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This study proposes a novel machine learning (ML) methodology for the efficient and cost-effective prediction of high-fidelity three-dimensional velocity fields in the wake of utility-scale turbines. The model consists of an auto-encoder convolutional neural network with U-Net skipped connections, fine-tuned using high-fidelity data from large-eddy simulations (LES). The trained model takes the low-fidelity velocity field cost-effectively generated from the analytical engineering wake model as input and produces the high-fidelity velocity fields. The accuracy of the proposed ML model is demonstrated in a utility-scale wind farm for which datasets of wake flow fields were previously generated using LES under various wind speeds, wind directions, and yaw angles. Comparing the ML model results with those of LES, the ML model was shown to reduce the error in the prediction from 20% obtained from the GCH model to less than 5%. In addition, the ML model captured the non-symmetric wake deflection observed for opposing yaw angles for wake steering cases, demonstrating a greater accuracy than the GCH model. The computational cost of the ML model is on par with that of the analytical wake model while generating numerical outcomes nearly as accurate as those of the high-fidelity LES.

The Coronavirus disease outbreak of 2019 has been causing significant loss of life and unprecedented economical loss throughout the world. Social distancing and face masks are widely recommended around the globe in order to protect others and prevent the spread of the virus through breathing, coughing, and sneezing. To expand the scientific underpinnings of such recommendations, we carry out high-fidelity computational fluid dynamics simulations of unprecedented resolution and realism to elucidate the underlying physics of saliva particulate transport during human cough with and without facial masks. Our simulations: (a) are carried out under both a stagnant ambient flow (indoor) and a mild unidirectional breeze (outdoor); (b) incorporate the effect of human anatomy on the flow; (c) account for both medical and non-medical grade masks; and (d) consider a wide spectrum of particulate sizes, ranging from 10 micro m to 300 micro m. We show that during indoor coughing some saliva particulates could travel up to 0.48 m, 0.73 m, and 2.62 m for the cases with medical-grade, non-medical grade, and without facial masks, respectively. Thus, in indoor environments either medical or non-medical grade facial masks can successfully limit the spreading of saliva particulates to others. Under outdoor conditions with a unidirectional mild breeze, however, leakage flow through the mask can cause saliva particulates to be entrained into the energetic shear layers around the body and transported very fast at large distances by the turbulent flow, thus, limiting the effectiveness of facial masks.

Game level editing is the process of constructing a full game level starting from 3D asset libraries, e.g. 3d models, textures, shaders, scripts. In level editing, designers define the look and behavior of the whole level by placing objects, assigning materials and lighting parameters, setting animations and physics properties and customizing the objects AI and behavior by editing scripts. The heterogeneity of the task usually translates to a workflow where a team of people, experts on separate aspects, cooperate to edit the game level, often working on the same objects (e.g.: a programmer working on the AI of a character, while an artist works on its 3D model or its materials). Today this collaboration is established by using version control systems designed for text documents, such as Git, to manage different versions and share them amongst users. The merge algorithms used in these systems though does not perform well in our case since it does not respect the relations between game objects necessary to maintain the semantic of the game level behavior and look. This is a known problem and commercial systems for game level merging exists, e.g. PlasticSCM, but these are only slightly more robust than text-based ones. This causes designers to often merge scenes manually, essentially reapplying others edits in the game level editor., Comment: 8 pages, 6 figures

Targeted user studies are often employed to measure how well artists can perform specific tasks. But these studies cannot properly describe editing workflows as wholes, since they guide the artists both by choosing the tasks and by using simplified interfaces. In this paper, we investigate digital sculpting workflows used to produce detailed models. In our experiment design, artists can choose freely what and how to model. We recover whole-workflow trends with sophisticated statistical analyzes and validate these trends with goodness-of-fits measures. We record brush strokes and mesh snapshots by instrumenting a sculpting program and analyze the distribution of these properties and their spatial and temporal characteristics. We hired expert artists that can produce relatively sophisticated models in short time, since their workflows are representative of best practices. We analyze 13 meshes corresponding to roughly 25 thousand strokes in total. We found that artists work mainly with short strokes, with average stroke length dependent on model features rather than the artist itself. Temporally, artists do not work coarse-to-fine but rather in bursts. Spatially, artists focus on some selected regions by dedicating different amounts of edits and by applying different techniques. Spatio-temporally, artists return to work on the same area multiple times without any apparent periodicity. We release the entire dataset and all code used for the analyzes as reference for the community., Comment: 9 pages, 8 figures