Interactive toon shading using mesh smoothing

Toon shading mimics the style of few colour bands and hence offers an effective way to convey the cartoon-style rendering. Despite an increasing amount of research on toon shading, little research has been reported on generation of toon shading style with more simplicity. In this paper, we present a method to create a simplified form of toon shading using mesh smoothing from 3D objects. The proposed method exploits the Laplacian smoothing to emphasise the simplicity of 3D objects. Motivated by simplified form of Phong lighting model, we create non-photorealistic style capable of enhancing the cartoonish appearance. An enhanced toon shading algorithm is applied on the simple 3D objects in order to convey more simple visual cues of tone. The experimental result reveals the ability of proposed method to produce more cartoonish simplistic effects

Painting Lighting and Viewing Effects

We present a system for painting how the appearance of an object changes under different lighting and viewing conditions. The user paints what the object should look like under different lighting conditions (dark, partially dark, fully lit, etc.) and (optionally) different viewing angles. The system renders the object under new lighting conditions and a new viewing angle by combining these paintings. We also provide a technique for constructing texture maps directly from the user’s paintings

Implementing non-photorealistic rendreing enhancements with real-time performance

We describe quality and performance enhancements, which work in real-time, to all well-known Non-photorealistic (NPR) rendering styles for use in an interactive context. These include Comic rendering, Sketch rendering, Hatching and Painterly rendering, but we also attempt and justify a widening of the established definition of what is considered NPR. In the individual Chapters, we identify typical stylistic elements of the different NPR styles. We list problems that need to be solved in order to implement the various renderers. Standard solutions available in the literature are introduced and in all cases extended and optimised. In particular, we extend the lighting model of the comic renderer to include a specular component and introduce multiple inter-related but independent geometric approximations which greatly improve rendering performance. We implement two completely different solutions to random perturbation sketching, solve temporal coherence issues for coal sketching and find an unexpected use for 3D textures to implement hatch-shading. Textured brushes of painterly rendering are extended by properties such as stroke-direction and texture, motion, paint capacity, opacity and emission, making them more flexible and versatile. Brushes are also provided with a minimal amount of intelligence, so that they can help in maximising screen coverage of brushes. We furthermore devise a completely new NPR style, which we call super-realistic and show how sample images can be tweened in real-time to produce an image-based six degree-of-freedom renderer performing at roughly 450 frames per second. Performance values for our other renderers all lie between 10 and over 400 frames per second on homePC hardware, justifying our real-time claim. A large number of sample screen-shots, illustrations and animations demonstrate the visual fidelity of our rendered images. In essence, we successfully achieve our attempted goals of increasing the creative, expressive and communicative potential of individual NPR styles, increasing performance of most of them, adding original and interesting visual qualities, and exploring new techniques or existing ones in novel ways.KMBT_363Adobe Acrobat 9.54 Paper Capture Plug-i

Accelerated volumetric reconstruction from uncalibrated camera views

While both work with images, computer graphics and computer vision are inverse problems. Computer graphics starts traditionally with input geometric models and produces image sequences. Computer vision starts with input image sequences and produces geometric models. In the last few years, there has been a convergence of research to bridge the gap between the two fields. This convergence has produced a new field called Image-based Rendering and Modeling (IBMR). IBMR represents the effort of using the geometric information recovered from real images to generate new images with the hope that the synthesized ones appear photorealistic, as well as reducing the time spent on model creation. In this dissertation, the capturing, geometric and photometric aspects of an IBMR system are studied. A versatile framework was developed that enables the reconstruction of scenes from images acquired with a handheld digital camera. The proposed system targets applications in areas such as Computer Gaming and Virtual Reality, from a lowcost perspective. In the spirit of IBMR, the human operator is allowed to provide the high-level information, while underlying algorithms are used to perform low-level computational work. Conforming to the latest architecture trends, we propose a streaming voxel carving method, allowing a fast GPU-based processing on commodity hardware

vorgelegt von

Prof. Dr. N. NavabTo my familyAcknowledgements I am deeply grateful that I had the opportunity to write this thesis while working at the Chair for Pattern Recognition within the project B6 of the Sonderforschungsbereich 603 (funded by Deutsche Forschungsgemeinschaft). Many people contributed to this work and I want to express my gratitude to all of them

Variable Resolution & Dimensional Mapping For 3d Model Optimization

Three-dimensional computer models, especially geospatial architectural data sets, can be visualized in the same way humans experience the world, providing a realistic, interactive experience. Scene familiarization, architectural analysis, scientific visualization, and many other applications would benefit from finely detailed, high resolution, 3D models. Automated methods to construct these 3D models traditionally has produced data sets that are often low fidelity or inaccurate; otherwise, they are initially highly detailed, but are very labor and time intensive to construct. Such data sets are often not practical for common real-time usage and are not easily updated. This thesis proposes Variable Resolution & Dimensional Mapping (VRDM), a methodology that has been developed to address some of the limitations of existing approaches to model construction from images. Key components of VRDM are texture palettes, which enable variable and ultra-high resolution images to be easily composited; texture features, which allow image features to integrated as image or geometry, and have the ability to modify the geometric model structure to add detail. These components support a primary VRDM objective of facilitating model refinement with additional data. This can be done until the desired fidelity is achieved as practical limits of infinite detail are approached. Texture Levels, the third component, enable real-time interaction with a very detailed model, along with the flexibility of having alternate pixel data for a given area of the model and this is achieved through extra dimensions. Together these techniques have been used to construct models that can contain GBs of imagery data

Novel Views of Objects from a Single Image

Taking an image of an object is at its core a lossy process. The rich information about the three-dimensional structure of the world is flattened to an image plane and decisions such as viewpoint and camera parameters are final and not easily revertible. As a consequence, possibilities of changing viewpoint are limited. Given a single image depicting an object, novel-view synthesis is the task of generating new images that render the object from a different viewpoint than the one given. The main difficulty is to synthesize the parts that are disoccluded; disocclusion occurs when parts of an object are hidden by the object itself under a specific viewpoint. In this work, we show how to improve novel-view synthesis by making use of the correlations observed in 3D models and applying them to new image instances. We propose a technique to use the structural information extracted from a 3D model that matches the image object in terms of viewpoint and shape. For the latter part, we propose an efficient 2D-to-3D alignment method that associates precisely the image appearance with the 3D model geometry with minimal user interaction. Our technique is able to simulate plausible viewpoint changes for a variety of object classes within seconds. Additionally, we show that our synthesized images can be used as additional training data that improves the performance of standard object detectors

A depth-cueing scheme based on linear transformations in tristimulus space

We propose a generic and flexible depth-cueing scheme which subsumes many well-known and new color-based depth-cueing approaches. In particular, it includes standard intensity depth-cueing and rather neglected pure saturation depth-cueing. A couple of new combinations and variations of depth cues are presented. Their usefulness is demonstrated in many different fields of application, reaching from non-photorealistic rendering to information visualization. In addition to cues based on a geometric concept of depth, an abstract visualization approach in the form of semantic depth-cueing is proposed. Our depth-cueing scheme is based on linear transformations in the 3D tristimulus space of colors and on weighted sums of colors. Since all of the required operations are supported by contemporary consumer graphics hardware, the depth-cueing scheme can be implemented without performance cutbacks. Therefore, any real-time rendering application can be enriched by sophisticated depth-cueing

Semantic models for texturing volume objects

EThOS - Electronic Theses Online ServiceGBUnited Kingdo

Architectural Digital Photogrammetry

This study is to exploit texturing techniques of a common modelling software in the way of creating virtual models of an exist architectures using oriented panoramas. In this research, The panoramic image-based interactive modelling is introduced as assembly point of photography, topography, photogrammetry and modelling techniques. It is an interactive system for generating photorealistic, textured 3D models of architectural structures and urban scenes. The technique is suitable for the architectural survey because it is not a «point by point» survey, and it exploit the geometrical constraints in the architecture to simplify modelling. Many factors are presented to be critical features that affect the modelling quality and accuracy, such as the way and the position in shooting the photos, stitching the multi-image panorama photos, the orientation, texturing techniques and so on. During the last few years, many Image-based modelling programmes have been released. Whereas, in this research, the photo modelling programs was not in use, it meant to face the fundamentals of the photogrammetry and to go beyond the limitations of such software by avoiding the automatism. In addition, it meant to exploit the potent commands of a program as 3DsMax to obtain the final representation of the Architecture. Such representation can be used in different fields (from detailed architectural survey to an architectural representation in cinema and video games), considering the accuracy and the quality which they are vary too. After the theoretical studies of this technique, it was applied in four applications to different types of close range surveys. This practice allowed to comprehend the practical problems in the whole process (from photographing all the way to modelling) and to propose the methods in the ways to improve it and to avoid any complications. It was compared with the laser scanning to study the accuracy of this technique. Thus, it is realized that not only the accuracy of this technique is linked to the size of the surveyed object, but also the size changes the way in which the survey to be approached. Since the 3D modelling program is not dedicated to be used for the image-based modelling, texturing problems was faced. It was analyzed in: how the program can behave with the Bitmap, how to project it, how it could be an interactive projection, and what are the limitations