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The continuous development of virtual reality animation has brought people a new viewing experience. However, there is still a large research space for the construction of virtual scenes. Underwater scenes are complex and diverse, and to obtain more realistic virtual scenes, it is necessary to use video panoramic images as reference modeling in advance. To this end, the study uses the $K$-means clustering method to extract key frames from underwater video, and adaptively adjusts the number of clusters to improve the extraction algorithm according to the differences in features. To address the problems of low contrast and severe blurring in underwater images, the study uses an improved non-local a priori recovery method to achieve the recovery process of underwater images. Finally, the final underwater panoramic image is obtained by fading-out image fusion and frame to stitching image synthesis strategy. The experimental analysis shows that the runtime of Model 1 is 21.46s, the root mean square error value is 1.89, the structural similarity value is 0.9678, and the average gradient value is 12.59. It can achieve efficient and high-quality panoramic image generation.

This paper presents a novel approach to quadrangulate a sequence of meshes with global optimization method, generating consistent quad meshes expressing global topological and geometric characteristics during animation. The key contribution is that our method first proposes a grouping strategy to extract the geometric and topological features of the sequence in animation quadrangulation. Animation sequence is firstly divided into groups through picked key frames. Then analyze the local deformation of each group and detect the surface feature for each reference frame, inducing a set of hard and soft constraints for each key frame of every subgroup, next smooth the cross field of each reference frame and combine them through singularities for the whole sequence, finally compute a field guided global parametrization and quad meshes extraction with an off-the-shelf method. It is effective and easy to implement, and experiment results and comparisons show that our method achieves better quality.

Visual illusion is the fallacious perception of reality or some actually existing object. In this paper, we imitate the mechanism of Ehrenstein illusion, neon color spreading illusion, watercolor illusion, Kanizsa illusion, shifted edges illusion, and hybrid image illusion using the Open Source Computer Vision Library (OpenCV). We also imitate these illusions using Cellular Neural Networks (CNNs). These imitations suggest that some illusions are processed by high-level brain functions. We next apply the morphological gradient operation to anomalous motion illusions. The processed images are classified into two kinds of images, which correspond to the central drift illusion and the peripheral drift illusion, respectively. It demonstrates that the contrast of the colors plays an important role in the anomalous motion illusion. We also imitate the anomalous motion illusions using both OpenCV and CNN. These imitations suggest that some visual illusions may be processed by the illusory movement of animations.

Achieving confidence in the correctness, completeness and consistency of requirements specifications can be problematic and the consequences of incorrect requirements can be costly. In this paper we argue that specification and animation can provide reasonably high levels of assurance in the requirements without the overheads of using general purpose theorem proving tools. We propose a framework based on mode analysis and the operational semantics of logic programs for animating specifications. The framework allows us to combine prototyping and limited forms of automated deduction to increase our levels of confidence in specifications. Finally, we show how such a framework can be used to increase the level of confidence in the correctness of a simple dependency management system specification written in Z.

Declarative definition of multimedia presentation such as provided by SMIL standard can be considered as the most significant advance in the multimedia integration domain. However, the requirements of a model that could express richer scenarios for presentations are always a challenge. The work presented here proposes an extended model based on the concept of structured media and sub-elements that allows a finer granularity and a more semantic specification of significant events and locations inside media fragments. The new media fragments can be composed in multimedia scenarios through the specification of temporal, spatial and spatio-temporal relations. Moreover, we propose an abstract animation model that can be combined with the intra-media temporal structuration to specify animation effects in a flexible, not redundant and easy to maintain way. The underlying model is the Madeus model that is a flexible model based on the structural, interval, region and relative constraints. This paper describes the sub-element and the abstract animation models and shows how they are implemented in the Madeus multimedia framework. A complete schema of the video authoring tool based on this model is also specified. Thanks to that, the fine-grained authoring of multimedia scenarios with video media can be done in an easy and effective way.

This work considers the problem of metamorphosis interpolation between two freeform planar curves. Given two planar parametric curves, the curvature signature of the two curves is linearly blended, yielding a gradual change that is not only smooth but also employs intrinsic curvature shape properties, and hence is highly appealing. In order to be able to employ this curvature blending, we present a constructive scheme to derive curvature signatures of parameter curves. Additionally, we propose a scheme to reconstruct a curve from its curvature signature.

The Dutch graphic artist Escher was very much interested in plane symmetry. He was fascinated by the problem of infinity and the representation of infinity on a sheet of paper. An exchange of ideas with Coxeter was the origin of the series of works called "Circle Limit". This article also describes the animation technique, which by adding time and movement to the images of Escher try to contribute to Escher's dream of reaching infinity.

Despite modern game systems adopting motion matching to retrieve an appropriate short motion clip from a database in real-time, existing methods struggle to support complex gaming scenes due to their inability to adapt live the motion retrieval based on the context. This paper presents the design and implementation of a context-aware character animation system, synthesizing realistic animations suitable for complex game scenes from a large-scale motion database. This system, called dynamic motion matching (DyMM), enables geometry and objects aware motion synthesis by introducing a two-phase context computation: an offline subspace decomposition of motion clips for creating a set of retrieval sub-spaces tailored to specific contexts and a subspace ensemble matching to compare relevant sub-features to determine the most appropriate motion clip. We also show the system architecture and implementation details applicable to a production-grade game engine. We verified the effectiveness of our method with industry-level motion data captured by professional game artists for multiple configurations and character controllers. The results of this study show that, by finding motion clips that comply well with the scene context, one can leverage large motion capture datasets to create practical systems that generate believable and controllable animations for games.

In animated works, visual elements with terrifying functions are used widely. These terrifying elements not only serve the theme of terror, but are also used to convey non-terrified emotions and other themes. For example, The Skeleton Dance, Coco and Tim Burton’s Corpse Bride. The same symbol of terror, if handled in different ways, can give the audience different feelings. Taking the image of skeleton as an example, this paper discusses how this terrifying factor brings viewers different visual perceptions when dealt with differently. As for the visual perceptions generated by terrifying elements in animations, we intend to discuss how images of terror are treated in a non-terror oriented way.

With the development of policies and markets, Chinese animation has transferred from a single film and television market to an interactive space in new media. This is a space containing multiple entities, such as artists, investors, governments, and subcultures, that is, what Bourdieu called “field”. Context reflects the rules of the field in discourse activities. So we adopted discourse analysis as a method to investigate animation and related fields, focusing on discourse activities. We collected discourse data by verbal questionnaires and in-depth interviews, searching established topics, evaluation methods, terminology and diversified interests in the context of discourse about animation. The goal is to set up common and stable discourse model and efficient interaction mechanism among subjects in the field. The conclusion benefits commercialization and diversify creation of animated products.

In this paper, we give a survey of our own software for differential geometry and its extensions [5, 1, 2, 3, 4]. Furthermore we deal with a few applications to represent some interesting classical results in differential geometry. Originally the software was aimed to support teaching by visualizing the results from differential geometry. But it also has applications in research and the engineering sciences. The software is open, that is, its source files are available to its users. Hence it can be extended. It uses OOP, and its programming language is PASCAL.

This paper describe CAILS, an experimental Computer Assisted Iconic Language System which deals with three specific areas in communication: Cross-linguistic, visual/spatial concept representation and visual educational technique. Designed for interpersonal communication, this system functions with generally comprehensible visual referents. Each area has some specific syntax which is clear and easy to learn. CAILS takes advantage of visual memory of the user. The basic idea of this system is that an individual can, using basic visual references, compose a message, represent a concept and teach a rule. The specificity of the images eliminates ambiguity. For convenience, we classified visual references or «words» in the following categories: Hands, Movements, Expression, and Pictures.

When properly use, CAILS produce « iconic message objects» which may be presented to the intended recipient

A new adaptive homotopy modeling is described for 3D skeleton-based key frame animation. Using the homotopy model that constructs object surfaces from their cross-sectional contours and Reeb graphs, an animator can develop a motion sequence by editing the graphs and contours of the objects. The Reeb graph is a skeletal abstraction of an object providing topological information while the contour provides surface information. It is converted to a set of articulated Reeb graphs in order to satisfy the height function restriction when they are transformed. A user interface which allows interactive and predictable editing of the Reeb graphs and contours, denning of key frames, reconstructing the objects and then animating the objects is also presented.