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.

Object deformation with linear blending dominates practical use as the fastest approach for transforming raster images, vector graphics, geometric models and animated characters. Unfortunately, linear blending schemes for skeletons or cages are not always easy to use because they may require manual weight painting or modeling closed polyhedral envelopes around objects. Our goal is to make the design and control of deformations simpler by allowing the user to work freely with the most convenient combination of handle types. We develop linear blending weights that produce smooth and intuitive deformations for points, bones and cages of arbitrary topology. Our weights, called bounded biharmonic weights, minimize the Laplacian energy subject to bound constraints. Doing so spreads the influences of the controls in a shape-aware and localized manner, even for objects with complex and concave boundaries. The variational weight optimization also makes it possible to customize the weights so that they preserve the shape of specified essential object features. We demonstrate successful use of our blending weights for real-time deformation of 2D and 3D shapes.

Figure 1: Rendering volumetric shadows in participating media requires integrating scattering over view rays. Left: The visibility component of this integral has a special structure: once a light ray hits an occluder, that light ray does not contribute to the integral along any view ray past the occluder. Middle: Our method exploits this structure by computing the integrals in an epipolar coordinate system, in which light rays (dashed grey) and view rays (solid black) are orthogonal and the integration can be performed asymptotically efficiently using a partial sum tree. Right: This enables us to compute high-quality scattering integrals much faster than the previous state of the art. AbstractVolumetric effects such as beams of light through participating media are an important component in the appearance of the natural world. Many such effects can be faithfully modeled by a single scattering medium. In the presence of shadows, rendering these effects can be prohibitively expensive: current algorithms are based on ray marching, i.e., integrating the illumination scattered towards the camera along each view ray, modulated by visibility to the light source at each sample. Visibility must be determined for each sample using shadow rays or shadow-map lookups. We observe that in a suitably chosen coordinate system, the visibility function has a regular structure that we can exploit for significant acceleration compared to brute force sampling. We propose an efficient algorithm based on partial sum trees for computing the scattering integrals in a single-scattering homogeneous medium. On a CPU, we achieve speedups of 17-120x over ray marching.

We present a method for automatically converting a digital 3D model into a multilayer model: a parallel stack of high-resolution 2D images embedded within a semi-transparent medium. Multilayer models can be produced quickly and cheaply and provide a strong sense of an object's 3D shape and texture over a wide range of viewing directions. Our method is designed to minimize visible cracks and other artifacts that can arise when projecting an input model onto a small number of parallel planes, and avoid layer transitions that cut the model along important surface features. We demonstrate multilayer models fabricated with glass and acrylic tiles using commercially available printers.