Graphics and Vision

Articulated hand-tracking systems have been widely used in virtual reality but are rarely deployed in consumer applications due to their price and complexity. In this paper, we propose an easy-to-use and inexpensive system that facilitates 3-D articulated user-input using the hands. Our approach uses a single camera to track a hand wearing an ordinary cloth glove that is imprinted with a custom pattern. The pattern is designed to simplify the pose estimation problem, allowing us to employ a nearest-neighbor approach to track hands at interactive rates. We describe several proof-of-concept applications enabled by our system that we hope will provide a foundation for new interactions in modeling, animation control and augmented reality.

Transferring existing mesh deformation from one character to another is a simple way to accelerate the laborious process of mesh animation. In many cases, it is useful to preserve the semantic characteristics of the motion instead of its literal deformation. For example, when applying the walking motion of a human to a flamingo, the knees should bend in the opposite direction. Semantic deformation transfer accomplishes this task with a shape space that enables interpolation and projection with standard linear algebra. Given several example mesh pairs, semantic deformation transfer infers a correspondence between the shape spaces of the two characters. This enables automatic transfer of new poses and animations.

Keyframe animation is a common technique to generate animations of deformable characters and other soft bodies. With spline interpolation, however, it can be difficult to achieve secondary motion effects such as plausible dynamics when there are thousands of degrees of freedom to animate. Physical methods can provide more realism with less user effort, but it is challenging to apply them to quickly create specific animations that closely follow prescribed animator goals. We present a fast space-time optimization method to author physically based deformable object simulations that conform to animator-specified keyframes.

We introduce a meshless hierarchical representation for solving light transport problems. Precomputed radiance transfer (PRT) and finite elements require a discrete representation of illumination over the scene. Non-hierarchical approaches such as per-vertex values are simple to implement, but lead to long precomputation. Hierarchical bases like wavelets lead to dramatic acceleration, but in their basic form they work well only on flat or smooth surfaces. We introduce a hierarchical function basis induced by scattered data approximation. It is decoupled from the geometric representation, allowing the hierarchical representation of illumination on complex objects. We present simple data structures and algorithms for constructing and evaluating the basis functions.

Details in mesh animations are difficult to generate but they have great impact on visual quality. In this work, we demonstrate a practical software system for capturing such details from multi-view video recordings. Given a stream of synchronized video images that record a human performance from multiple viewpoints and an articulated template of the performer, our system captures the motion of both the skeleton and the shape. The output mesh animation is enhanced with the details observed in the image silhouettes. For example, a performance in casual loose-fitting clothes will generate mesh animations with flowing garment motions. We accomplish this with a fast pose tracking method followed by nonrigid deformation of the template to fit the silhouettes.

We accurately capture the shape and appearance of a person's hairstyle. We use triangulation and a sweep with planes of light for the geometry. Multiple projectors and cameras address the challenges raised by the reflectance and intricate geometry of hair. We introduce the use of structure tensors to infer the hidden geometry between the hair surface and the scalp. Our triangulation approach affords substantial accuracy improvement and we are able to measure elaborate hair geometry including complex curls and concavities. To reproduce the hair appearance, we capture a six-dimensional reflectance field. We introduce a new reflectance interpolation technique that leverages an analytical reflectance model to alleviate cross-fading artifacts caused by linear methods.

Commercial motion-capture systems produce excellent in-studio reconstructions, but offer no comparable solution for acquisition in everyday environments. We present a system for acquiring motions almost anywhere. This wearable system gathers ultrasonic time-of-flight and inertial measurements with a set of inexpensive miniature sensors worn on the garment. After recording, the information is combined using an Extended Kalman Filter to reconstruct joint configurations of a body. Experimental results show that even motions that are traditionally difficult to acquire are recorded with ease within their natural settings.

Animating an articulated 3D character currently requires manual rigging to specify its internal skeletal structure and to define how the input motion deforms its surface. We present a method for animating characters automatically. Given a static character mesh and a generic skeleton, our method adapts the skeleton to the character and attaches it to the surface, allowing skeletal motion data to animate the character. Because a single skeleton can be used with a wide range of characters, our method, in conjunction with a library of motions for a few skeletons, enables a user-friendly animation system for novices and children. Our prototype implementation, called Pinocchio, typically takes under a minute to rig a character on a modern midrange PC.

We present an automated approach for high-quality preview of feature-film rendering during lighting design. Similar to previous work, we use a deep-framebuffer shaded on the GPU to achieve interactive performance. Our first contribution is to generate the deep-framebuffer and corresponding shaders automatically through data-flow analysis and compilation of the original scene. Cache compression reduces automatically-generated deep-framebuffers to reasonable size for complex production scenes and shaders. We also propose a new structure, the indirect framebuffer, that decouples shading samples from final pixels and allows a deep-framebuffer to handle antialiasing, motion blur and transparency efficiently. Progressive refinement enables fast feedback at coarser resolution.