Object-oriented software for quadratic programming
ACM Transactions on Mathematical Software (TOMS)
Keyframe control of smoke simulations
ACM SIGGRAPH 2003 Papers
ACM SIGGRAPH 2004 Papers
Fluid control using the adjoint method
ACM SIGGRAPH 2004 Papers
Directable photorealistic liquids
SCA '04 Proceedings of the 2004 ACM SIGGRAPH/Eurographics symposium on Computer animation
Animation and control of breaking waves
SCA '04 Proceedings of the 2004 ACM SIGGRAPH/Eurographics symposium on Computer animation
Controllable smoke animation with guiding objects
ACM Transactions on Graphics (TOG)
Controlling fluid animation with geometric potential: Research Articles
Computer Animation and Virtual Worlds - Special Issue: The Very Best Papers from CASA 2004
Taming liquids for rapidly changing targets
Proceedings of the 2005 ACM SIGGRAPH/Eurographics symposium on Computer animation
Detail-preserving fluid control
Proceedings of the 2006 ACM SIGGRAPH/Eurographics symposium on Computer animation
Fluid Simulation
Guiding of smoke animations through variational coupling of simulations at different resolutions
Proceedings of the 2009 ACM SIGGRAPH/Eurographics Symposium on Computer Animation
A PML-based nonreflective boundary for free surface fluid animation
ACM Transactions on Graphics (TOG)
Guide shapes for high resolution naturalistic liquid simulation
ACM SIGGRAPH 2011 papers
Preview-based sampling for controlling gaseous simulations
SCA '11 Proceedings of the 2011 ACM SIGGRAPH/Eurographics Symposium on Computer Animation
ACM SIGGRAPH 2011 Talks
Determining scale and sea state from water video
IEEE Transactions on Image Processing
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Computer animated ocean waves for feature films are typically carefully choreographed to match the vision of the director and to support the telling of the story. The rough shape of these waves is established in the previsualization (previs) stage, where artists use a variety of modeling tools with fast feedback to obtain the desired look. This poses a challenge to the effects artists who must subsequently match the locked-down look of the previs waves with high-quality simulated or synthesized waves, adding the detail necessary for the final shot. We propose a set of automated techniques for synthesizing Fourier-based ocean waves that match a previs input, allowing artists to quickly enhance the input wave animation with additional higher-frequency detail that moves consistently with the coarse waves, tweak the wave shapes to flatten troughs and sharpen peaks if desired (as is characteristic of deep water waves), and compute a physically reasonable velocity field of the water analytically. These properties are demonstrated with several examples, including a previs scene from a visual effects production environment.