{"title":"莫阿娜:汹涌的海浪","authors":"D. Byun, A. Stomakhin","doi":"10.1145/3084363.3085056","DOIUrl":null,"url":null,"abstract":"We used two different solutions for generating crashing waves for more than 40 shots in Moana. Our profile curve based wave deformer was developed and used for art-directed design of shapes, motion, and composition of running and crashing waves. In contrast to previously developed wave deformers, we designed a cross section shape animation by providing a series of profile curves which represented the animation keys. These profile curves could be hand plotted curves or mathematically calculated changing profiles, which means any kind of choreographic touch could be applied for designing the wave shapes. We could design multiple crashing waves for huge scale tsunami scenes and we could art direct the timing and composition of the waves which would fit well with the character animation and camera works. For scenarios demanding more realism, motion complexity and physical accuracy, we adopted a fully simulated approach. Our APIC-based fluid solver [Jiang et al. 2015] was equipped with control mechanisms allowing us to precisely choreograph the motion of breaking waves to the needs of a specific shot. Though more expensive than procedural approaches, this solution was much more preferable for \"hero\" shots with close up interaction with boats and characters.","PeriodicalId":163368,"journal":{"name":"ACM SIGGRAPH 2017 Talks","volume":"74 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"2017-07-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"1","resultStr":"{\"title\":\"Moana: crashing waves\",\"authors\":\"D. Byun, A. Stomakhin\",\"doi\":\"10.1145/3084363.3085056\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"We used two different solutions for generating crashing waves for more than 40 shots in Moana. Our profile curve based wave deformer was developed and used for art-directed design of shapes, motion, and composition of running and crashing waves. In contrast to previously developed wave deformers, we designed a cross section shape animation by providing a series of profile curves which represented the animation keys. These profile curves could be hand plotted curves or mathematically calculated changing profiles, which means any kind of choreographic touch could be applied for designing the wave shapes. We could design multiple crashing waves for huge scale tsunami scenes and we could art direct the timing and composition of the waves which would fit well with the character animation and camera works. For scenarios demanding more realism, motion complexity and physical accuracy, we adopted a fully simulated approach. Our APIC-based fluid solver [Jiang et al. 2015] was equipped with control mechanisms allowing us to precisely choreograph the motion of breaking waves to the needs of a specific shot. Though more expensive than procedural approaches, this solution was much more preferable for \\\"hero\\\" shots with close up interaction with boats and characters.\",\"PeriodicalId\":163368,\"journal\":{\"name\":\"ACM SIGGRAPH 2017 Talks\",\"volume\":\"74 1\",\"pages\":\"0\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2017-07-30\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"1\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"ACM SIGGRAPH 2017 Talks\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1145/3084363.3085056\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"ACM SIGGRAPH 2017 Talks","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1145/3084363.3085056","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
引用次数: 1
摘要
在《莫阿纳》中,我们使用了两种不同的解决方案来产生40多个镜头的撞击波。我们的基于轮廓曲线的波浪变形器被开发并用于以艺术为导向的形状设计,运动,以及运行和碰撞波的组成。与之前开发的波浪变形器不同,我们通过提供一系列代表动画键的轮廓曲线来设计横截面形状动画。这些轮廓曲线可以是手工绘制的曲线,也可以是数学计算的变化轮廓,这意味着任何一种编排的触摸都可以用于设计波浪的形状。我们可以为大规模的海啸场景设计多个海浪,我们可以艺术指导海浪的时间和构图,这将非常适合角色动画和镜头作品。对于需要更多真实感、运动复杂性和物理准确性的场景,我们采用了完全模拟的方法。我们基于apic的流体求解器[Jiang et al. 2015]配备了控制机制,使我们能够精确地编排破碎波的运动,以满足特定镜头的需要。尽管比程序方法更昂贵,但这种解决方案更适合与船只和角色进行近距离互动的“英雄”镜头。
We used two different solutions for generating crashing waves for more than 40 shots in Moana. Our profile curve based wave deformer was developed and used for art-directed design of shapes, motion, and composition of running and crashing waves. In contrast to previously developed wave deformers, we designed a cross section shape animation by providing a series of profile curves which represented the animation keys. These profile curves could be hand plotted curves or mathematically calculated changing profiles, which means any kind of choreographic touch could be applied for designing the wave shapes. We could design multiple crashing waves for huge scale tsunami scenes and we could art direct the timing and composition of the waves which would fit well with the character animation and camera works. For scenarios demanding more realism, motion complexity and physical accuracy, we adopted a fully simulated approach. Our APIC-based fluid solver [Jiang et al. 2015] was equipped with control mechanisms allowing us to precisely choreograph the motion of breaking waves to the needs of a specific shot. Though more expensive than procedural approaches, this solution was much more preferable for "hero" shots with close up interaction with boats and characters.