Theory and application of integrated, ubiquitous computer graphics.

集成的、无处不在的计算机图形学的理论和应用。

• 批准号: RGPIN-2014-03741
• 负责人: Fiume, Eugene
• 金额: $ 3.93万
• 依托单位: University of Toronto
• 依托单位国家: 加拿大
• 项目类别: Discovery Grants Program - Individual
• 财政年份: 2014
• 资助国家: 加拿大
• 起止时间: 2014-01-01 至 2015-12-31
• 项目状态: 已结题
• 来源: https://www.nserc-crsng.gc.ca/ase-oro/Details-Detailles_eng.asp?id=566064
• 关键词: Theory; application; integrated; ubiquitous; computer

The use of computer-assisted creation of visual digital media has seen huge growth. The improvement for example in the quality, speed and workflow of digital photography and video has allowed much of humanity to express itself visually. Digital photography and video content creation has become ubiquitous. On the other hand, virtually all other applications of digital visual communication that employ information visualisation, computer animation and graphics, and augmented and virtual reality still employ the traditional "broadcast" model: a few experts create content that is consumed by many. A "many creator/many consumer" model is still a far-off goal. The gulf between this goal and the science and engineering required to make computer graphics ubiquitous is also growing. Biomedicine, cultural and archaeological analysis and preservation, visual simulation, design, art, games, engineering, entertainment and manufacture are all in need of integrated, robust graphical solutions. Visual communication using realistic, interactive 3-D computer graphics remains the province of expert users. While the effectiveness of 3-D tools continue to improve, they address a growing yet relatively smaller set of users. The very success of realistic computer graphics both scientifically and industrially has been self-limiting: each successfully modelled visual phenomenon provides considerable generality, but is isolated in its conception from other models both in its semantics and its workflow. This allows a manner of scientific reductionism in furthering each field, and it facilitates a practical division of labour for experts, but it is wholly unsatisfactory for the purposes of creating integrated, multiply-coupled systems for autonomous environments as created by novice users. While there are some deep workflow and usability impediments, the fundamental problems in all areas of computer graphics, including complex geometric modelling, animation, deformation, viewing, lighting and rendering, is that complexity is extremely difficult to manage, and that they are separately considered in the creation of visual depictions. As graphics systems incorporate an increasing amount of physical simulation, it will become all the more difficult to predict outcomes, manage complexity, and insert user control. In the proposed research I plan to take my past experience in the mathematical and physical modelling of scale-sensitive visual phenomena to develop new methods to allow computational visual phenomena to interact with one another, and that would permit novices to create digital visual content so that they are better able to develop convincing visual narratives. New ways of looking at the problem are required, since the reduction of complexity of visual models cannot be accomplished just by improving interfaces and workflows. The areas we shall look at involve difficult problems in computer graphics: character and human body modelling, facial animation, visual modelling of natural phenomena, and control of light transport simulations. In each case, a reformulation of the problem will be required, because the usual "levels-of-detail" approach neglects the need for cross-scale and cross-model interactions. Since the work is intended to enable ubiquitous visual communication, I will make extensive use empirical techniques to guide modelling. I will employ emerging research in applied perception, as well as observing users using eye-tracking equipment to see, for example where artists look when they create content, and how audiences scan faces and motion. I will use the results of such observations to form a binding between the "seeing is believing" criterion employed by real people, and the object measures we require algorithmically.

视觉数字媒体的计算机辅助创建的使用已巨大的增长。例如，数字摄影和视频的质量，速度和工作流程的改进使大部分人类在视觉上表达自己。数字摄影和视频内容创建已变得无处不在。另一方面，使用信息可视化，计算机动画和图形以及增强和虚拟现实的数字视觉通信的所有其他应用程序仍然采用传统的“广播”模型：一些专家创建了许多人消耗的内容。 “许多创建者/许多消费者”模型仍然是一个遥远的目标。这个目标与使计算机图形无处不在的科学和工程之间的鸿沟也在增长。生物医学，文化和考古分析和保存，视觉模拟，设计，艺术，游戏，工程，娱乐和制造都需要集成，可靠的图形解决方案。使用现实，交互式3D计算机图形的视觉交流仍然是专家用户的省。尽管3-D工具的有效性不断提高，但它们解决了一组越来越小的用户集。现实的计算机图形在科学和工业上的成功都是自限制的：每个成功建模的视觉现象都提供了相当大的通用性，但在其语义和工作流程中的其他模型中都与其他模型相孤立。这允许在每个领域的进一步发展科学降低主义的方式，并促进了专家的实用劳动分工，但是对于创建新手用户创建的自主环境的集成，多耦合系统的目的，它完全不令人满意。尽管存在一些深厚的工作流程和可用性障碍，但计算机图形各个领域的基本问题，包括复杂的几何建模，动画，变形，观看，照明和渲染，这是很难管理的复杂性，并且在创建视觉描述时会分别考虑它们。随着图形系统包含越来越多的物理模拟，将变得更加困难，无法预测结果，管理复杂性并插入用户控制。在拟议的研究中，我计划在比例敏感的视觉现象的数学和物理建模中获得过去的经验，以开发新的方法，以使计算视觉现象可以彼此相互作用，这将使新手能够创建数字视觉内容，从而使他们能够更好地发展令人信服的视觉叙事。需要新的查看问题的方法，因为仅通过改善界面和工作流程而无法实现视觉模型的复杂性的降低。我们将考虑的领域涉及计算机图形中的困难问题：性格和人体建模，面部动画，自然现象的视觉建模以及对光传输模拟的控制。在每种情况下，都需要对问题进行重新制定，因为通常的“详细方法”方法忽略了对跨尺度和跨模型相互作用的需求。由于该工作旨在实现无处不在的视觉交流，因此我将大量使用经验技术来指导建模。我将在应用感知中采用新兴的研究，并观察用户使用眼球追踪设备来查看的用户，例如艺术家在创建内容时的位置以及观众如何扫描面孔和动作。我将使用此类观察结果的结果来形成真实人使用的“看见”标准与我们需要算法所需的对象度量之间的约束力。