Deep canvas in Disney's Tarzan

Daniels, Eric

doi:10.1145/311625.312010

Cited by 24 publications

(17 citation statements)

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“…Stroke-based painting and animation systems [Daniels 1999;Agarwala et al 2004;Schmid et al 2011;Whited et al 2012] combine good temporal coherence with good directability, since the artist can simply paint the strokes they desire. This flexibility, however, has a major drawback: the artist must paint each stroke, even in uninteresting areas.…”

Section: Temporally Coherent Nprmentioning

confidence: 99%

Stylizing animation by example

Bénard

Cole²,

Kass³

et al. 2013

ACM Trans. Graph.

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Figure 1: Frame 20 (right) to 34 (left) -top row: stylized animation; bottom row: input shaded images. The two extreme frames are keyframes painted by an artist. Our algorithm synthesized the in-between frames. Note the important variations in terms of shape and appearance (texture and color) during this sequence. The accompanying video illustrates the temporal behavior. AbstractSkilled artists, using traditional media or modern computer painting tools, can create a variety of expressive styles that are very appealing in still images, but have been unsuitable for animation. The key difficulty is that existing techniques lack adequate temporal coherence to animate these styles effectively. Here we augment the range of practical animation styles by extending the guided texture synthesis method of Image Analogies [Hertzmann et al. 2001] to create temporally coherent animation sequences. To make the method art directable, we allow artists to paint portions of keyframes that are used as constraints. The in-betweens calculated by our method maintain stylistic continuity and yet change no more than necessary over time.

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Section: Temporally Coherent Nprmentioning

confidence: 99%

Stylizing animation by example

Bénard

Cole²,

Kass³

et al. 2013

ACM Trans. Graph.

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show abstract

“…Computer graphics techniques have also been used to create background scenery, either in the form of 2D paintings manipulated to look three dimensional [Wood et al 1997;Robertson 1998], or as a 3D scene, as in Tarzan's Deep Canvas [Daniels 1999]. These approaches do not allow for physical interaction between the handdrawn elements and the 3D elements-the CG background can be composited with the hand-drawn foreground, but does not interact with it, for example, there are no dynamically simulated ripples when Tarzan steps into a pool of water.…”

Section: Computer Graphicsmentioning

confidence: 99%

Three-dimensional proxies for hand-drawn characters

et al. 2012

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Drawing shapes by hand and manipulating computer-generated objects are the two dominant forms of animation. Though each medium has its own advantages, the techniques developed for one medium are not easily leveraged in the other medium because hand animation is two-dimensional, and inferring the third dimension is mathematically ambiguous. A second challenge is that the character is a consistent three-dimensional (3D) object in computer animation while hand animators introduce geometric inconsistencies in the two-dimensional (2D) shapes to better convey a character's emotional state and personality. In this work, we identify 3D proxies to connect hand-drawn animation and 3D computer animation. We present an integrated approach to generate three levels of 3D proxies: single-points, polygonal shapes, and a full joint hierarchy. We demonstrate how this approach enables one medium to take advantage of techniques developed for the other; for example, 3D physical simulation is used to create clothes for a hand-animated character, and a traditionally trained animator is able to influence the performance of a 3D character while drawing with paper and pencil.

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“…Each mark is then attached to a 3D anchor point on the 3D object that it depicts. Although this approach has been extended to numerous styles (painterly [Daniels 1999;Vanderhaeghe et al 2007], stippling [Pastor et al 2003], watercolor [Bousseau et al 2006]), the data structure required to manage the anchor points and the expensive rendering of each individual style element makes this family of methods not well-suited for real-time rendering engines.…”

Section: Previous Workmentioning

confidence: 99%

Dynamic solid textures for real-time coherent stylization

Bénard

Bousseau

Thollot

2009

Proceedings of the 2009 Symposium on Interactive 3D Graphics and Games

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Figure 1: Dynamic solid textures (on the left) serve as a basis to create a large range of temporally coherent styles. From left to right: a complex scene (538k tris) is rendered in real-time in a watercolor style, a collage style and a binary style. AbstractStylized rendering methods, which aim at depicting 3D scenes with 2D marks such as pigments or strokes, are often faced with temporal coherence issues when applied to dynamic scenes. These issues arise from the difficulty of having to satisfy two contrary goals: ensuring that the style marks follow 3D motions while preserving their 2D appearance. In this paper we describe a new texture based method for real-time temporally coherent stylization called dynamic textures. A dynamic texture is a standard texture mapped on the object and enriched with an infinite zoom mechanism. This simple and fast mechanism maintains quasi-constant size and density of texture elements in screen space for any distance from the camera. We show that these dynamic textures can be used in many stylization techniques, enforcing the 2D appearance of the style marks while preserving the accurate 3D motion of the depicted objects.Although our infinite zoom technique can be used with both 2D or 3D textures, we focus in this paper on the 3D case (dynamic solid textures) which avoids the need for complex parameterizations of 3D surfaces. This makes dynamic textures easy to integrate in existing rendering pipelines with almost no loss in performance, as demonstrated by our implementation in a game rendering engine.

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Deep canvas in Disney's Tarzan

Cited by 24 publications

References 0 publications

Stylizing animation by example

Stylizing animation by example

Three-dimensional proxies for hand-drawn characters

Dynamic solid textures for real-time coherent stylization

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