Claymation is an animation technique developed around a century ago and featured inseveral video games. However, traditional claymation production is not most accessible togame developers due to its specialized skill requirements. This research aims to make theclaymation visual style more accessible by digitally emulating its characteristics usingmethods widely used in game development. Our approach involved developing and iteratingdigital techniques to replicate the surface texture of clay models and the jittery animationquality in a 3D physics-based game, the emulated results of which were evaluated throughinternal and external playtesting. The research team concluded that a combination ofdisplacement maps, normal maps, and color adjustments could be used to emulate realisticclay surface textures. Meanwhile, 3D animation and physics-based animation approacheswere explored to recreate the jittery animation look. The team found that, within 3Danimation, strategic use of still frames and manual motion variance addition to each in-motionpose are effective jitter emulation methods, with the latter being more effective. With physics-based animation, adding a randomized value to an object’s physically simulated motionsimulates motion jitters. The research compiled the emulation process into steps, serving asemulation guidelines for future projects.

As the fidelity of computer generated imagery has increased, the need to digitally create convincing natural phenomena like fluids has become fundamental to the entertainment production industry. Because fluids are complex, the underlying physics must be computationally simulated. However, because a strictly physics-based approach is both computationally expensive and difficult to control, it does not lend itself well to the way artists and directors like to work. Directors require control to achieve their specific artistic vision. Furthermore, artistic workflows rely on quick iteration and the ability to apply changes late in the production process. In this dissertation we present novel techniques in adaptive simulation and fluid post-processing to improve artistic workflows for fluid simulation. Our methods reduce fluid simulation iteration time and provide a new way for artists to intelligently resize a wide range of volumetric data including fluid simulations. To reduce iteration time, we present a more cache-friendly linear octree structure for adaptive fluid simulation that reduces the overhead of previous octree-based methods. To increase the viability of reusable effects libraries, and to give artists intuitive control over simulations late in the production process we present a ``fluid carving" technique. Fluid carving uses seam carving methods to allow intelligent resizing on a variety of fluid phenomena without the need for costly re-simulation. We present methods that improve upon traditional seam carving approaches to address issues with scalability, non-rectangular boundaries, and that generalize to a variety of different visual effects data like particles, polygonal meshes, liquids, smoke, and fire. We achieve these improvements by guiding seams along user-defined lattices that can enclose regions of interest defined as OpenVDB grids with a wide range of shapes. These techniques significantly improve artist workflows for fluid simulation and allow visual entertainment to be produced in a more intuitive, cost-effective manner.

L’animation basée sur la physique peut générer des systèmes aux comportements complexes et réalistes. Malheureusement, contrôler de tels systèmes est une tâche ardue. Dans le cas de la simulation de fluide, le processus de contrôle est particulièrement complexe. Bien que de nombreuses méthodes et outils ont été mis au point pour simuler et faire le rendu de fluides, trop peu de méthodes offrent un contrôle efficace et intuitif sur une simulation de fluide. Étant donné que le coût associé au contrôle vient souvent s’additionner au coût de la simulation, appliquer un contrôle sur une simulation à plus haute résolution rallonge chaque itération du processus de création. Afin d’accélérer ce processus, l’édition peut se faire sur une simulation basse résolution moins coûteuse. Nous pouvons donc considérer que la création d’un fluide contrôlé peut se diviser en deux phases: une phase de contrôle durant laquelle un artiste modifie le comportement d’une simulation basse résolution, et une phase d’augmentation de détail durant laquelle une version haute résolution de cette simulation est générée. Cette thèse présente deux projets, chacun contribuant à l’état de l’art relié à chacune de ces deux phases. Dans un premier temps, on introduit un nouveau système de contrôle de liquide représenté par un modèle particulaire. À l’aide de ce système, un artiste peut sélectionner dans une base de données une parcelle de liquide animé précalculée. Cette parcelle peut ensuite être placée dans une simulation afin d’en modifier son comportement. À chaque pas de simulation, notre système utilise la liste de parcelles actives afin de reproduire localement la vision de l’artiste. Une interface graphique intuitive a été développée, inspirée par les logiciels de montage vidéo, et permettant à un utilisateur non expert de simplement éditer une simulation de liquide. Dans un second temps, une méthode d’augmentation de détail est décrite. Nous proposons d’ajouter une étape supplémentaire de suivi après l’étape de projection du champ de vitesse d’une simulation de fumée eulérienne classique. Durant cette étape, un champ de perturbations de vitesse non-divergent est calculé, résultant en une meilleure correspondance des densités à haute et à basse résolution. L’animation de fumée résultante reproduit fidèlement l’aspect grossier de la simulation d’entrée, tout en étant augmentée à l’aide de détails simulés. / Physics-based animation can generate dynamic systems of very complex and realistic behaviors. Unfortunately, controlling them is a daunting task. In particular, fluid simulation brings up particularly difficult problems to the control process. Although many methods and tools have been developed to convincingly simulate and render fluids, too few methods provide efficient and intuitive control over a simulation. Since control often comes with extra computations on top of the simulation cost, art-directing a high-resolution simulation leads to long iterations of the creative process. In order to shorten this process, editing could be performed on a faster, low-resolution model. Therefore, we can consider that the process of generating an art-directed fluid could be split into two stages: a control stage during which an artist modifies the behavior of a low-resolution simulation, and an upresolution stage during which a final high-resolution version of this simulation is driven. This thesis presents two projects, each one improving on the state of the art related to each of these two stages. First, we introduce a new particle-based liquid control system. Using this system, an artist selects patches of precomputed liquid animations from a database, and places them in a simulation to modify its behavior. At each simulation time step, our system uses these entities to control the simulation in order to reproduce the artist’s vision. An intuitive graphical user interface inspired by video editing tools has been developed, allowing a nontechnical user to simply edit a liquid animation. Second, a tracking solution for smoke upresolution is described. We propose to add an extra tracking step after the projection of a classical Eulerian smoke simulation. During this step, we solve for a divergence-free velocity perturbation field resulting in a better matching of the low-frequency density distribution between the low-resolution guide and the high-resolution simulation. The resulting smoke animation faithfully reproduces the coarse aspect of the low-resolution input, while being enhanced with simulated small-scale details.

One of the common research goals in disciplines such as computer graphics and robotics is to understand the subtleties of human motion and develop tools for recreating natural and meaningful motion. Physical simulation of virtual human characters is a promising approach since it provides a testbed for developing and testing control strategies required to execute various human behaviors. Designing generic control algorithms for simulating a wide range of human activities, which can robustly adapt to varying physical environments, has remained a primary challenge. This dissertation introduces methods for generic and robust control of virtual characters in an interactive physical environment. Our approach is to use the information of the physical contacts between the character and her environment in the control design. We leverage high-level knowledge of the kinematics goals and the interaction with the surroundings to develop active control strategies that robustly adapt to variations in the physical scene. For synthesizing intentional motion requiring long-term planning, we exploit properties of the physical model for creating efficient and robust controllers in an interactive framework. The control design leverages the reference motion capture data and the contact information with the environment for interactive long-term planning. Finally, we propose a compact soft contact model for handling contacts for rigid body virtual characters. This model aims at improving the robustness of existing control methods without adding any complexity to the control design and opens up possibilities for new control algorithms to synthesize agile human motion.

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