Important information regarding the recent AMS power outage.

The transformer that provides electricity to the AMS building in Providence went down on Sunday, April 22. The restoration of our email, website, AMS Bookstore and other systems is almost complete. We are currently running on a generator but overnight a new transformer should be hooked up and (fingers crossed) we should be fine by 8:00 (EDT) Wednesday morning. This issue has affected selected phones, which should be repaired by the end of today. No email was lost, although the accumulated messages are only just now being delivered so you should expect some delay.

Thanks for your patience.


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Math Goes to the Movies
Friday April 16th 2010

Penny
All hairs are simulated in this hybrid volumetric/geometric collision algorithm developed by two of the authors, Aleka McAdams and Joseph Teran (together with additional co-authors).
Credit: © Disney Enterprises, Inc.

Providence, RI--- Whether it's an exploding fireball in "Star Wars: Episode 3", a swirling maelstrom in "Pirates of the Caribbean: At World's End", or beguiling rats turning out gourmet food in "Ratatouille", computer-generated effects have opened a whole new world of enchantment in cinema. All such effects are ultimately grounded in mathematics, which provides a critical translation from the physical world to computer simulations. (Image © Disney Enterprises, Inc.)

The use of mathematics in cinematic special effects is described in the article "Crashing Waves, Awesome Explosions, Turbulent Smoke, and Beyond: Applied Mathematics and Scientific Computing in the Visual Effects Industry", which appears in the May 2010 issue of the Notices of the AMS. The article was written by three University of California, Los Angeles, mathematicians who have made significant contributions to research in this area: Aleka McAdams, Stanley Osher, and Joseph Teran.

Mathematics provides the language for expressing physical phenomena and their interactions, often in the form of partial differential equations. These equations are usually too complex to be solved exactly, so mathematicians have developed numerical methods and algorithms that can be implemented on computers to obtain approximate solutions. The kinds of approximations needed to, for example, simulate a firestorm, were in the past computationally intractable. With faster computing equipment and more-efficient architectures, such simulations are feasible today---and they drive many of the most spectacular feats in the visual effects industry.

Another motivation for development in this area of research is the need to provide a high level of controllability in the outcome of a simulation in order to fulfill the artistic vision of scenes. To this end, special effects simulation tools, while physically based, must be able to be dynamically controlled in an intuitive manner in order to ensure believability and the quality of the effect.

The area of computational fluid dynamics (CFD) provides many of the tools used in simulations of phenomena such as smoke, fire, and water. Before the use of CFD, computer-generated special effects such as explosions were driven by force fields applied to passive unconnected particles, a method that produced rather unrealistic results. Today, a combination of improved hardware and faster algorithms for CFD models have made such special effects much more realistic. CFD has also been used, unsurprisingly, to simulate water-based phenomena; in fact, such water simulation techniques were recognized by an Academy Award for Technical Achievement for the mathematician/computer scientist Ronald Fedkiw of Stanford University.

HairMathematics also plays a key role in computer-generated animations of all kinds of solids, from animated characters to cityscapes. Virtually every computer-generated solid has an explicit mathematical representation as a meshed surface or volume. Flesh simulations can endow computer-generated characters with realistically bulging muscles and rippling fat. Hair simulation provides a realistic way to depict the highly complex phenomenon of thousands of hairs interacting and colliding. The article describes recent work by the the first and third authors that provides a new technique for hair simulation. (Image © Disney Enterprises, Inc.)

The effects industry is emerging as an exciting new frontier for mathematicians, one that uniquely combines mathematical insights with the art of moviemaking.

The article by McAdams, Osher, and Teran is freely available on the Notices web site

Images: © Disney Enterprises, Inc.  In the top image, all hairs are simulated in this hybrid volumetric/geometric collision algorithm developed by two of the article authors, Aleka McAdams and Joseph Teran (together with additional co-authors). In the second image, Penny's hair from "Bolt" is simulated using a clumping technique. Only a few hundred hairs were simulated, and the rest are added at render time.

Founded in 1888 to further mathematical research and scholarship, today the American Mathematical Society has more than 30,000 members. The Society fulfills its mission through programs and services that promote mathematical research and its uses, strengthen mathematical education, and foster awareness and appreciation of mathematics and its connections to other disciplines and to everyday life.

Contacts: Mike Breen and Annette Emerson
Public Awareness Officers, American Mathematical Society
Email: paoffice@ams.org

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