SIGGRAPH 2015 Papers

Zoomorphic shapes are man-made shapes that possess the form or appearance of an animal. They have desirable aesthetic properties, but are difficult to create using conventional modeling tools. We present a method for creating zoomorphic shapes by merging a man-made shape and an animal shape. To identify a pair of shapes that are suitable for merging, we use an efficient graph kernel based technique. We formulate the merging process as a continuous optimization problem where the two shapes are deformed jointly to minimize an energy function combining several design factors. The modeler can adjust the weighting between these factors to attain high-level control over the final shape produced. A novel technique ensures that the zoomorphic shape does not violate the design restrictions of the man-made shape. We demonstrate the versatility and effectiveness of our approach by generating a wide variety of zoomorphic shapes.

We present a novel approach for the interactive synthesis and editing of virtual worlds. Our method is inspired by painting operations and uses methods for statistical example-based synthesis to automate content synthesis and deformation. Our real-time approach takes a form of local inverse procedural modeling based on intermediate statistical models: selected regions of procedurally and manually constructed example scenes are analyzed, and their parameters are stored as distributions in a palette, similar to colors on a painter's palette. These distributions can then be interactively applied with brushes and combined in various ways, like in painting systems. Selected regions can also be moved or stretched while maintaining the consistency of their content. Our method captures both distributions of elements and structured objects, and models their interactions. Results range from the interactive editing of 2D artwork maps to the design of 3D virtual worlds, where constraints set by the terrain's slope are also taken into account.

We introduce the Vector Animation Complex (VAC), a novel data structure for vector graphics animation, designed to support the modeling of time-continuous topological events. This allows features of a connected drawing to merge, split, appear, or disappear at desired times via keyframes that introduce the desired topological change. Because the resulting space-time complex directly captures the time-varying topological structure, features are readily edited in both space and time in a way that reflects the intent of the drawing. A formal description of the data structure is provided, along with topological and geometric invariants. We illustrate our modeling paradigm with experimental results on various examples.

We propose a new spectral analysis of the variance in Monte Carlo integration, expressed in terms of the power spectra of the sampling pattern and the integrand involved. We build our framework in the Euclidean space using Fourier tools and on the sphere using spherical harmonics. We further provide a theoretical background that explains how our spherical framework can be extended to the hemispherical domain. We use our framework to estimate the variance convergence rate of different state-of-the-art sampling patterns in both the Euclidean and spherical domains, as the number of samples increases. Furthermore, we formulate design principles for constructing sampling methods that can be tailored according to available resources. We validate our theoretical framework by performing numerical integration over several integrands sampled using different sampling patterns.

Material appearance acquisition usually makes a trade-off between acquisition effort and richness of reflectance representation. In this paper, we instead aim for both a light-weight acquisition procedure and a rich reflectance representation simultaneously, by restricting ourselves to one, but very important, class of appearance phenomena: texture-like materials. While such materials' reflectance is generally spatially varying, they exhibit self-similarity in the sense that for any point on the texture there exist many others with similar reflectance properties. We show that the texturedness assumption allows reflectance capture using only two images of a planar sample, taken with and without a headlight flash. Our reconstruction pipeline starts with redistributing reflectance observations across the image, followed by a regularized texture statistics transfer and a non-linear optimization to fit a spatially-varying BRDF (SVBRDF) to the resulting data. The final result describes the material as spatially-varying, diffuse and specular, anisotropic reflectance over a detailed normal map. We validate the method by side-by-side and novel-view comparisons to photographs, comparing normal map resolution to sub-micron ground truth scans, as well as simulated results. Our method is robust enough to use handheld, JPEG-compressed photographs taken with a mobile phone camera and built-in flash.

In this work we detail the first algorithm that provides topological control during surface reconstruction from an input set of planar cross-sections. Our work has broad application in a number of fields including surface modeling and biomedical image analysis, where surfaces of known topology must be recovered. Given curves on arbitrarily oriented cross-sections, our method produces a manifold interpolating surface that exactly matches a user-specified genus. The key insight behind our approach is to formulate the topological search as a divide-and-conquer optimization process which scores local sets of topologies and combines them to satisfy the global topology constraint. We further extend our method to allow image data to guide the topological search, achieving even better results than relying on the curves alone. By simultaneously satisfying both geometric and topological constraints, we are able to produce accurate reconstructions with fewer input cross-sections, hence reducing the manual time needed to extract the desired shape.

We introduce an approach for synthesizing time-lapse videos of popular landmarks from large community photo collections. The approach is completely automated and leverages the vast quantity of photos available online. First, we cluster 86 million photos into landmarks and popular viewpoints. Then, we sort the photos by date and warp each photo onto a common viewpoint. Finally, we stabilize the appearance of the sequence to compensate for lighting effects and minimize flicker. Our resulting time-lapses show diverse changes in the world's most popular sites, like glaciers shrinking, skyscrapers being constructed, and waterfalls changing course.

We introduce the Symmetric GGX (SGGX) distribution to represent spatially-varying properties of anisotropic microflake participating media. Our key theoretical insight is to represent a microflake distribution by the projected area of the microflakes. We use the projected area to parameterize the shape of an ellipsoid, from which we recover a distribution of normals. The representation based on the projected area allows for robust linear interpolation and prefiltering, and thanks to its geometric interpretation, we derive closed form expressions for all operations used in the microflake framework. We also incorporate microflakes with diffuse reflectance in our theoretical framework. This allows us to model the appearance of rough diffuse materials in addition to rough specular materials. Finally, we use the idea of sampling the distribution of visible normals to design a perfect importance sampling technique for our SGGX microflake phase functions. It is analytic, deterministic, simple to implement, and one order of magnitude faster than previous work.

Hybrid Lagrangian/Eulerian simulation is commonplace in computer graphics for fluids and other materials undergoing large deformation. In these methods, particles are used to resolve transport and topological change, while a background Eulerian grid is used for computing mechanical forces and collision responses. Particle-in-Cell (PIC) techniques, particularly the Fluid Implicit Particle (FLIP) variants have become the norm in computer graphics calculations. While these approaches have proven very powerful, they do suffer from some well known limitations. The original PIC is stable, but highly dissipative, while FLIP, designed to remove this dissipation, is more noisy and at times, unstable. We present a novel technique designed to retain the stability of the original PIC, without suffering from the noise and instability of FLIP. Our primary observation is that the dissipation in the original PIC results from a loss of information when transferring between grid and particle representations. We prevent this loss of information by augmenting each particle with a locally affine, rather than locally constant, description of the velocity. We show that this not only stably removes the dissipation of PIC, but that it also allows for exact conservation of angular momentum across the transfers between particles and grid.

Editing materials in photos opens up numerous opportunities like turning an unappealing dirt ground into luscious grass and creating a comfortable wool sweater in place of a cheap t-shirt. However, such edits are challenging. Approaches such as 3D rendering and BTF rendering can represent virtually everything, but they are also data intensive and computationally expensive, which makes user interaction difficult. Leaner methods such as texture synthesis are more easily controllable by artists, but also more limited in the range of materials that they handle, for example, grass and wool are typically problematic because of their non-Lambertian reflectance and numerous self-occlusions. We propose a new approach for editing of complex materials in photographs. We extend the texture-by-numbers approach with ideas from texture interpolation. The inputs to our method are coarse user annotation maps that specify the desired output, such as the local scale of the material and the illumination direction. Our algorithm then synthesizes the output from a discrete set of annotated exemplars. A key component of our method is that it can cope with missing data, interpolating information from the available exemplars when needed. This enables production of satisfying results involving materials with complex appearance variations such as foliage, carpet, and fabric from only one or a couple of exemplar photographs.

Subspace deformable body simulations can be very fast, but can behave unrealistically when behaviors outside the prescribed subspace such as novel external collisions, are encountered. We address this limitation by presenting a fast, flexible new method that allows full space computation to be activated in the neighborhood of novel events while the rest of the body still computes in a subspace. We achieve this using a method we call subspace condensation , a variant on the classic static condensation precomputation. However, instead of a precomputation, we use the speed of subspace methods to perform the condensation at every frame. This approach allows the full space regions to be specified arbitrarily at runtime, and forms a natural two-way coupling with the subspace regions. While condensation is usually only applicable to linear materials, the speed of our technique enables its application to non-linear materials as well. We show the effectiveness of our approach by applying it to a variety of articulated character scenarios.

This paper presents a method for learning to predict the stylistic compatibility between 3D furniture models from different object classes: e.g., how well does this chair go with that table? To do this, we collect relative assessments of style compatibility using crowdsourcing. We then compute geometric features for each 3D model and learn a mapping of them into a space where Euclidean distances represent style incompatibility. Motivated by the geometric subtleties of style, we introduce part-aware geometric feature vectors that characterize the shapes of different parts of an object separately. Motivated by the need to compute style compatibility between different object classes, we introduce a method to learn object class-specific mappings from geometric features to a shared feature space. During experiments with these methods, we find that they are effective at predicting style compatibility agreed upon by people. We find in user studies that the learned compatibility metric is useful for novel interactive tools that: 1) retrieve stylistically compatible models for a query, 2) suggest a piece of furniture for an existing scene, and 3) help guide an interactive 3D modeler towards scenes with compatible furniture.

Stripe patterns are ubiquitous in nature, describing macroscopic phenomena such as stripes on plants and animals, down to material impurities on the atomic scale. We propose a method for synthesizing stripe patterns on triangulated surfaces, where singularities are automatically inserted in order to achieve user-specified orientation and line spacing. Patterns are characterized as global minimizers of a convex-quadratic energy which is well-defined in the smooth setting. Computation amounts to finding the principal eigenvector of a symmetric positive-definite matrix with the same sparsity as the standard graph Laplacian. The resulting patterns are globally continuous, and can be applied to a variety of tasks in design and texture synthesis.

We present a unification of the two main approaches to simulate deformable solids, namely elasticity and constraints. Elasticity accurately handles soft to moderately stiff objects, but becomes numerically hard as stiffness increases. Constraints efficiently handle high stiffness, but when integrated in time they can suffer from instabilities in the nullspace directions, generating spurious transverse vibrations when pulling hard on thin inextensible objects or articulated rigid bodies. We show that geometric stiffness, the tensor encoding the change of force directions (as opposed to intensities) in response to a change of positions, is the missing piece between the two approaches. This previously neglected stiffness term is easy to implement and dramatically improves the stability of inextensible objects and articulated chains, without adding artificial bending forces. This allows time step increases up to several orders of magnitude using standard linear solvers.

We present a space-time abstraction for the sketch-based design of character animation. It allows animators to draft a full coordinated motion using a single stroke called the space-time curve (STC). From the STC we compute a dynamic line of action (DLOA) that drives the motion of a 3D character through projective constraints. Our dynamic models for the line's motion are entirely geometric, require no pre-existing data, and allow full artistic control. The resulting DLOA can be refined by over-sketching strokes along the space-time curve, or by composing another DLOA on top leading to control over complex motions with few strokes. Additionally, the resulting dynamic line of action can be applied to arbitrary body parts or characters. To match a 3D character to the 2D line over time, we introduce a robust matching algorithm based on closed-form solutions, yielding a tight match while allowing squash and stretch of the character's skeleton. Our experiments show that space-time sketching has the potential of bringing animation design within the reach of beginners while saving time for skilled artists.