings of the 22nd annual conference on Computer graphics and interactive techniques","volume":"19 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1995-09-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126985244","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 surface representation and a set of algorithms that allow interactive placement of curved parametric objects without interpenetration. Using these algorithms, a modeler can place an object within or on top of other objects, find a stable placement for it, and slide it into new stable placements. Novel algorithms are presented to track points of contact between bodies, detect new points of contact, and delete vanishing contacts. Interactive speeds are maintained even when the moving body touches several bodies at many contact points. We describe a new algorithm that quickly brings a body into a stable configuration with respect to a set of external forces, subject to the constraint that it not penetrate a set of fixed bodies. This algorithm is made possible by sacrificing the requirement that a body behave physically over time. Intuitive control is still achieved by making incremental, "pseudo-physical" changes to the body’s placement, while enforcing the non-interpenetration constraint after each change. CR
{"title":"An interactive tool for placing curved surfaces without interpenetration","authors":"John M. Snyder","doi":"10.1145/218380.218444","DOIUrl":"https://doi.org/10.1145/218380.218444","url":null,"abstract":"We present a surface representation and a set of algorithms that allow interactive placement of curved parametric objects without interpenetration. Using these algorithms, a modeler can place an object within or on top of other objects, find a stable placement for it, and slide it into new stable placements. Novel algorithms are presented to track points of contact between bodies, detect new points of contact, and delete vanishing contacts. Interactive speeds are maintained even when the moving body touches several bodies at many contact points. We describe a new algorithm that quickly brings a body into a stable configuration with respect to a set of external forces, subject to the constraint that it not penetrate a set of fixed bodies. This algorithm is made possible by sacrificing the requirement that a body behave physically over time. Intuitive control is still achieved by making incremental, \"pseudo-physical\" changes to the body’s placement, while enforcing the non-interpenetration constraint after each change. CR","PeriodicalId":447770,"journal":{"name":"Proceedings of the 22nd annual conference on Computer graphics and interactive techniques","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1995-09-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131903935","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}
Intravascular ultrasonography and x-ray angiography provide two complimentary techniques for imaging the moving coronary arteries. We present a technique that combines the strengths of both, by recovering the moving threedimensional arterial tree from a stereo pair of angiograms through the use of compound-energy “snakes”, placing the intravascular ultrasound slices at their proper positions in time and space, and dynamically displaying the combined data. Past techniques have assumed that the ultrasound slices are parallel and that the vessel being imaged is straight. For the first time, by applying simple but effective techniques from computer graphics, the moving geometry of the artery from the angiogram and the time-dependent images of the interior of the vessel wall from the intravascular ultrasound can be viewed simultaneously, showing the proper geometric and temporal relations of the slice data and the angiogram projections. By using texture-mapped rectangles the combined ultrasound slice/angiogram display technique is well suited to run in real time on current graphics workstations. CR
{"title":"Time-dependent three-dimensional intravascular ultrasound","authors":"Jed Lengyel, D. Greenberg, R. Popp","doi":"10.1145/218380.218503","DOIUrl":"https://doi.org/10.1145/218380.218503","url":null,"abstract":"Intravascular ultrasonography and x-ray angiography provide two complimentary techniques for imaging the moving coronary arteries. We present a technique that combines the strengths of both, by recovering the moving threedimensional arterial tree from a stereo pair of angiograms through the use of compound-energy “snakes”, placing the intravascular ultrasound slices at their proper positions in time and space, and dynamically displaying the combined data. Past techniques have assumed that the ultrasound slices are parallel and that the vessel being imaged is straight. For the first time, by applying simple but effective techniques from computer graphics, the moving geometry of the artery from the angiogram and the time-dependent images of the interior of the vessel wall from the intravascular ultrasound can be viewed simultaneously, showing the proper geometric and temporal relations of the slice data and the angiogram projections. By using texture-mapped rectangles the combined ultrasound slice/angiogram display technique is well suited to run in real time on current graphics workstations. CR","PeriodicalId":447770,"journal":{"name":"Proceedings of the 22nd annual conference on Computer graphics and interactive techniques","volume":"70 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1995-09-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132731393","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 this paper, we present an expressive 3D animation environment that enables users to rapidly and visually prototype animated worlds with a fully 3D user-interface. A 3D device allows the specification of complex 3D motion, while virtual tools are visible mediators that live in the same 3D space as application objects and supply the interaction metaphors to control them. In our environment, there is no intrinsic difference between user interface and application objects. Multi-way constraints provide the necessary tight coupling among components that makes it possible to seamlessly compose animated and interactive behaviors. By recording the effects of manipulations, all the expressive power of the 3D user interface is exploited to define animations. Effective editing of recorded manipulations is made possible by compacting all continuous parameter evolutions with an incremental data-reduction algorithm, designed to preserve both geometry and timing. The automatic generation of editable representations of interactive performances overcomes one of the major limitations of current performance animation systems. Novel interactive solutions to animation problems are made possible by the tight integration of all system components. In particular, animations can be synchronized by using constrained manipulation during playback. The accompanying video-tape illustrates our approach with interactive sequences showing the visual construction of 3D animated worlds. All the demonstrations in the video were recorded live and were not edited.
{"title":"An integrated environment to visually construct 3D animations","authors":"E. Gobbetti, Jean-Francis Balaguer","doi":"10.1145/218380.218494","DOIUrl":"https://doi.org/10.1145/218380.218494","url":null,"abstract":"In this paper, we present an expressive 3D animation environment that enables users to rapidly and visually prototype animated worlds with a fully 3D user-interface. A 3D device allows the specification of complex 3D motion, while virtual tools are visible mediators that live in the same 3D space as application objects and supply the interaction metaphors to control them. In our environment, there is no intrinsic difference between user interface and application objects. Multi-way constraints provide the necessary tight coupling among components that makes it possible to seamlessly compose animated and interactive behaviors. By recording the effects of manipulations, all the expressive power of the 3D user interface is exploited to define animations. Effective editing of recorded manipulations is made possible by compacting all continuous parameter evolutions with an incremental data-reduction algorithm, designed to preserve both geometry and timing. The automatic generation of editable representations of interactive performances overcomes one of the major limitations of current performance animation systems. Novel interactive solutions to animation problems are made possible by the tight integration of all system components. In particular, animations can be synchronized by using constrained manipulation during playback. The accompanying video-tape illustrates our approach with interactive sequences showing the visual construction of 3D animated worlds. All the demonstrations in the video were recorded live and were not edited.","PeriodicalId":447770,"journal":{"name":"Proceedings of the 22nd annual conference on Computer graphics and interactive techniques","volume":"31 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1995-09-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131952172","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. Beyls, Stephen Bell, B. Evans, J. Hébert, F. K. Musgrave, R. Verostko
Introduction We address a number of problems related to viewing algorithms as the formulation of artistic statements. We analyze the nature of the algorithmic approach as opposed to direct physical action. Here are some of the basic questions that will be raised. Why do artists choose to express themselves indirectly, by way of formal descriptions of their ideas and what are the sources of inspiration for algorithmic activity. How does current algorithmic work relate to formal methods in an art-historical context. What is the relationship between paint systems and a pure algorithmic approach and is there a way to integrate both. What determines the beauty and effectiveness of an algorithm. What is the relationship between an algorithm and the nature of the physical results it produces i.e. how to externalize (materialize) algorithmic processes. What is the role of interaction in the development of algorithms. Do algorithms allow for progressive optimization or do they require fully preconceived ideas? Finally, and most pertinent, does computer programming force a focus on the surface component i.e. perceivable structure, or does it allow for the manipulation of deeper components such as meaning and emotion? We shall confront the algorithmic practice of the panelists and hope for strong audience interaction.
{"title":"Algorithms and the artist (panel session)","authors":"P. Beyls, Stephen Bell, B. Evans, J. Hébert, F. K. Musgrave, R. Verostko","doi":"10.1145/218380.218531","DOIUrl":"https://doi.org/10.1145/218380.218531","url":null,"abstract":"Introduction We address a number of problems related to viewing algorithms as the formulation of artistic statements. We analyze the nature of the algorithmic approach as opposed to direct physical action. Here are some of the basic questions that will be raised. Why do artists choose to express themselves indirectly, by way of formal descriptions of their ideas and what are the sources of inspiration for algorithmic activity. How does current algorithmic work relate to formal methods in an art-historical context. What is the relationship between paint systems and a pure algorithmic approach and is there a way to integrate both. What determines the beauty and effectiveness of an algorithm. What is the relationship between an algorithm and the nature of the physical results it produces i.e. how to externalize (materialize) algorithmic processes. What is the role of interaction in the development of algorithms. Do algorithms allow for progressive optimization or do they require fully preconceived ideas? Finally, and most pertinent, does computer programming force a focus on the surface component i.e. perceivable structure, or does it allow for the manipulation of deeper components such as meaning and emotion? We shall confront the algorithmic practice of the panelists and hope for strong audience interaction.","PeriodicalId":447770,"journal":{"name":"Proceedings of the 22nd annual conference on Computer graphics and interactive techniques","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1995-09-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130991306","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}
Pauline Y. Ts'o, Theresa Ellis, Ralph Guggenheim, Brad Lewis, R. Thornton
A novel test fixture for simulating aerodynamic loading on an airfoil is described which comprises a pair of arrays of a plurality of individual pressure controlled flexible bellows supported between a pair of platens, one array configured to contact and conform to the upper surface of the airfoil and simulate the partial vacuum distribution thereacross, the second array configured to contact and conform to the lower surface of the airfoil and simulate the pressure distribution thereacross. A compliant stabilization structure configured to provide lateral stability to the bellows arrays under pressure conditions is described.
{"title":"David vs. Goliath or mice vs. men? (panel session): production studio size in the entertainment industry","authors":"Pauline Y. Ts'o, Theresa Ellis, Ralph Guggenheim, Brad Lewis, R. Thornton","doi":"10.1145/218380.218506","DOIUrl":"https://doi.org/10.1145/218380.218506","url":null,"abstract":"A novel test fixture for simulating aerodynamic loading on an airfoil is described which comprises a pair of arrays of a plurality of individual pressure controlled flexible bellows supported between a pair of platens, one array configured to contact and conform to the upper surface of the airfoil and simulate the partial vacuum distribution thereacross, the second array configured to contact and conform to the lower surface of the airfoil and simulate the pressure distribution thereacross. A compliant stabilization structure configured to provide lateral stability to the bellows arrays under pressure conditions is described.","PeriodicalId":447770,"journal":{"name":"Proceedings of the 22nd annual conference on Computer graphics and interactive techniques","volume":"24 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1995-09-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123297346","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}
Jean-Daniel Fekete, Érick Bizouarn, Eric Cournarie, T. Galas, Frédéric Taillefer
TicTacToon is a system for professional 2D animation studios that replaces the traditional paper-based production process. TicTacToon is the first animation system to use vector-based sketching and painting: it uses an original method to transform a pen trajectory with varying pressure into a stroke of varying thickness, in realtime. TicTacToon provides resolution independence, a virtually infinite number of layers, the ability to dynamically manage perspective and sophisticated support for reuse of drawings. Other innovations include replacement of the rostrum model with a 3D model and integration into the overall 2D animation production process. TicTacToon is in daily use by 2D animation studios for a wide range of productions, from commercials to television series and even a feature film. The user interface enables professionals to sketch and draw as they do on paper. Over 100 professional animators have used the system over a period of two years and most need less than an hour before beginning productive work. TicTacToon eliminates most tedious tasks and frees professional animators for more creative work.
{"title":"TicTacToon: a paperless system for professional 2D animation","authors":"Jean-Daniel Fekete, Érick Bizouarn, Eric Cournarie, T. Galas, Frédéric Taillefer","doi":"10.1145/218380.218417","DOIUrl":"https://doi.org/10.1145/218380.218417","url":null,"abstract":"TicTacToon is a system for professional 2D animation studios that replaces the traditional paper-based production process. TicTacToon is the first animation system to use vector-based sketching and painting: it uses an original method to transform a pen trajectory with varying pressure into a stroke of varying thickness, in realtime. TicTacToon provides resolution independence, a virtually infinite number of layers, the ability to dynamically manage perspective and sophisticated support for reuse of drawings. Other innovations include replacement of the rostrum model with a 3D model and integration into the overall 2D animation production process. TicTacToon is in daily use by 2D animation studios for a wide range of productions, from commercials to television series and even a feature film. The user interface enables professionals to sketch and draw as they do on paper. Over 100 professional animators have used the system over a period of two years and most need less than an hour before beginning productive work. TicTacToon eliminates most tedious tasks and frees professional animators for more creative work.","PeriodicalId":447770,"journal":{"name":"Proceedings of the 22nd annual conference on Computer graphics and interactive techniques","volume":"37 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1995-09-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124911059","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}
Image metamorphosis, or image morphing, is a popular technique for creating a smooth transition between two images. For synthetic images, transforming and rendering the underlying three-dimensional (3D) models has a number of advantages over morphing between two pre-rendered images. In this paper we consider 3D metamorphosis applied to volume-based representations of objects. We discuss the issues which arise in volume morphing and present a method for creating morphs. Our morphing method has two components: first a warping of the two input volumes, then a blending of the resulting warped volumes. The warping component, an extension of Beier and Neely’s image warping technique to 3D, is feature-based and allows fine user control, thus ensuring realistic looking intermediate objects. In addition, our warping method is amenable to an efficient approximation which gives a 50 times speedup and is computable to arbitrary accuracy. Also, our technique corrects the ghosting problem present in Beier and Neely’s technique. The second component of the morphing process, blending, is also under user control; this guarantees smooth transitions in the renderings. CR Categories: I.3.5 [Computer Graphics]: Computational Geometry and Object Modeling; I.3.7 [Computer Graphics]: Three-Dimensional Graphics and Realism. Additional
{"title":"Feature-based volume metamorphosis","authors":"Apostolos Lerios, Chase D. Garfinkle, M. Levoy","doi":"10.1145/218380.218502","DOIUrl":"https://doi.org/10.1145/218380.218502","url":null,"abstract":"Image metamorphosis, or image morphing, is a popular technique for creating a smooth transition between two images. For synthetic images, transforming and rendering the underlying three-dimensional (3D) models has a number of advantages over morphing between two pre-rendered images. In this paper we consider 3D metamorphosis applied to volume-based representations of objects. We discuss the issues which arise in volume morphing and present a method for creating morphs. Our morphing method has two components: first a warping of the two input volumes, then a blending of the resulting warped volumes. The warping component, an extension of Beier and Neely’s image warping technique to 3D, is feature-based and allows fine user control, thus ensuring realistic looking intermediate objects. In addition, our warping method is amenable to an efficient approximation which gives a 50 times speedup and is computable to arbitrary accuracy. Also, our technique corrects the ghosting problem present in Beier and Neely’s technique. The second component of the morphing process, blending, is also under user control; this guarantees smooth transitions in the renderings. CR Categories: I.3.5 [Computer Graphics]: Computational Geometry and Object Modeling; I.3.7 [Computer Graphics]: Three-Dimensional Graphics and Realism. Additional","PeriodicalId":447770,"journal":{"name":"Proceedings of the 22nd annual conference on Computer graphics and interactive techniques","volume":"36 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1995-09-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114864312","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：