4,245 research outputs found
Neural Assets: Volumetric Object Capture and Rendering for Interactive Environments
Creating realistic virtual assets is a time-consuming process: it usually
involves an artist designing the object, then spending a lot of effort on
tweaking its appearance. Intricate details and certain effects, such as
subsurface scattering, elude representation using real-time BRDFs, making it
impossible to fully capture the appearance of certain objects. Inspired by the
recent progress of neural rendering, we propose an approach for capturing
real-world objects in everyday environments faithfully and fast. We use a novel
neural representation to reconstruct volumetric effects, such as translucent
object parts, and preserve photorealistic object appearance. To support
real-time rendering without compromising rendering quality, our model uses a
grid of features and a small MLP decoder that is transpiled into efficient
shader code with interactive framerates. This leads to a seamless integration
of the proposed neural assets with existing mesh environments and objects.
Thanks to the use of standard shader code rendering is portable across many
existing hardware and software systems
Smoke and Shadows: Rendering and Light Interaction of Smoke in Real-Time Rendered Virtual Environments
Realism in computer graphics depends upon digitally representing what we see in the world with careful attention to detail, which usually requires a high degree of complexity in modelling the scene. The inevitable trade-off between realism and performance means that new techniques that aim to improve the visual fidelity of a scene must do so without compromising the real-time rendering performance. We describe and discuss a simple method for realistically casting shadows from an opaque solid object through a GPU (graphics processing unit) based particle system representing natural phenomena, such as smoke
Painterly rendering techniques: A state-of-the-art review of current approaches
In this publication we will look at the different methods presented over the past few decades which attempt to recreate digital paintings. While previous surveys concentrate on the broader subject of non-photorealistic rendering, the focus of this paper is firmly placed on painterly rendering techniques. We compare different methods used to produce different output painting styles such as abstract, colour pencil, watercolour, oriental, oil and pastel. Whereas some methods demand a high level of interaction using a skilled artist, others require simple parameters provided by a user with little or no artistic experience. Many methods attempt to provide more automation with the use of varying forms of reference data. This reference data can range from still photographs, video, 3D polygonal meshes or even 3D point clouds. The techniques presented here endeavour to provide tools and styles that are not traditionally available to an artist. Copyright © 2012 John Wiley & Sons, Ltd
Redefining A in RGBA: Towards a Standard for Graphical 3D Printing
Advances in multimaterial 3D printing have the potential to reproduce various
visual appearance attributes of an object in addition to its shape. Since many
existing 3D file formats encode color and translucency by RGBA textures mapped
to 3D shapes, RGBA information is particularly important for practical
applications. In contrast to color (encoded by RGB), which is specified by the
object's reflectance, selected viewing conditions and a standard observer,
translucency (encoded by A) is neither linked to any measurable physical nor
perceptual quantity. Thus, reproducing translucency encoded by A is open for
interpretation.
In this paper, we propose a rigorous definition for A suitable for use in
graphical 3D printing, which is independent of the 3D printing hardware and
software, and which links both optical material properties and perceptual
uniformity for human observers. By deriving our definition from the absorption
and scattering coefficients of virtual homogeneous reference materials with an
isotropic phase function, we achieve two important properties. First, a simple
adjustment of A is possible, which preserves the translucency appearance if an
object is re-scaled for printing. Second, determining the value of A for a real
(potentially non-homogeneous) material, can be achieved by minimizing a
distance function between light transport measurements of this material and
simulated measurements of the reference materials. Such measurements can be
conducted by commercial spectrophotometers used in graphic arts.
Finally, we conduct visual experiments employing the method of constant
stimuli, and derive from them an embedding of A into a nearly perceptually
uniform scale of translucency for the reference materials.Comment: 20 pages (incl. appendices), 20 figures. Version with higher quality
images: https://cloud-ext.igd.fraunhofer.de/s/pAMH67XjstaNcrF (main article)
and https://cloud-ext.igd.fraunhofer.de/s/4rR5bH3FMfNsS5q (appendix).
Supplemental material including code:
https://cloud-ext.igd.fraunhofer.de/s/9BrZaj5Uh5d0cOU/downloa
Surface Curvature Effects on Reflectance from Translucent Materials
Most of the physically based techniques for rendering translucent objects use
the diffusion theory of light scattering in turbid media. The widely used
dipole diffusion model (Jensen et al. 2001) applies the diffusion-theory
formula derived for a planar interface to objects of arbitrary shapes. This
paper presents first results of our investigation of how surface curvature
affects the diffuse reflectance from translucent materials.Comment: 10 pages, 2 figures. The first version of this paper was published in
the Communication Papers Proceedings of 18th International Conference on
Computer Graphics, Visualization and Computer Vision 2010 - WSCG201
Perception based heterogeneous subsurface scattering for film
Many real world materials exhibit complex subsurface scattering of light. This internal light interaction creates the perception of translucency for the human visual system. Translucent materials and simulation of the subsurface scattering of light has become an expected necessity for generating warmth and realism in computer generated imagery. The light transport within heterogenous materials, such as marble, has proved challenging to model and render. The current material models available to digital artists have been limited to homogeneous subsurface scattering despite a few publications documenting success at simulating heterogeneous light transport. While the publications successfully simulate this complex phenomenon, the material descriptions have been highly specialized and far from intuitive. By combining the measurable properties of heterogeneous translucent materials with the defining properties of translucency, as perceived by the human visual system, a description of heterogeneous translucent materials that is suitable for artist use in a film production pipeline can be achieved. Development of the material description focuses on integration with the film pipeline, ease of use, and reasonable approximation of heterogeneous translucency based on perception. Methods of material manipulation are explored to determine which properties should be modifiable by artists while maintaining the perception of heterogenous translucency
Pushing the Limits of 3D Color Printing: Error Diffusion with Translucent Materials
Accurate color reproduction is important in many applications of 3D printing,
from design prototypes to 3D color copies or portraits. Although full color is
available via other technologies, multi-jet printers have greater potential for
graphical 3D printing, in terms of reproducing complex appearance properties.
However, to date these printers cannot produce full color, and doing so poses
substantial technical challenges, from the shear amount of data to the
translucency of the available color materials. In this paper, we propose an
error diffusion halftoning approach to achieve full color with multi-jet
printers, which operates on multiple isosurfaces or layers within the object.
We propose a novel traversal algorithm for voxel surfaces, which allows the
transfer of existing error diffusion algorithms from 2D printing. The resulting
prints faithfully reproduce colors, color gradients and fine-scale details.Comment: 15 pages, 14 figures; includes supplemental figure
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