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EPI IMAGINE

EPI IMAGINE. Intuitive Modeling and Animation for Interactive Graphics & Narrative Environment. Visite direction 2013. A Computer Graphics group 3D Modeling, Animation, Cinematography. A pluridiscilinary team Marie- Paule Cani (Prof computer science Ensimag / INPG)

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EPI IMAGINE

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  1. EPI IMAGINE Intuitive Modeling and Animation for Interactive Graphics & Narrative Environment Visite direction 2013

  2. A Computer Graphics group 3D Modeling, Animation, Cinematography • A pluridiscilinary team • Marie-PauleCani(Prof computer science Ensimag/ INPG) • François Faure (Prof computer science UJF) • Stefanie Hahmann (Prof applied-math, Ensimag / INPG) • Jean-Claude Léon (Prof mechanics, Ense3/ INPG) • Olivier Palombi (Prof in anatomy ,UJF) • Damien Rohmer (MdC CPE Lyon) • RémiRonfard(CR1 INRIA) • 14 PhD students • 5 research engineers + 1 computer artist • Administrative assistants : Catherine Bessière (INRIA), Florence Polge (ERC)

  3. Intuitive Modeling and Animation for Interactive Graphics & Narrative Environments Major Issue : demand for more and more complex scenes • Armies of Computer Artists during several years? • Or automatic creation … with little control ?? Scientific focus: Creation tools for animated virtual worlds • Applications to films & games, engineering, other sciences, general public

  4. Creation of Virtual WorldsPractice in the film industry Best research results quickly available but… • Artists do as much as they can WITHOUT computers Shape, motion, stories are drafted on paper, clay, etc. Design stages Digital stages [Pixar, « Geri’s game »]

  5. Creation of Virtual WorldsPractice in the industry Standard software • Direct editing of DoF • (NURBS, subdivision) • Years of training • Spoils creativity! Grand challenge? “Make tools as transparent to the artists as special effects were made transparent to the public!” [Rob Cook, Technical director Pixar, 2009]

  6. Motion Shape Story Making tools transparent ?Methodology User-centeredperspective on shapes & motion • High-level models embedding a priori knowledge • Generate details from minimal user input • Advanced transfer and editing tools Creating interactive virtual prototypes • Designing & experimenting in the same system • Natural interaction gestures • Real-time response Long term Vision “Magic pen” to seamlessly create shapes, motions & stories

  7. Applications Interactive virtual prototyping, various domains • Civil & mechanical engineering • Natural sciences • Virtual anatomy: ontology, 3D modeling & animation • Plants: high level representations for plants geometry • Art, communication & education • Interactive tools for education • Design tools for artist and the public • Theater: virtual staging & rehearsals • Films & games • Real-time, plausible clothing • Virtual cinematography & film editing

  8. Four scientific axes • High-level models for shapes • In charge: Stefanie Hahmann • Models for real-time motion synthesis • In charge: François Faure • Knowledge-based models for narrative design • In charge: RémiRonfard • Creating and interacting with virtual prototypes • In charge: Jean-Claude Léon

  9. New Results 2012 • First image of a flat torus [@Rohmer] • The Visual Computer: • FFD for GPU [Hahmann, Bonneau, Barbier, Elber, Hagen 2012] • ProceduralGeneration of Villages on Arbitrary Terrains • [Emilien, Bernhardt, Peytavie, Cani, Galin 2012]

  10. Shapes 2012-2013Design Preserving Garment Transfer • [BrouetShefferBoissieuxCani • SIGGRAPH 2012]

  11. Shapes 2012-2013 (ANR Romma)Computing interfaces in assemblies • [Jourdes, Bonneau, Hahamnn, Faure, Léon, SPM/CAD 2013]

  12. Shapes 2012-2013Analyse: morphologie et graphe de construction • Analyse morphologique pour l’idéalisation d’objets [F. Boussuge, J-C Léon, S. Hahmann, L. Fine, Idealized models for FEA derived fromgenerative modeling processes based on extrusion primitives, soumission Meshing RoundTable]

  13. Shapes 2012-2013Analyse: morphologie et graphe de construction • Construction non triviale d’objets à partir de primitives d’extrusion. (F. Boussuge, J-C Léon, S. Hahmann, L. Fine, Extraction of generative processes from B-Rep shapes and application to idealization transformations, acceptation conditionnelle SPM 13)

  14. Animation 2012-2013Adaptive Image-based Intersection Volume • Adaptive Image-based Intersection Volume • [B. WANG, F. FAURE, D. K. PAI] SIGGRAPH 2012

  15. Animation 2012-2013Implicitskinning • Real-Time skinningwith Contact Modeling • [Vaillant, Barthe, Guennebaud, Cani, Rohmer, • Wyvill, Gourmel, Paulin] • SIGGRAPH 2013

  16. Implicitskinning

  17. Narrative design 2012-2013Detecting and namingactors in movies • View-independent model of actor’sappearances (color) fromexamples • Compared to generic detectors, 20 % better in recall, sameprecision • Alsouseful for live performances[Gandhi Ronfard CVPR 2013]

  18. Narrative design 2012-2013The Prose Storyboard Language • A Tool for Annotating and Directing Movies. • Pseudo-naturallanguage description of movieshots • for controled annotation of real movies & intuitive camera control in 3D animation. [Intelligent Cinematography and Editing W, Ronfard, Gandhi Boiron 2013]

  19. Creation & Interaction 2012-2013Understanding Table-top Interaction • Understanding Hand Degrees of Freedom and Natural Gestures for 3D Interaction on Tabletop • [Brouet, Blanch, Cani, Interact 2013]

  20. Hand Navigator 2012-2013Partnership Inria – Haption • Nouveau périphérique haptique pour la saisie réaliste d’objets

  21. Creation & Interaction 2013Mutable elastic models for sculpting structured shapes • Clay-likescultping! • [Milliez, Wand, Cani, • EUROGRAPHICS 2013]

  22. SiggraphAsia 2013Line of action • Expressive character posing • [Guay, Cani, Ronfard, SiggraphAsia 2013]

  23. SiggraphAsia 2013Anatomy Transfer • [Dicko, Faure, Gilles, Palombi, Kavan, Cani • SiggraphAsia 2013]

  24. Soumissions TOG 2013Sketching folds • [Jung, Hahmann, Rohmer, Begault, Boissieux, Cani, submitted for publication 2013]

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