The use of finite element theory for simulating object and human body deformations and contacts (original) (raw)

The Art of 3D: Development and Application of 3D Model in Animation, Games and Films

TEST Engineering & Management, 2019

The 3D technology is an emerging technology that comes with the development of computer hardware and software technology. It is usually generated by special software such as 3D modeling tools, which exists in a virtual way in a computer or computer file. Three-dimensional technology has been used in a variety of fields, such as engineering, animation, education, fashion, movies among others. The research aims to widen the knowledge of the people by introducing the theory and method of modeling data in three-dimensional technology in the application and development of film, animation and games. Through the introduction of 3D in the paper, we can understand the 3D world more and recognize the influence of 3D models in animation, games, and film. The scientific application of 3D modeling technology can improve the flexibility and production level of animation, produce high quality 3D movies and TV effects, and promote the development of the film, animation and game industries.

3D modeling for multimedia applications

Proceedings Korea-France Workshop on …, 1998

Image coding standards usually focus on storing and transmitting signals efficiently, in a frame based approach. The coming MPEG-4 standard [1] adds a new challenge, namely bringing new services to image communication users. It moves towards representing a scene as a composition of audiovisual objects rather than "just" a collection of pixels.

3D Mesh Processing and Character Animation

Springer eBooks, 2022

The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use.

Three-dimensional imaging andmotion animation

Seminars in Orthodontics, 2001

Orthodontic treatment is aimed at affecting the craniofacial relationships in three planes of space. Yet strangely enough, the critical diagnostic records are two-dimensional. In an orthodontic setting, the techniques of imaging the human face in a three-dimensional manner have been either stereo photography, or projection of optical grids or the structured light. These projections enable the operator to capture the facial image in a threedimensional manner. Unfortunately, all these methods are static in nature. The laser scanning techniques and the availability of sophisticated software for image manipulation, make image animation possible. Here we report the first ever motion animation of the human face from laser-generated images for clinical purposes.

Principles of Three-Dimensional Computer Animation

W. W. Norton, 2003

A non-software-specific technical book explaining and illustrating the principles of 3D digital modeling, rendering, and animation. Editions 1995, 1998, 2003, translated into Japanese and Chinese. Three excerpts are provided here: Solid Textures; Fractals; Motion Dynamics: Rigid Bodies.

11 - Using Virtual Reality Techniques in the Animation Process

1993

This paper tries to find the various functions involved in an animation system and how virtual reality techniques and multimedia input could play a role. A classification of VR-based methods is proposed: real-time rotoscopy methods, real-time direct metaphors and real-time recognitionbased metaphors. Several examples are presented: 3D shape creation, camera motion, body motion control, hand animation, facial animation. The hardware and software architecture of our animation system is also described.

3-D studio production of animated actor models

IEE Proceedings - Vision, Image, and Signal Processing, 2005

A framework for construction of detailed animated models of an actor's shape and appearance from multiple view images is presented. Multiple views of an actor are captured in a studio with controlled illumination and background. An initial low-resolution approximation of the person's shape is reconstructed by deformation of a generic humanoid model to fit the visual hull using shape constrained optimisation to preserve the surface parameterisation for animation. Stereo reconstruction with multiple view constraints is then used to reconstruct the detailed surface shape. High-resolution shape detail from stereo is represented in a structured format for animation by displacement mapping from the low-resolution model surface. A novel integration algorithm using displacement maps is introduced to combine overlapping stereo surface measurements from multiple views into a single displacement map representation of the high-resolution surface detail. Results of 3-D actor modelling in a 14 camera studio demonstrate improved representation of detailed surface shape such as creases in clothing compared to previous model fitting approaches. Actor models can be animated and rendered from arbitrary views under different illumination to produce free-viewpoint video sequences. The proposed framework enables rapid transformation of captured multiple view images into a structured representation suitable for realistic animation.

Creating realistic three-dimensional human shape characters for computer-generated films

1991

In this paper, we discuss both the artistic and technical concerns involved in the construction of a computergenerated realistic human character. We investigate various methods for creating three-dimensional human shapes based on our experiences. The traditional approach consists in constructing the shapes from real human characters or plaster models. In the first part, we survey several methods that we have already used in the past: 3D reconstruction from 2D photos, 3D digitizing using a Polhemus digitizer, cross sections method and local deformations. Then, we show how a direct sculpting approach based on threedimensional devices like the spaceball or the dataglove could considerably improve the situation. We have obtained a realistic human character with a method similar to the modelling of clay, work which essentially consists of adding or eliminating parts of the material, and turning around the object when the principal form has been set up.

Photo-Realistic 3D Models and Animations for Video Games and Films

Engineering International

Realistic 3D objects are challenging to create. A detailed creation requires care if we can make remarkable detail and realism using techniques and a solid reference photo. In this post, we may learn how to construct beautiful, realistic scene objects using comprehensive procedures. This article shows how to use the Pen Tool and Blending Options to create a 3D animated scene. This work teaches simple Layer Styles to create beautiful shadows, lights, textures, and a realistic 3D feel. This work also shows how attractive illumination and rendering options may produce a natural scene. This article also shows how to make photo-realistic 3D models from digital images. This work teaches Illustrator pathways, texturing, essential lighting and rendering, texture application, and building and object parenting. This approach might even reconstruct tiny features or 3D items from 2D images. After a critical art stage, we can present the architecture of an animation design technique in this arti...

Image-based modeling and rendering

1998

Image-based modeling and rendering differs from traditional graphics in that both the geometry and appearance of the scene are derived from real photographs. The techniques often allow for shorter modeling times, faster rendering speeds, and unprecedented levels of photorealism. In this course we will explain and demonstrate a variety of ways of turning images into models and then back into renderings, including movie maps, panoramas, image warping, photogrammetry, light fields, and 3D scanning.

Employing approximate 3D models to enrich traditional computer assisted animation

Proceedings of Computer Animation 2002 (CA 2002)

Although computer assistance for traditional animation is gaining a lot of attention during recent years, it still has to cope with many limitations. Part of the current research focuses on employing full 3D input models, which are rendered and even animated in many different nonphotorealistic (NPR) styles. Disadvantages are the need to create complicated 3D models and the many difficulties to achieve lively movements. Purely 2D approaches, on the other hand, need many elaborated single drawings. Getting perspective right and retaining volumes are a major problem in that approach to computer assisted traditional animation, due to the complete lack of 3D information. Unfortunately, the employed software is ignorant about the approximate 3D representation in the animator's mind. In this paper, we present a novel tool for traditional animation, based on an approximate 3D model. This tool helps retaining volumes and proportions, and ensures frame-to-frame coherence.

Physically-based modeling for graphics and vision

1992

The elastic properties of materials constrain the motion and dynamics of objects in the real world, hence modeling and simulating the physical characteristics of these objects is essential to obtain realistic computer modeling for graphics, vision and animation. This type of modeling is referred to as physically-based modeling and is the main focus of this chapter.

Developing an Image-Based 3D Model Editing Method

IEEE Access, 2020

As 3D technologies advance rapidly, 3D printing, 3D animation, and 3D Movie are springing out in different areas. It becomes a remarkable challenge to generate a large number of 3D models effectively and efficiently. This paper proposes a novel editing method based on the feature lines of images (i.e., image contour and principal axis) for generating new 3D models. Our method takes as input an existing 3D model (as the original model) and an image selected by the user (or a sketch hand-drawn by the users), and performs the model editing to generate a new 3D model. In particular, our method first takes as input an original 3D model and an image selected by the user. Second, the selected image is processed to produce the feature lines, i.e., contour and principal axis of the image. Third, the silhouette of the original model from a given view is acquired, and projected on a projection plane to produce a contour and principal axis of the model, which is the feature lines of the original model. Fourth, by comparing the feature lines of the image and the original model, the constraint conditions are established to control the editing of the 3D model. Finally, 3D model editing is conducted through the as-rigid-as-possible mesh deformation to produce a new 3D model with the appearance resembling the selected image. Furthermore, this paper proposes an energy function to guide the detailed model editing, and measure the similarity between the generated 3D model and the corresponding image. We have conducted extensive experiments to evaluate the proposed method. The results show that comparing with the existing editing methods in literature, the proposed model editing method is able to construct various types of 3D models more effectively and more efficiently. INDEX TERMS 3D original model, energy function, feature lines, image, mesh deformation.

The Elastic Surface Layer Model for Animated Character Construction

Communicating with Virtual Worlds, 1993

A model is described for creating three-dimensional animated characters. In this new type of layered construction technique, called the elastic surface layer model, a simulated elastically deformable skin surface is wrapped around a traditional kinematic articulated figure. Unlike previous layered models, the skin is free to slide along the underlying surface layers constrained by reaction forces which push the surface out and spring forces which pull the surface in to the underlying layers. By tuning the parameters of the physically-based model, a variety of surface shapes and behaviors can be obtained such as more realistic-looking skin deformation at the joints, skin sliding over muscles, and dynamic effects such as squash-and-stretch and follow-through. Since the elastic model derives all of its input forces from the underlying articulated figure, the animator may specify all of the physical properties of the character once, during the initial character design process, after which a complete animation sequence can be created using a traditional skeleton animation technique. A reasonably complex character at low surface resolution can be simulated at interactive speeds so than an animator can both design the character and animate it in a completely interactive, direct-manipulation environment. Once a motion sequence has been specified, the entire simulation can be recalculated at a higher surface resolution for better visual results. An implementation on a Silicon Graphics Iris workstation is described.

CONFORMING GENERIC ANIMATABLE MODELS TO 3D SCANNED DATA

2001

The advent of photogrammetry-based 3D data collection techniques means that the highly accurate 3D surface of a specific person can now be collected in a matter of milliseconds. Existing human animation models provide excellent tools to control articulated motion and body surface deformations according to body postures, but modelling a specific individual requires a large degree of skill and manual intervention. 3D-MATIC Laboratory proposes combining 3D images of real people with existing human animation models to achieve highly realistic human animation models. What is required is a method of conforming a generic human animation model to fit or "clone" the 3D geometry scanned from a specific individual.

Applying the Grid to 3D capture technology

Concurrency and Computation: Practice and Experience, 2007

The PGPGrid project aims to parallelize the process of extracting range data from an experimental 3D scanner using the Grid as a vehicle for accessing necessary resources. The application is potentially highly parallel but has some unusual features such as rapid spawning of processes in real time and a dynamic inter-process network topology. These characteristics are such as to require enhancement of the usual task migration capabilities of the Globus toolkit. The present paper initially discusses attempts to estimate the real parallelizability of the scanner application. It then describes a new Java application programming interface, based on Milner's π-calculus, which could be used to extend Globus in a manner capable of supporting systems with this kind of dynamic parallel structure. The location of processing resources for the π-calculus is done using a Web-services-based resource locator. The article also describes the pipeline of processing from initial stereo photogrametry to the final production of animation models. A key step in this is the conformation of animators models to the data obtained by the real-time scanner. Algorithmic innovations in this process are described.

18. Dynamic Simulation as a Tool for Three- Dimensional Animation

1991

There are two ways of considering three-dimensional computer animation (Magnenat Thalmann and Thalmann 1990) and its evolution: the movie approach and the physics approach. The first approach corresponds to an extension of traditional animation methods by the use of the computer. The second approach corresponds to simulation methods based on laws of physics, especially laws of mechanics. The purpose is not the same: traditional methods allow us to create three-dimensional characters with exaggerated movements while simulation methods are used to try to model a human behavior accurately.

A New Automated Workflow for 3D Character Creation Based on 3D Scanned Data

Virtual Storytelling, 2003

In this paper we present a new workflow allowing the creation of 3D characters in an automated way that does not require the expertise of an animator. This workflow is based of the acquisition of real human data captured by 3D body scanners, which is them processed to generate firstly animatable body meshes, secondly skinned body meshes and finally textured 3D garments.

A simple model generation system for computer graphics

Future Generation Computer Systems, 2005

Most 3D objects in computer graphics are represented as polygonal mesh models. Though techniques like image-based rendering are gaining popularity, a vast majority of applications in computer graphics and animation use such polygonal meshes for representing and rendering 3D objects. High quality mesh models are usually generated through 3D laser scanning techniques. However, even the inexpensive laser scanners cost tens of thousands of dollars and it is difficult for researchers in computer graphics to buy such systems just for model acquisition. In this paper, we describe a simple model acquisition system built from web cams or digital cameras. This low-cost system gives researchers an opportunity to capture and experiment with reasonably good quality 3D models. Our system uses standard techniques from computer vision and computational geometry to build 3D models.