A síntese de imagens é uma ferramenta valiosa na compreensão de diversos fenômenos da natureza. Nos últimos anos várias abordagens têm sido propostas para sintetizar tais fenômenos. A grande maioria de tais abordagens têm se centralizado no desenvolvimento de modelos procedurais. Porém, cada uma destas técnicas simula exclusivamente um fenômeno natural. Um dos métodos de síntese de imagens fotorealísticas mais proeminente é denominado de Traçado de Raios (Ray Tracing). Contudo, apesar de produzir imagens de excelente qualidade, este método é computacionalmente muito oneroso. A síntese de fenômenos naturais utilizando-se o traçado de raios é um desafio. É importante que este problema seja abordado, apesar da sua complexidade, pois a simulaçao fotorealista da natureza é muito importante para os cientistas e pesquisadores desde o surgimento dos computadores. Um algoritmo versátil e rápido para a síntese de fenômenos da natureza através do traçado de raios utilizando campos de altitude é proposto. O algoritmo utiliza uma modificação do algoritmo do Analisador Diferencial Digital de Bresenham para atravesar uma matriz bidimensional de valores de altitude. A determinação das primitivas geométricas a serem interseccionadas por um raio é obtida num tempo ( N ) , sendo N o número de altitudes no campo de altitude. Este trabalho faz uma comparação em termos de velocidade e realismo deste método com outras abordagens convencionais; e discute as implicações que a implementação deste método traz. Finalmente, destaca-se a simplicidade e versatilidade que este método proporciona devido à pequena quantidade de parâmetros necessária para a síntese de fenômenos naturais utilizando o traçado de raios. Para a criação de animações basta a especificação de novos parâmetros num intervalo de tempo diferente. / Visualization is a powerful tool for better undestanding of several natural phenomena. In recent years, several techniques have been proposed. Considerable interest in natural scene synthesis has focused on procedural models. However, these techniques produce synthetic scenes of only one natural phenomenon. Ray tracing is one of the most photorealistic methods of image syntesis. While providing images of excellent quality, ray tracing is a computationally intensive task. Natural scene synthesis is a challenging problem within the realm of ray tracing. It is important to tackle this problem, despite of its complexity, because photorealistic simulation have been important to scientific community since the appearance of computers. A fast and versatile algorithm for ray tracing natural scenes through height fields is presented. The algorithm employs a modified Bresenham DDA to traverse a two dimensional array of values. The objects tested for intersection are located in ( N ) time where N is the number of values in the field. This work compares the speed-up and photorealism achieved in natural scene synthesis using this method with other algorithms and discusses the implications of implementing this approach. As a final point, the simplicity and versatility of synthesizing complex natural scenes from a few parameters and data is especially attractive. Animated sequences require only the additional specifications of time modified parameters or data.

A síntese de imagens é uma ferramenta valiosa na compreensão de diversos fenômenos da natureza. Nos últimos anos várias abordagens têm sido propostas para sintetizar tais fenômenos. A grande maioria de tais abordagens têm se centralizado no desenvolvimento de modelos procedurais. Porém, cada uma destas técnicas simula exclusivamente um fenômeno natural. Um dos métodos de síntese de imagens fotorealísticas mais proeminente é denominado de Traçado de Raios (Ray Tracing). Contudo, apesar de produzir imagens de excelente qualidade, este método é computacionalmente muito oneroso. A síntese de fenômenos naturais utilizando-se o traçado de raios é um desafio. É importante que este problema seja abordado, apesar da sua complexidade, pois a simulaçao fotorealista da natureza é muito importante para os cientistas e pesquisadores desde o surgimento dos computadores. Um algoritmo versátil e rápido para a síntese de fenômenos da natureza através do traçado de raios utilizando campos de altitude é proposto. O algoritmo utiliza uma modificação do algoritmo do Analisador Diferencial Digital de Bresenham para atravesar uma matriz bidimensional de valores de altitude. A determinação das primitivas geométricas a serem interseccionadas por um raio é obtida num tempo ( N ) , sendo N o número de altitudes no campo de altitude. Este trabalho faz uma comparação em termos de velocidade e realismo deste método com outras abordagens convencionais; e discute as implicações que a implementação deste método traz. Finalmente, destaca-se a simplicidade e versatilidade que este método proporciona devido à pequena quantidade de parâmetros necessária para a síntese de fenômenos naturais utilizando o traçado de raios. Para a criação de animações basta a especificação de novos parâmetros num intervalo de tempo diferente. / Visualization is a powerful tool for better undestanding of several natural phenomena. In recent years, several techniques have been proposed. Considerable interest in natural scene synthesis has focused on procedural models. However, these techniques produce synthetic scenes of only one natural phenomenon. Ray tracing is one of the most photorealistic methods of image syntesis. While providing images of excellent quality, ray tracing is a computationally intensive task. Natural scene synthesis is a challenging problem within the realm of ray tracing. It is important to tackle this problem, despite of its complexity, because photorealistic simulation have been important to scientific community since the appearance of computers. A fast and versatile algorithm for ray tracing natural scenes through height fields is presented. The algorithm employs a modified Bresenham DDA to traverse a two dimensional array of values. The objects tested for intersection are located in ( N ) time where N is the number of values in the field. This work compares the speed-up and photorealism achieved in natural scene synthesis using this method with other algorithms and discusses the implications of implementing this approach. As a final point, the simplicity and versatility of synthesizing complex natural scenes from a few parameters and data is especially attractive. Animated sequences require only the additional specifications of time modified parameters or data.

Ever since the first use of crowds in films and videogames there has been an interest in larger, more efficient and more realistic simulations of crowds. Most crowd simulation algorithms are able to satisfy the viewer from a distance but when inspected from close up the flaws in the individual agent's movements become noticeable. One of the bigger challenges faced in crowd simulation is finding a solution that models the actual movement of an individual in a crowd. This paper simulates a more realistic crowd by using individual motion capture data as well as traditional crowd control techniques to reach an agent's desired goal. By augmenting traditional crowd control algorithms with the use of motion capture data for individual agents, we can simulate crowds that mimic more realistic crowd motion, while maintaining real-time simulation speed.

The problem of this study was to analyze the answers given by four groups (grade levels) of elementary school children and one group of adults (college freshmen) to direct questions regarding natural phenomena, to classify their explanations, to determine the methods and types of explanations used by these groups when they explain typical natural phenomena, and to compare these findings with the results of other investigators, especially Jean Piaget and Mervin E. Oakes.

Le développement des nouvelles technologies permet la visualisation interactive de mondes virtuels de plus en plus vastes et complexes. La production de paysages plausibles au sein de ces mondes devient un défi majeur, en raison de l'importance des éléments de terrain et des écosystèmes dans la qualité et le réalisme du résultat. S'y rajoute la difficulté d'éditer de tels éléments sur des échelles spatiales et temporelles aussi vastes que peuvent l'être celles des chaînes de montagnes. Cette édition se fait souvent en couplant des méthodes manuelles et de longues simulations numériques dont le calibrage est complexifié par le nombre des paramètres et leur caractère peu intuitif.Cette thèse propose d'explorer de nouvelles méthodes de simulation de paysages à grande échelle, avec pour objectif d'améliorer le contrôle et le réalisme des scènes obtenues. Notre stratégie est de fonder nos méthodes sur des lois éprouvées dans différents domaines scientifiques, ce qui permet de renforcer la plausibilité des résultats, tout en construisant des outils de résolution efficaces et des leviers de contrôles intuitifs.En observant des phénomènes liés aux zones de compression de la croûte terrestre, nous proposons une méthode de contrôle intuitif de la surrection à l'aide d'une métaphore de sculpture des plaques tectoniques. Combinée avec de nouvelles méthodes efficaces d'érosion fluviale et glaciaire, celle-ci permet de sculpter rapidement de vastes chaînes de montagnes. Pour visualiser les paysages obtenus à échelle humaine, nous démontrons le besoin de combiner la simulation de phénomènes variés et de temporalités différentes, et nous proposons une méthode de simulation stochastique pour résoudre cette difficile cohabitation, que nous appliquons à la simulation de processus géologiques tels que l'érosion, jointe à la formation d'écosystèmes. Cette méthode est déclinée sur GPU et appliquée à la formation du manteau neigeux, en combinant des aspects au long cours (précipitations, changements d'état de l'eau) et des aspects dynamiques (avalanches, impact des skieurs).Les différentes méthodes proposées permettent de simuler l'évolution de paysages à grande échelle, tout en accordant une attention particulière au contrôle. Ces aspects sont validés par des études utilisateur et des comparaisons avec des données issues de paysages réels. / The development of new technologies allows the interactive visualization of virtual worlds showing an increasing amount of details and spacial extent. The production of plausible landscapes within these worlds becomes a major challenge, not only because the important part that terrain features and ecosystems play in the quality and realism of 3D sceneries, but also from the editing complexity of large landforms at mountain range scales. Interactive authoring is often achieved by coupling editing techniques with computationally and time demanding numerical simulation, whose calibration is harder as the number of non-intuitive parameters increases.This thesis explores new methods for the simulation of large-scale landscapes. Our goal is to improve both the control and the realism of the synthetic scenes. Our strategy to increase the plausibility consist on building our methods on physically and geomorphologically-inspired laws: we develop new solving schemes, which, combined with intuitive control tools, improve user experience.By observing phenomena triggered by compression areas within the Earth's crust, we propose a method for the intuitive control of the uplift based on a metaphor on the sculpting of the tectonic plates. Combined with new efficient methods for fluvial and glacial erosion, this allows for the fast sculpting of large mountain ranges. In order to visualize the resulting landscapes withing human sight, we demonstrate the need of combining the simulation of various phenomena with different time spans, and we propose a stochastic simulation technique to solve this complex cohabitation. This methodology is applied to the simulation of geological processes such as erosion interleaved with ecosystems formation. This method is then implemented on the GPU, combining long term effects (snow fall, phase changes of water) with highly dynamics ones (avalanches, skiers impact).Our methods allow the simulation of the evolution of large scale, visually plausible landscapes, while accounting for user control. These results were validated by user studies as well as comparisons with data obtained from real landscapes.

We present methods for incorporating bubbles into a photorealistc fluid simulation. Previous methods of fluid simulation in computer graphics do not include bubbles. Our system automatically creates bubbles, which are simulated on top of the fluid simulation. These bubbles are approximated by spheres and are rendered with the fluid to appear as one continuous surface. This enhances the overall realism of the appearance of a splashing fluid for computer graphics. Our methods leverage the particle level set representation of the fluid surface. We create bubbles from escaped marker particles from the outside to the inside. These marker particles might represent air that has been trapped within the fluid surface. Further, we detect when air is trapped in the fluid and create bubbles within this space. This gives the impression that the air pocket has become bubbles and is an inexpensive way to simulate the air trapped in air pockets. The results of the simulation are rendered with a raytracer that includes caustics. This allows the creation of photorealistic images. These images support our position that the simple addition of bubbles included in a fluid simulation creates results that are much more true to life.

This thesis describes a method for using physically based techniques to model an explosion and the resulting side effects. Explosions are some of the most visually exciting phenomena known to humankind and have become nearly ubiquitous in action films. A realistic computer simulation of this powerful event would be cheaper, quicker, and much less complicated than safely creating the real thing. The immense energy released by a detonation creates a discontinuous localized increase in pressure and temperature. Physicists and engineers have shown that the dissipation of this concentration of energy, which creates all the visible effects, adheres closely to the compressible Navier-Stokes equation. This program models the most noticeable of these results. In order to simulate the pressure and temperature changes in the environment, a three dimensional grid is placed throughout the area around the detonation and a discretized version of the Navier-Stokes equation is applied to the resulting voxels. Objects in the scene are represented as rigid bodies that are animated by the forces created by varying pressure on their hulls. Fireballs, perhaps the most awe-inspiring side effects of an explosion, are simulated using massless particles that flow out from the center of the blast and follow the currents created by the dissipating pressure. The results can then be brought into Maya for evaluation and tweaking.

We present methods for incorporating bubbles into a photorealistc fluid simulation. Previous methods of fluid simulation in computer graphics do not include bubbles. Our system automatically creates bubbles, which are simulated on top of the fluid simulation. These bubbles are approximated by spheres and are rendered with the fluid to appear as one continuous surface. This enhances the overall realism of the appearance of a splashing fluid for computer graphics. Our methods leverage the particle level set representation of the fluid surface. We create bubbles from escaped marker particles from the outside to the inside. These marker particles might represent air that has been trapped within the fluid surface. Further, we detect when air is trapped in the fluid and create bubbles within this space. This gives the impression that the air pocket has become bubbles and is an inexpensive way to simulate the air trapped in air pockets. The results of the simulation are rendered with a raytracer that includes caustics. This allows the creation of photorealistic images. These images support our position that the simple addition of bubbles included in a fluid simulation creates results that are much more true to life.

This thesis describes a method for using physically based techniques to model an explosion and the resulting side effects. Explosions are some of the most visually exciting phenomena known to humankind and have become nearly ubiquitous in action films. A realistic computer simulation of this powerful event would be cheaper, quicker, and much less complicated than safely creating the real thing. The immense energy released by a detonation creates a discontinuous localized increase in pressure and temperature. Physicists and engineers have shown that the dissipation of this concentration of energy, which creates all the visible effects, adheres closely to the compressible Navier-Stokes equation. This program models the most noticeable of these results. In order to simulate the pressure and temperature changes in the environment, a three dimensional grid is placed throughout the area around the detonation and a discretized version of the Navier-Stokes equation is applied to the resulting voxels. Objects in the scene are represented as rigid bodies that are animated by the forces created by varying pressure on their hulls. Fireballs, perhaps the most awe-inspiring side effects of an explosion, are simulated using massless particles that flow out from the center of the blast and follow the currents created by the dissipating pressure. The results can then be brought into Maya for evaluation and tweaking.

[Truncated abstract] Currently, one of the active areas of research in computer graphics is related to creating realistic images and animations that mimic the world we see around us. There has been significant work in modeling and simulating natural phenomena such as fire, clouds, water, and vegetation. Some of these works are employed in the entertainment industry, especially as special effects in cinematic films. Of particular interest is the area of vegetation, given the possible structural complexity and variation in different types of plants. This provides a challenge to develop methods and techniques that effectively and realistically model the movement and behavior of plants. In response to this challenge, there has been significant work in the area of modeling plant structure, as well as modeling of the dynamics and wind interaction of tree branches. However, there is a distinct lack of approaches involved with modeling the dynamics and behavior of individual leaves. Most of the previous approaches focus on the modeling of the branches of a tree, and rarely consider the movement of the leaves in detail. This makes it particularly hard to model the interactions of plants with relatively large leaves, where the dynamics of the leaves are important. In other words, there is no method that could effectively simulate the lower canopy of a forest or jungle, where there are many ferns, saplings, and other broad-leafed plants. Therefore, I present in this thesis a leaf animation system that is designed specifically for simulating and animating plants with relatively large leaves with realistic dynamics in real-time. .... These interactions illustrate the flexibility and robustness of the leaf movement model. In particular, I present a novel approach in modeling volumetric wind through the wind cube that approximates wind behavior such as obstruction by leaves, and constructive and destructive interference. This unique approach is based on modeling wind as a spatial collection of wind vectors and the interaction of the vectors is governed by the rules of each cube-shaped cell of the wind cube. In the end, this wind cube allows for convincing behavior of wind and the subsequent interaction with the leaves of a plant. The leaf animation system is also suitable for simulating a number of plants in a landscape. This is possible through another novel method of reducing the rendering time to allow for more plants to be simulated. This method involves using an animated texture in place of plants that are far from the camera, when the difference visually is not blatantly noticeable. This is a form of the commonly used levels of detail to reduce the complexity of the landscape, but my method is novel in that it has not been implemented in a way where the texture itself is animated in place of the plant. I investigate the strengths and limitations of this approach in reducing rendering time for a landscape of plants. Thus, the leaf animation system is suitable for realistic and interactive virtual reality environments. These virtual environments feature heavily in current video games that involve realistic and believable worlds. In addition to the film and video game industry, these virtual environments are also integral in the application of virtual reality as psychological therapies.