{"title":"Dance motion analysis and editing using hilbert-huang transform","authors":"Ran Dong, DongSheng Cai, Nobuyoshi Asai","doi":"10.1145/3084363.3085023","DOIUrl":"https://doi.org/10.1145/3084363.3085023","url":null,"abstract":"Human motions (especially, dance motions) are very noisy and it is difficult to analyze the motions. To resolve this problem, we propose a new method to decompose and edit the motions using the Hilbert-Huang transform (HHT). The HHT decomposes a chromatic signal into \"monochromatic\" signals that are the so-called Intrinsic Mode Functions (IMFs) using an Empirical Mode Decomposition (EMD)[Huang 2014]. The HHT has the advantage to analyze non-stationary and nonlinear signals like human joint motions over the FFT or Wavelet transform. In the present research, we propose a new framework to analyze a famous Japanese threesome pop singer group \"Perfume\". Then using the NA-MEMD, we decompose dance motions into motion (choreographic) primitives or IMFs, which can be scaled, combined, subtracted, exchanged, and modified self-consistently.","PeriodicalId":163368,"journal":{"name":"ACM SIGGRAPH 2017 Talks","volume":"12 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-07-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124470184","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}
{"title":"Headset removal for virtual and mixed reality","authors":"Christian Früh, Avneesh Sud, Vivek Kwatra","doi":"10.1145/3084363.3085083","DOIUrl":"https://doi.org/10.1145/3084363.3085083","url":null,"abstract":"Virtual Reality (VR) has advanced significantly in recent years and allows users to explore novel environments (both real and imaginary), play games, and engage with media in a way that is unprecedentedly immersive. However, compared to physical reality, sharing these experiences is difficult because the user's virtual environment is not easily observable from the outside and the user's face is partly occluded by the VR headset. Mixed Reality (MR) is a medium that alleviates some of this disconnect by sharing the virtual context of a VR user in a flat video format that can be consumed by an audience to get a feel for the user's experience. Even though MR allows audiences to connect actions of the VR user with their virtual environment, empathizing with them is difficult because their face is hidden by the headset. We present a solution to address this problem by virtually removing the headset and revealing the face underneath it using a combination of 3D vision, machine learning and graphics techniques. We have integrated our headset removal approach with Mixed Reality, and demonstrate results on several VR games and experiences.","PeriodicalId":163368,"journal":{"name":"ACM SIGGRAPH 2017 Talks","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-07-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124647464","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}
{"title":"Designing look-and-feel using generalized crosshatching","authors":"Yuxiao Du, E. Akleman","doi":"10.1145/3084363.3085054","DOIUrl":"https://doi.org/10.1145/3084363.3085054","url":null,"abstract":"In this work, we have developed an approach to include any cross-hatching technique into any rendering system with global illumination effects (see Figure 1). Our new approach provide a robust computation to obtain hand-drawn effects for a wide variety of diffuse and specular materials. Our contributions can be summarized as follows: (1) A Barycentric shader that can provide generalized cross-hatching with multi-textures; and (2) A texture synthesis method that can automatically produce crosshatching textures from any given image.","PeriodicalId":163368,"journal":{"name":"ACM SIGGRAPH 2017 Talks","volume":"51 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-07-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116765929","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}
Peter Tieryas, Henry Garcia, S. Truman, Evan Bonifacio
{"title":"Bringing Lou to life: a study in creating Lou","authors":"Peter Tieryas, Henry Garcia, S. Truman, Evan Bonifacio","doi":"10.1145/3084363.3085089","DOIUrl":"https://doi.org/10.1145/3084363.3085089","url":null,"abstract":"In Pixar's Lou, a combination of lost and found items comes to life, multiple pieces assembling to create the eponymous character. There were many visual and technical challenges to creating a character that can take on almost any form, using many of the random objects around him to convey emotion and feeling. We've highlighted several of the ways animation, modeling, rigging, simulation, and shading worked in conjunction to develop artistic and technical solutions to make Lou feel as real as the world around him.","PeriodicalId":163368,"journal":{"name":"ACM SIGGRAPH 2017 Talks","volume":"23 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-07-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125187124","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}
Brian Missey, Amaury Aubel, Arunachalam Somasundaram, Megha Davalath
{"title":"Hairy effects in Trolls","authors":"Brian Missey, Amaury Aubel, Arunachalam Somasundaram, Megha Davalath","doi":"10.1145/3084363.3085070","DOIUrl":"https://doi.org/10.1145/3084363.3085070","url":null,"abstract":"Hair plays a feature role in the film Trolls. It is a crucial part of the overall character design of the Trolls themselves, typically composing over half the silhouette of the character. However, the use of hair on the show went well beyond the standard coif and bled into acting beats, traditional effects, environments, and set pieces. This talk presents the wide variety of unique and challenging hair effects in the film and the techniques used to create them.","PeriodicalId":163368,"journal":{"name":"ACM SIGGRAPH 2017 Talks","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-07-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128063938","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}
D. Heckenberg, Steve Agland, Jean-Pascal leBlanc, Raphael Barth
{"title":"Automated light probes from capture to render for Peter Rabbit","authors":"D. Heckenberg, Steve Agland, Jean-Pascal leBlanc, Raphael Barth","doi":"10.1145/3084363.3085087","DOIUrl":"https://doi.org/10.1145/3084363.3085087","url":null,"abstract":"We created an efficient pipeline for automated, HDR light probes for the hybrid live-action / animated feature film Peter Rabbit. A specially developed \"360°\" spherical camera allows on-set acquisition at more positions and in less time than traditional techniques. Reduced capture time, drastically simplified stitching and a custom multiple-exposure raw to HDR process minimizes artefacts in the resulting images. A semi-automated system recovers clipped radiance in direct sunlight using surfaces with known properties. By recording capture location and orientation and combining with other scene data we produce automated rendering setups using the light probes for illumination and projection onto 3d render geometry.","PeriodicalId":163368,"journal":{"name":"ACM SIGGRAPH 2017 Talks","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-07-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127008953","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}
D. Heckenberg, Luke Emrose, Matthew Reid, Michael Balzer, Antoine Roille, Max Liani
{"title":"Rendering the darkness: glimpse on the LEGO Batman movie","authors":"D. Heckenberg, Luke Emrose, Matthew Reid, Michael Balzer, Antoine Roille, Max Liani","doi":"10.1145/3084363.3085090","DOIUrl":"https://doi.org/10.1145/3084363.3085090","url":null,"abstract":"The technical and creative challenges of The LEGO Batman Movie motivated many changes to rendering at Animal Logic. The project was the first feature animation to be entirely rendered with the studio's proprietary path-tracer, Glimpse. Brick-based modelling, animation and destruction techniques taken to the extents of Gotham City required extraordinary scalability and control. The desire to separate complexity from artistic intent led to the development of a novel material composition system. Lensing and lighting choices also drove technical development for efficient in-render lens distortion, depth-of-field effects and accelerated handling of thousands of city and interior lights.","PeriodicalId":163368,"journal":{"name":"ACM SIGGRAPH 2017 Talks","volume":"36 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-07-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131961223","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}
{"title":"Director-centric virtual camera production tools for rogue one","authors":"Mike Jutan, Stephen Ellis","doi":"10.1145/3084363.3085053","DOIUrl":"https://doi.org/10.1145/3084363.3085053","url":null,"abstract":"For Rogue One: A Star Wars Story, executive producer John Knoll wanted the all-CG shots to feel consistent with the signature handheld camera style that director Gareth Edwards captured on set. To achieve this, the Industrial Light & Magic (ILM) R&D team created a director-centric virtual camera system that encourages open set exploration of the all-CG Star Wars worlds. We enabled the director to achieve his artistic vision via our low footprint, flexible, iteration-based production toolset.","PeriodicalId":163368,"journal":{"name":"ACM SIGGRAPH 2017 Talks","volume":"15 2","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-07-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131452504","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}
{"title":"Moana: Foundation of a Lava Monster","authors":"Marc Bryant, Ian J. Coony, Jonathan Garcia","doi":"10.1145/3084363.3085076","DOIUrl":"https://doi.org/10.1145/3084363.3085076","url":null,"abstract":"For Disney's Moana, the challenges presented by our story's fiery foe, Te Kā, required cross-departmental collaboration and the creation of new pipeline technology. From raging fires and erupting molten lava to churning pyroclastic plumes of steam and smoke, Te Kā was comprised of a large number of layered environmental elements. Effects artists composed heavily art-directed simulations alongside reusable effects assets. This hybrid approach allowed artists to quickly block in and visualize large portions of their shot prior to simulation or rendering. This Foundation Effects (or FFX) workflow became a core strategy for delivering Te Kā's complex effects across multiple sequences.","PeriodicalId":163368,"journal":{"name":"ACM SIGGRAPH 2017 Talks","volume":"14 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-07-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132653562","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}
G. Klár, Jeff Budsberg, Matt Titus, Stephen Jones, K. Museth
{"title":"Production ready MPM simulations","authors":"G. Klár, Jeff Budsberg, Matt Titus, Stephen Jones, K. Museth","doi":"10.1145/3084363.3085066","DOIUrl":"https://doi.org/10.1145/3084363.3085066","url":null,"abstract":"We present two complementary techniques for Material Point Method (MPM) based simulations to improve their performance and to allow for fine-grained artistic control. Our entirely GPU-based solver is able perform up to five times faster than its multithreaded CPU counterpart as a result of our novel particle and grid transfer algorithms. On top of this, we introduce Adaptive Particle Activation, that both makes it possible to simulate only a reduced number of particles, and to give artists means for fine direction over the simulation.","PeriodicalId":163368,"journal":{"name":"ACM SIGGRAPH 2017 Talks","volume":"5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-07-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121230361","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}
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