NPCGLib-BibTeX

Painterly animation using motion maps

Young Sup Park, Kyung Hyun Yoon — Fri, 26 Feb 2010 12:17:27 +0100

@article{Park:2008:PAU,
   author       = {Young Sup Park and Kyung Hyun Yoon},
   title        = {Painterly animation using motion maps},
   doi          = {http://dx.doi.org/10.1016/j.gmod.2007.06.001},
   abstract     = {Starting from an input video, we replicate the manual technique
                   of paint-on-glass animation. Motion maps are used to represent
                   the regions where changes occur between frames. Edges are the
                   key to identifying frame-to-frame changes, and a strong motion
                   map is constructed from the edges in each frame, displaced by
                   the motion vector. A second, weak motion map records the other
                   pixels where there is significant movement between frames. These
                   maps are used to generate the brush strokes necessary to convert
                   one 'painted' frame into the next. Local gradient interpolation,
                   based robustly on the edges, is used to determine the orientation
                   of the brush strokes, and we avoid holes in the image by making
                   additional strokes with smaller brushes. We also employ MSE data
                   in evaluating temporal coherence between frames. },
   journal      = {Graphical Models},
   year         = {2008},
   volume       = {70},
   number       = {1-2},
   pages        = {1--15},
   month        = {January-March},
   note         = {}
}

Efficient lip-synch tool for 3D cartoon animation

Shin-ichi Kawamoto, Tatsuo Yotsukura, Ken Anjyo, Satoshi Nakamura — Wed, 24 Feb 2010 19:48:21 +0100

@article{Kawamoto:2009:ELT,
   author       = {Shin-ichi Kawamoto and Tatsuo Yotsukura and Ken Anjyo and Satoshi Nakamura},
   title        = {Efficient lip-synch tool for 3D cartoon animation},
   doi          = {10.1002/cav.250},
   abstract     = {We propose a set of algorithms to efficiently make speech animation
                   for 3D cartoon characters. Our prototype system is based on blendshapes,
                   a linear interpolation technique, which is widely used in facial
                   animation practice. In our system, a few base target shapes of
                   the character, prerecorded voice, and its transcription are required
                   as input. We describe a simple technique that amplifies the target
                   shapes from few inputs using a generic database of viseme mouth
                   shapes. We also introduce additional lip-synch editing parameters
                   that allow designers to quickly tune the lip movements. Based
                   on these, we implement our prototype system as a Maya plug-in.
                   The demonstration movies created with this system illustrate
                   well the practicality of our approach.},
   journal      = {Computer Animation and Virtual Worlds},
   year         = {2009},
   volume       = {19},
   number       = {3-4},
   pages        = {247--257},
   month        = {},
   note         = {Special Issue: CASA'2008 Special Issue}
}

Perspective-aware cartoon clips synthesis

Yueting Zhuang, Jun Yu, Jun Xiao, Cheng Chen — Wed, 24 Feb 2010 19:47:13 +0100

@article{Zhuang:2009:PCC,
   author       = {Yueting Zhuang and Jun Yu and Jun Xiao and Cheng Chen},
   title        = {Perspective-aware cartoon clips synthesis},
   doi          = {http://dx.doi.org/10.1002/cav.258},
   abstract     = {In this paper we propose an approach, which allows the users to
                   synthesize cartoon clips according to the perspective of the
                   background image. In order to construct the cartoons smoothly,
                   the character's edge distance and motion direction distance are
                   demonstrated to be the factors affecting the human perception
                   in similarity evaluation, and utilized in cartoon clips synthesis.
                   When applying the generated cartoons to the background image,
                   in which the perspective exists, the size of the character is
                   coordinated according to the scaling factor calculated from the
                   vanishing line. The experiment results demonstrate that our approach
                   can synthesize the cartoon clips more smoothly compared with
                   other single frame reusing strategies. The generated cartoons,
                   which are applied to the background image, can be accepted by
                   the human perception well.},
   journal      = {Computer Animation and Virtual Worlds},
   year         = {2009},
   volume       = {19},
   number       = {3-4},
   pages        = {355--364},
   month        = {},
   note         = {Special Issue: CASA'2008 Special Issue}
}

N-way morphing for 2D animation

William Baxter, Pascal Barla, Ken Anjyo — Wed, 24 Feb 2010 19:30:59 +0100

@article{Baxter:2009:NMF,
   author       = {William Baxter and Pascal Barla and Ken Anjyo},
   title        = {N-way morphing for 2D animation},
   doi          = {http://dx.doi.org/10.1002/cav.306},
   abstract     = {We present a novel approach to the creation of varied animations
                   from a small set of simple 2D input shapes. Instead of providing
                   a new 2D shape for each keyframe of an animation sequence, we
                   interpolate between a few example shapes in a reduced pose-space.
                   Similar approaches have been presented in the past, but were
                   restricted in the types of input or range of deformations allowed.
                   In order to address these limitations, we reformulate the problem
                   as an N-way morphing process on 2D input bitmap or vector graphics.
                   Our formulation includes an N-way mapping technique, an efficient,
                   rigidity preserving nonlinear blending function, improved extrapolation
                   and a novel scattered data interpolation technique to manage
                   the reduced pose-space. The resulting animations are correlated
                   to paths in the reduced pose-space, allowing users to intuitively
                   and interactively control temporal behaviours with simple gestures.
                   We demonstrate our techniques in several example animations.},
   journal      = {Computer Animation and Virtual Worlds},
   year         = {2009},
   volume       = {20},
   number       = {2-3},
   pages        = {79--87},
   month        = {},
   note         = {}
}

Interactive shadowing for 2D Anime

Eiji Sugisaki, Hock Soon Seah, Feng Tian, Shigeo Morishima — Wed, 24 Feb 2010 19:24:37 +0100

@article{Sugisaki:2009:ISF,
   author       = {Eiji Sugisaki and Hock Soon Seah and Feng Tian and Shigeo Morishima},
   title        = {Interactive shadowing for 2D Anime},
   doi          = {http://dx.doi.org/10.1002/cav.306},
   abstract     = {In this paper, we propose an instant shadow generation technique
                   for 2D animation, especially Japanese Anime. In traditional 2D
                   Anime production, the entire animation including shadows is drawn
                   by hand so that it takes long time to complete. Shadows play
                   an important role in the creation of symbolic visual effects.
                   However shadows are not always drawn due to time constraints
                   and lack of animators especially when the production schedule
                   is tight. To solve this problem, we develop an easy shadowing
                   approach that enables animators to easily create a layer of shadow
                   and its animation based on the character's shapes. Our approach
                   is both instant and intuitive. The only inputs required are character
                   or object shapes in input animation sequence with alpha value
                   generally used in the Anime production pipeline. First, shadows
                   are automatically rendered on a virtual plane by using a Shadow
                   Map1 based on these inputs. Then the rendered shadows can be
                   edited by simple operations and simplified by the Gaussian Filter.
                   Several special effects such as blurring can be applied to the
                   rendered shadow at the same time. Compared to existing approaches,
                   ours is more efficient and effective to handle automatic shadowing
                   in real-time. },
   journal      = {Computer Animation and Virtual Worlds},
   year         = {2009},
   volume       = {20},
   number       = {2-3},
   pages        = {395--404},
   month        = {},
   note         = {Special Issue: CASA' 2009 Special Issue}
}

Ray Tracing NPR-Style Feature Lines

A.N.M. Imroz Choudhury, Steven G. Parker — Tue, 23 Feb 2010 16:47:36 +0100

@inproceedings{Choudhury:2009:RTN,
   author       = {A.N.M. Imroz Choudhury and Steven G. Parker},
   title        = {Ray Tracing NPR-Style Feature Lines},
   doi          = {http://doi.acm.org/10.1145/1572614.1572616},
   abstract     = {We present an algorithm for rendering high-quality line primitives
                   of controllable on-screen width within a ray tracing framework,
                   which can render simple NPR-style feature lines, including silhouette
                   edges, crease lines, and primitive intersection lines. The algorithm
                   is based on a variant of cone tracing, which measures distances
                   in screen space and is used to detect and render feature lines.
                   This technique opens ray tracing up to previously difficult or
                   impossible styles of rendering, such as mesh visualization, as
                   well as a variety of NPR techniques, such as apparent ridges.},
   booktitle    = {NPAR '09: Proceedings of the 7th International Symposium on Non-Photorealistic Animation and Rendering},
   year         = {2009},
   editor       = {},
   volume       = {},
   number       = {},
   series       = {},
   pages        = {5--14},
   address      = {},
   month        = {},
   organization = {},
   publisher    = {ACM},
   note         = {}
}

Where Do People Draw Lines?

Tue, 15 Dec 2009 15:59:21 +0100

@article{Cole:2008:WDP,
   author       = {Forrester Cole and Aleksey Golovinskiy and Alex Limpaecher and Heather Stoddart Barros and Adam Finkelstein and Thomas A. Funkhouser and Szymon Rusinkiewicz},
   title        = {Where Do People Draw Lines?},
   doi          = {10.1145/1360612.1360687},
   abstract     = {This paper presents the results of a study in which artists made
                   line drawings intended to convey specific 3D shapes. The study
                   was designed so that drawings could be registered with rendered
                   images of 3D models, supporting an analysis of how well the locations
                   of the artists' lines correlate with other artists', with current
                   computer graphics line definitions, and with the underlying differential
                   properties of the 3D surface. Lines drawn by artists in this
                   study largely overlapped one another (75% are within 1mm of another
                   line), particularly along the occluding contours of the object.
                   Most lines that do not overlap contours overlap large gradients
                   of the image intensity, and correlate strongly with predictions
                   made by recent line drawing algorithms in computer graphics.
                   14% were not well described by any of the local properties considered
                   in this study. The result of our work is a publicly available
                   data set of aligned drawings, an analysis of where lines appear
                   in that data set based on local properties of 3D models, and
                   algorithms to predict where artists will draw lines for new scenes.},
   journal      = {ACM Transactions on Graphics (Proceedings of SIGGRAPH 2008)},
   year         = {2008},
   volume       = {27},
   number       = {3},
   pages        = {88:1--11},
   month        = {August},
   note         = {}
}

Where Do People Draw Lines?

Tue, 15 Dec 2009 15:58:45 +0100

@inproceedings{Cole:2008b:WDP,
   author       = {Forrester Cole and Aleksey Golovinskiy and Alex Limpaecher and Heather Stoddart Barros and Adam Finkelstein and Thomas A. Funkhouser and Szymon Rusinkiewicz},
   title        = {Where Do People Draw Lines?},
   doi          = {10.1145/1399504.1360687},
   abstract     = {This paper presents the results of a study in which artists made
                   line drawings intended to convey specific 3D shapes. The study
                   was designed so that drawings could be registered with rendered
                   images of 3D models, supporting an analysis of how well the locations
                   of the artists' lines correlate with other artists', with current
                   computer graphics line definitions, and with the underlying differential
                   properties of the 3D surface. Lines drawn by artists in this
                   study largely overlapped one another (75% are within 1mm of another
                   line), particularly along the occluding contours of the object.
                   Most lines that do not overlap contours overlap large gradients
                   of the image intensity, and correlate strongly with predictions
                   made by recent line drawing algorithms in computer graphics.
                   14% were not well described by any of the local properties considered
                   in this study. The result of our work is a publicly available
                   data set of aligned drawings, an analysis of where lines appear
                   in that data set based on local properties of 3D models, and
                   algorithms to predict where artists will draw lines for new scenes.},
   booktitle    = {Proceedings of the International Conference on Computer Graphics and Interactive Techniques (SIGGRAPH)},
   year         = {2008},
   editor       = {},
   volume       = {},
   number       = {},
   series       = {},
   pages        = {88:1--11},
   address      = {},
   month        = {},
   organization = {},
   publisher    = {},
   note         = {}
}

Influencing User Attention Using Real-Time Stylised Rendering

Niall Redmond, John Dingliana — Sun, 06 Dec 2009 03:43:26 +0100

@inproceedings{Redmond:2009:IUA,
   author       = {Niall Redmond and John Dingliana},
   title        = {Influencing User Attention Using Real-Time Stylised Rendering},
   doi          = {10.2312/LocalChapterEvents/TPCG/TPCG09/173-180},
   abstract     = {In this paper, we present a series of experiments that were conducted
                   to further understand how using adaptive levels of artistic abstraction
                   within an interactive 3D scene can influence user gaze behaviour.
                   We found that when an object was placed in the center of stylised
                   focus, users took significantly less time to complete a search
                   and recognition task in comparison to normal renderings or when
                   the target object was heavily abstracted i.e. stylistically out-of-focus.
                   We also compared a number of different abstraction techniques
                   and found that some abstraction styles consistently lead to faster
                   search times than others. Finally we performed experiments using
                   an eye-tracker to show that our real-time abstraction techniques
                   can successfully draw user attention to specific objects within
                   an interactive scene. We believe that our experimental framework
                   will be useful in the future for comparing the effectiveness
                   of different non-photorealistic styles in influencing a user's
                   perception of a scene.},
   booktitle    = {EGUK Theory and Practice of Computer Graphics (2009)},
   year         = {2009},
   editor       = {},
   volume       = {},
   number       = {},
   series       = {},
   pages        = {173--180},
   address      = {},
   month        = {},
   organization = {},
   publisher    = {},
   note         = {}
}

Painting with polygons: non-photorealistic rendering using existing tools

Isaac Botkin — Mon, 07 Sep 2009 21:29:10 +0100

@misc{Botkin:2009:PWP,
   author       = {Isaac Botkin},
   title        = {Painting with polygons: non-photorealistic rendering using existing tools},
   doi          = {http://doi.acm.org/10.1145/1597990.1598012},
   abstract     = {Most non-photorealistic-rendering solutions tend to involve brilliant
                   but unwieldy new technologies, such as volume-based rendering
                   engines or complex image analysis. Similar results can often
                   be achieved using simpler methods and non-proprietary toolsets,
                   even toolsets designed with other effects in mind. Our studio
                   has been experimenting with ways to achieve a hand-painted look
                   with basic tools that are common to most 3D applications.},
   howpublished = {Siggraph Talk},
   month        = {August},
   year         = {2009},
   note         = {}
}