Automatic 2.5D Cartoon Modelling

Automatic 2.5D Cartoon Modelling Fengqi An School of Computer Science and Engineering University of New South Wales A dissertation submitted for the degree of Master of Science 2012 PLEASE TYPE THE UNIVERSITY OF NEW SOUTH WALES T hesis!Dissertation Sheet Surname or Family name. AN First namEY. Fengqi Orner namels: Zane Abbreviatlo(1 for degree as given in the University calendar: MSc School: Computer Science & Engineering Faculty: Engineering Title; Automatic 2.50 Cartoon Modelling Abstract 350 words maximum: (PLEASE TYPE) Declarat ion relating to disposition of project thesis/dissertation I hereby grant to the University of New South Wales or its agents the right to archive and to make available my thesis or dissertation in whole orin part in the University libraries in all forms of media, now or here after known, subject to the provisions of the Copyright Act 1968. I retain all property rights, such as patent rights. I also retain the right to use in future works (such as articles or books) all or part of thts thesis or dissertation. I also authorise University Microfilms to use the 350 word abstract of my thesis in Dissertation· Abstracts International (this is applicable to-doctoral theses only) .. ... .............. ~..... ............... 24 I 09 I 2012 Signature · · ·· ·· ·· ···· · ··· ·· ~ ··· · ·· ··· ···· Date The University recognises that there may be exceptional circumstances requiring restrictions on copying or conditions on use. Requests for restriction for a period of up to 2 years must be made in writi'ng. Requests for a longer period of restriction may be considered in exceptional e<ircumstances and require the approval of the Dean of Graduate Research, FOR OFFICE USE ONLY Date of completion of requirements for Award: THIS SHEET IS TO BE GLUED TO THE INSIDE FRONT COVER OF THE THESIS ii ORIGINALITY STATEMENT 'I hereby declare that this submrssion is my own work and to the best of my knowledge it contains no materials previously published or written by another person, or substantial proportions of material which have been accepted for the award of any other degree or diploma at UNSW or any other educational institution, except where due acknowledgement is made in the thesis. Any contribution made to the research by others, with whom I have worked at UNSW or elsewhere, is explicitly acknowledged in the thesis. I also declare that the intellectual content of this thesis is the product of my own work, except to the extent that assistance from others in the project's aesign and conception or in style, presentation and linguistic expression is acknowledged.' Signed ·················~················ · ·· · ···· Date 24/09 I 2012 COPYRIGHT STATEMENT 'I hereby grant the University of New South Wales or its agents the right to archive and to make available my thesis or dissertation in whole or part in the University libraries in all forms of media, now or here after known, subject to the provisions of the Copyright Act 1968. I retain all proprietary rights, such as patent rights. I also retain the right to use in future works (such as articles or books) all or part of this thesis or dissertation. I also authorise University Microfilms to use the 350 word abstract of my thesis in Dissertation Abstract International (this is applicable to doctoral theses only). I have either used no substantial portions of copyright material in my thesis or I have obtained permission to use copyright material; where permission has not been granted I have applied/Will apply for a partial restriction of the digital copy of my thesis or dissertation.' Signed ············· · ···~············ · ··················· ·· ··· Date 24109 I 2012 AUTHENTICITY STATEMENT 1 1 certify that the Library deposit digital copy is a direct equivalent of the final officially approved version of my thesis. No emendation of content has occurred and if there are any minor variations in formatting, they are the result of the conversion to digital format.' Sighed · ·············~··············· · ··· ·· · · ·· · ··· · ·· ···· ··· 24 I 0912012 Date iii Abstract Non-photorealistic arts have been an invaluable form of media for over tens of thousands of years, and are widely used in animation and games today, motivating research into this field. Recently, the novel 2.5D Model has emerged, targetting the limitations of both 2D and 3D forms of cartoons. The most recent development is the 2.5D Cartoon Model. The manual building process of such models is labour intensive, and no automatic building method for 2.5D models exists currently. This dissertation proposes a novel approach to the problem of automatic creation of 2.5D Cartoon Models, termed Auto-2CM in this thesis, which is the first attempt of a solution to the problem. The proposed approach aims to build 2.5D models from real world objects. Auto-2CM collects 3D information on the candidate object using 3D reconstruction methods from Computer Vision, then partitions it into meaningful parts using segmentation methods from Computer Graphics. A novel 3D-2.5D conversion method is introduced to create the final 2.5D model, which is the first method for 3D-2.5D conversion. The Auto-2CM framework does not mandate specific algorithms of reconstruction or segmentation, therefore different algorithms may be used for different kinds of objects. The effect of different algorithms on the final 2.5D model is currently unknown. A perceptual evaluation of Auto-2CM is performed, which shows that by using different combinations of algorithms within Auto- 2CM for specific kinds of objects, the performance of the system maybe increased significantly. The approach can produce acceptable models for both manual sketches and direct use. It is also the first experimental study of the problem. iv v Acknowledgements Of the many people who deserve thanks, some are particularly prominent: My supervisors, Prof. Arcot Sowmya and Dr. Xiongcai Cai, for their advice, guidance and support. This thesis would not have been possible without their selfless contribution. My parents, Shuli Zhan and Yuli An, for their support and understanding. The thanks and appreciation I owe to them cannot be described by any words. My fellow students in the group, Roger Chen, for his selfless help during my study; Dimitri Semenovich and Anuraag Sridhar, for their guidance and help as seniors. Shy Shalom, co-author of SDF, and Alec Rivers, co-author of 2.5D Cartoon Models, for their patience in answering questions and for helpful discussions. vi Contents 1. Introduction 3 1.1. Cartoon, Model and Modelling ........................ 4 1.2. 2D,3D and 2.5D ................................ 4 1.2.1. 2D ................................... 4 1.2.2. 3D ................................... 5 1.2.3. 2.5D .................................. 5 1.3. Artists at Work ................................ 6 1.3.1. 2D programs and devices ....................... 7 1.3.2. Automatic 2D generation ....................... 7 1.3.3. 3D programs and devices ....................... 8 1.3.4. Automatic 3D modelling ....................... 8 1.3.5. 2.5D programs ............................ 9 1.4. Motivation ................................... 9 1.5. Overview .................................... 10 1.6. Scope ..................................... 11 1.7. Contribution .................................. 11 1.8. Organization ................................. 12 2. Background and Literature Survey 13 2.1. Cartoons .................................... 14 2.1.1. History ................................. 14 2.1.2. Modern Cartoons ........................... 16 2.1.3. The 2D-3D argument ......................... 17 2.2. Early 2.5D Cartoons ............................. 17 2.2.1. Automatic In-betweening for Animation . 18 2.2.2. Drawing for Illustration and Annotation in 3D . 19 vii viii Contents 2.3. The 2.5D Cartoon Models .......................... 20 2.3.1. Advantages .............................. 20 2.3.2. Limitations .............................. 21 2.3.3. The Manual Creation Process .................... 23 2.4. 3D Reconstruction .............................. 24 2.4.1. Feature Detection, Stereo Matching and Visual Hull . 24 2.4.2. Image-Based 3D Reconstruction ................... 26 2.5. 3D Segmentation ............................... 27 2.5.1. Manual 3D Segmentation ....................... 27 2.5.2. Automatic 3D Segmentation ..................... 27 2.5.3. Shape Diameter Function ...................... 28 2.5.4. Fitting Primitives ........................... 29 2.5.5. Protrusion-oriented Segmentation . 29 2.6. 3D Projection ................................. 30 2.7. Summary ................................... 31 3. Automatic 2.5D Cartoon Modelling 33 3.1. 3D Reconstruction .............................. 34 3.2. 3D Segmentation ............................... 35 3.3. 2.5D Stroke Creation ............................. 38 3.3.1. Parts Refinement ........................... 38 3.3.2. Shape extraction ........................... 39 3.3.3. Stroke Control Points Creation ................... 40 3.3.4. Other Attributes ........................... 41 3.4. 2.5D Model Assembly ............................. 42 3.4.1. Key-View Selection .......................... 42 3.4.2. Single Part Assembly ......................... 43 3.4.3. Model Assembly ........................... 43 3.5. Manual Modifications ............................. 44 3.5.1. Stylistic Strokes Modification .................... 45 3.5.2. Colouring ............................... 45 3.6. Algorithm ................................... 47 3.7. Experiments and Results

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