Quality Measurements on Quantised Meshes

In computer graphics, triangle mesh has emerged as the ubiquitous shape rep- resentation for 3D modelling and visualisation applications. Triangle meshes, often undergo compression by specialised algorithms for the purposes of storage and trans- mission. During the compression processes, the coordinates of the vertices of the triangle meshes are quantised using fixed-point arithmetic. Potentially, that can alter the visual quality of the 3D model. Indeed, if the number of bits per vertex coordinate is too low, the mesh will be deemed by the user as visually too coarse as quantisation artifacts will become perceptible. Therefore, there is the need for the development of quality metrics that will enable us to predict the visual appearance of a triangle mesh at a given level of vertex coordinate quantisation

3D digital relief generation.

This thesis investigates a framework for generating reliefs. Relief is a special kind of sculptured artwork consisting of shapes carved on a surface so as to stand out from the surrounding background. Traditional relief creation is done by hand and is therefore a laborious process. In addition, hand-made reliefs are hard to modify. Contrasted with this, digital relief can offer more flexibility as well as a less laborious alternative and can be easily adjusted. This thesis reviews existing work and offers a framework to tackle the problem of generating three types of reliefs: bas reliefs, high reliefs and sunken reliefs. Considerably enhanced by incorporating gradient operations, an efficient bas relief generation method has been proposed, based on 2D images. An improvement of bas relief and high relief generation method based on 3D models has been provided as well, that employs mesh representation to process the model. This thesis is innovative in describing and evaluating sunken relief generation techniques. Two types of sunken reliefs have been generated: one is created with pure engraved lines, and the other is generated with smooth height transition between lines. The latter one is more complex to implement, and includes three elements: a line drawing image provides a input for contour lines; a rendered Lambertian image shares the same light direction of the relief and sets the visual cues and a depth image conveys the height information. These three elements have been combined to generate final sunken reliefs. It is the first time in computer graphics that a method for digital sunken relief generation has been proposed. The main contribution of this thesis is to have proposed a systematic framework to generate all three types of reliefs. Results of this work can potentially provide references for craftsman, and this work could be beneficial for relief creation in the fields of both entertainment and manufacturing

Watermarked 3D Object Quality Assessment

This work concerns the developing of new perceptual metrics for 3D watermarking quality assessment. Any water- marking algorithm, to be effective, requires that the distortions is inevitably introduces into the watermarked media is imperceptible. This requirements is particularly severe for watermarking of 3D objects where the visual quality of the original model has to be preserved, i.e. the visual aspect of the watermarked object have to be the same of the original one. Several methods based on the knowledge of Human Visual System (HVS) have been developed to achieve this goal for still images and video watermarking. Since now, no similar techniques for watermarking of 3D objects exist. Here, we propose a novel experimental methodology for subjective evaluations of 3D objects and two perceptual metrics for quality assessment of watermarked 3D objects. Such metrics have been developed combining roughness estimation of model surface with psychophysical data collected by subjective experiments based on the proposed methodology. The performances of the proposed metrics are deeply analyzed

Designing aesthetically pleasing freeform surfaces in a computer environment

Thesis (Ph. D.)--Massachusetts Institute of Technology, Dept. of Architecture, February 2001.Includes bibliographical references (p. 151-160).Statement: If computational tools are to be employed in the aesthetic design of freeform surfaces, these tools must better reflect the ways in which creative designers conceive of and develop such shapes. In this thesis, I studied the design of aesthetically constrained freeform surfaces in architecture and industrial design, formulated a requirements list for a computational system that would aid in the creative design of such surfaces, and implemented a subset of the tools that would comprise such a system. This work documents the clay modeling process at BMW AG., Munich. The study of that process has led to a list of tools that would make freeform surface modeling possible in a computer environment. And finally, three tools from this system specification have been developed into a proof-of-concept system. Two of these tools are sweep modification tools and the third allows a user to modify a surface by sketching a shading pattern desired for the surface. The proof-of-concept tools were necessary in order to test the validity of the tools being presented and they have been used to create a number of example objects. The underlying surface representation is a variational expression which is minimized using the finite element method over an irregular triangulated mesh.by Evan P. Smyth.Ph.D

Sparse Volumetric Deformation

Volume rendering is becoming increasingly popular as applications require realistic solid shape representations with seamless texture mapping and accurate filtering. However rendering sparse volumetric data is difficult because of the limited memory and processing capabilities of current hardware. To address these limitations, the volumetric information can be stored at progressive resolutions in the hierarchical branches of a tree structure, and sampled according to the region of interest. This means that only a partial region of the full dataset is processed, and therefore massive volumetric scenes can be rendered efficiently. The problem with this approach is that it currently only supports static scenes. This is because it is difficult to accurately deform massive amounts of volume elements and reconstruct the scene hierarchy in real-time. Another problem is that deformation operations distort the shape where more than one volume element tries to occupy the same location, and similarly gaps occur where deformation stretches the elements further than one discrete location. It is also challenging to efficiently support sophisticated deformations at hierarchical resolutions, such as character skinning or physically based animation. These types of deformation are expensive and require a control structure (for example a cage or skeleton) that maps to a set of features to accelerate the deformation process. The problems with this technique are that the varying volume hierarchy reflects different feature sizes, and manipulating the features at the original resolution is too expensive; therefore the control structure must also hierarchically capture features according to the varying volumetric resolution. This thesis investigates the area of deforming and rendering massive amounts of dynamic volumetric content. The proposed approach efficiently deforms hierarchical volume elements without introducing artifacts and supports both ray casting and rasterization renderers. This enables light transport to be modeled both accurately and efficiently with applications in the fields of real-time rendering and computer animation. Sophisticated volumetric deformation, including character animation, is also supported in real-time. This is achieved by automatically generating a control skeleton which is mapped to the varying feature resolution of the volume hierarchy. The output deformations are demonstrated in massive dynamic volumetric scenes