Physics forms the basis for many of the motions and behaviors seen in both the real world and in the virtual worlds of animated films, visual effects, and computer games. By describing the underlying physical principles and then creating simulations based on these principles, these computer-generated worlds are brought to life. Physically Based Modeling and Animation goes behind the scenes of computer animation and details the mathematical and algorithmic foundations that are used to determine the behavior underlying the movement of virtual objects and materials. Dr. Donald House and Dr. John Keyser offer an approachable, hands-on view of the equations and programming that form the foundations of this field. They guide readers from the beginnings of modeling and simulation to more advanced techniques, enabling them to master what they need to know in order to understand and create their own animations

This book is an introduction to the use of machine learning and data-driven approaches in fluid simulation and animation, as an alternative to traditional modeling techniques based on partial differential equations and numerical methods – and at a lower computational cost. This work starts with a brief review of computability theory, aimed to convince the reader – more specifically, researchers of more traditional areas of mathematical modeling – about the power of neural computing in fluid animations. In these initial chapters, fluid modeling through Navier-Stokes equations and numerical methods are also discussed. The following chapters explore the advantages of the neural networks approach and show the building blocks of neural networks for fluid simulation. They cover aspects related to training data, data augmentation, and testing. The volume completes with two case studies, one involving Lagrangian simulation of fluids using convolutional neural networks and the other using Generative Adversarial Networks (GANs) approaches.

This book covers the new topic of GPU computing with many applications involved, taken from diverse fields such as networking, seismology, fluid mechanics, nano-materials, data-mining , earthquakes ,mantle convection, visualization. It will show the public why GPU computing is important and easy to use. It will offer a reason why GPU computing is useful and how to implement codes in an everyday situation.

A practical introduction, the second edition of Fluid Simulation for Computer Graphics shows you how to animate fully three-dimensional incompressible flow. It covers all the aspects of fluid simulation, from the mathematics and algorithms to implementation, while making revisions and updates to reflect changes in the field since the first edition. Highlights of the Second Edition New chapters on level sets and vortex methods Emphasizes hybrid particle-voxel methods, now the industry standard approach Covers the latest algorithms and techniques, including: fluid surface reconstruction from particles; accurate, viscous free surfaces for buckling, coiling, and rotating liquids; and enhanced turbulence for smoke animation Adds new discussions on meshing, particles, and vortex methods The book changes the order of topics as they appeared in the first edition to make more sense when reading the first time through. It also contains several updates by distilling author Robert Bridson's experience in the visual effects industry to highlight the most important points in fluid simulation. It gives you an understanding of how the components of fluid simulation work as well as the tools for creating your own animations.

Once the realm of a few stalwart artists, animating with sand, clay, and wet paint is now accessible for all filmmakers with an experimental frame of mind. Created directly under the camera with frame-by-frame stopmotion, this "fluid frame animation" provides a completely unique visual world for animators. While pioneering animators such as Caroline Leaf, Alexander Petrov, and Ishu Patel paved the way, the availability of frame capture programs, compositing software and digital workflow is opening up new avenues of exploration for artists of all experience levels. This book will walk you through setting up your studio, choosing and working with your materials, and combining the physical under-the-camera production with digital compositing and effects to enhance your animation. · Firsthand advice from experimental animation veterans and rising stars in the field · Covers the digital aspects of experimental animation, including the latest techniques in After Effects CC · Tutorials and source files for under-the-camera approaches and After Effects enhancements on the book’s companion website In addition to the practical advice, you’ll find historical and contemporary examples of successful films, step-by-step tutorials for working under the camera and working with the footage digitally, and interviews and tips from artists who are currently pushing the boundaries in these experimental mediums. Stacked with information and images from over 30 artists, this book is an indispensable resource for both the student and professional wishing to get their hands dirty in an increasingly digital world.

This volume contains the research papers presented at the 12th Eurographics Workshop on Computer Animation and Simulation, Manchester, UK, September 2-3, 2001. The workshop is an international forum for research in computer-animation and simulation. This year, we choose to give a special focus on the modelling and animation of complex phenomena. This includes the modelling of virtual creature- from their body-parts to the control of their behavior, and the animation of natural phenomena such as water, smoke, fire and vegetation. The call for papers required submission of the full papers for review, and each paper was reviewed by at least 2 members of the international program committee and additional reviewers. Based on the reviews, 16 papers were accepted. We added to the final program an invited talk by Jos Stam. We wish to thank all reviewers for their time and effort in working within the rigid constraints of the tight schedule, thereby making it possible to publish this volume in time for the workshop. We also thank the authors for their contributions to the workshop, without whom this unique forum for animation and simulation work would not exist.