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: 2015
• 资助国家: 加拿大
• 起止时间: 2015-01-01 至 2016-12-31
• 项目状态: 已结题
• 来源: https://www.nserc-crsng.gc.ca/ase-oro/Details-Detailles_eng.asp?id=587390
• 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.

计算机辅助创作视觉数字媒体的使用出现了巨大的增长。例如，数码摄影和视频在质量、速度和工作流程方面的改进，使许多人类能够在视觉上表达自己。数码摄影和视频内容创作已经变得无处不在。另一方面，几乎所有其他使用信息可视化、计算机动画和图形以及增强和虚拟现实的数字视觉通信应用程序仍然使用传统的“广播”模式：少数专家创建供许多人使用的内容。“多个创造者/多个消费者”的模式仍然是一个遥远的目标。这一目标与让计算机图形无处不在所需的科学和工程之间的差距也在不断扩大。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的、强大的图形解决方案。 使用逼真、交互的3-D计算机图形进行视觉交流仍然是专家用户的专属领域。虽然3D工具的有效性在继续提高，但它们针对的是日益增长但相对较少的用户群。逼真的计算机图形学在科学和工业上的成功是有限的：每一个成功建模的视觉现象都提供了相当大的普遍性，但在其概念上与其他模型在语义和工作流程上都是孤立的。这允许以一种科学简化论的方式推进每个领域，并促进了专家的实际分工，但对于新手用户为自治环境创建综合、多耦合系统的目的来说，这是完全不能令人满意的。虽然存在一些深层次的工作流程和可用性障碍，但计算机图形学所有领域的基本问题，包括复杂的几何建模、动画、变形、查看、照明和渲染，都是极其难以管理的，并且在创建视觉描述时将它们分开考虑。随着图形系统包含越来越多的物理模拟，预测结果、管理复杂性和插入用户控制将变得更加困难。 在拟议的研究中，我计划利用我过去在对尺度敏感的视觉现象进行数学和物理建模方面的经验，开发新的方法，使计算视觉现象能够相互作用，并允许新手创建数字视觉内容，以便他们能够更好地开发令人信服的视觉叙事。需要新的方法来看待这个问题，因为降低视觉模型的复杂性不能仅仅通过改进界面和工作流程来实现。 我们将研究的领域涉及计算机图形学中的困难问题：角色和人体建模、面部动画、自然现象的视觉建模以及光传输模拟的控制。在每一种情况下，都需要对问题进行重新表述，因为通常的“细节层次”方法忽略了跨尺度和跨模型交互的必要性。由于这项工作的目的是实现无处不在的视觉交流，我将广泛使用经验技术来指导建模。我将利用应用感知领域的新兴研究，以及使用眼球跟踪设备观察用户，例如，艺术家在创作内容时看向哪里，以及观众如何扫描面部和运动。我将利用这些观察的结果，在真人使用的“眼见为实”标准和我们在算法上所要求的物体测量之间形成一种约束。