Scalable wavelet-based coding of irregular meshes with interactive region-of-interest support

This paper proposes a novel functionality in wavelet-based irregular mesh coding, which is interactive region-of-interest (ROI) support. The proposed approach enables the user to define the arbitrary ROIs at the decoder side and to prioritize and decode these regions at arbitrarily high-granularity levels. In this context, a novel adaptive wavelet transform for irregular meshes is proposed, which enables: 1) varying the resolution across the surface at arbitrarily fine-granularity levels and 2) dynamic tiling, which adapts the tile sizes to the local sampling densities at each resolution level. The proposed tiling approach enables a rate-distortion-optimal distribution of rate across spatial regions. When limiting the highest resolution ROI to the visible regions, the fine granularity of the proposed adaptive wavelet transform reduces the required amount of graphics memory by up to 50%. Furthermore, the required graphics memory for an arbitrary small ROI becomes negligible compared to rendering without ROI support, independent of any tiling decisions. Random access is provided by a novel dynamic tiling approach, which proves to be particularly beneficial for large models of over 10(6) similar to 10(7) vertices. The experiments show that the dynamic tiling introduces a limited lossless rate penalty compared to an equivalent codec without ROI support. Additionally, rate savings up to 85% are observed while decoding ROIs of tens of thousands of vertices

Cosmic cookery : making a stereoscopic 3D animated movie.

This paper describes our experience making a short stereoscopic movie visualizing the development of structure in the universe during the 13.7 billion years from the Big Bang to the present day. Aimed at a general audience for the Royal Society's 2005 Summer Science Exhibition, the movie illustrates how the latest cosmological theories based on dark matter and dark energy are capable of producing structures as complex as spiral galaxies and allows the viewer to directly compare observations from the real universe with theoretical results. 3D is an inherent feature of the cosmology data sets and stereoscopic visualization provides a natural way to present the images to the viewer, in addition to allowing researchers to visualize these vast, complex data sets. The presentation of the movie used passive, linearly polarized projection onto a 2m wide screen but it was also required to playback on a Sharp RD3D display and in anaglyph projection at venues without dedicated stereoscopic display equipment. Additionally lenticular prints were made from key images in the movie. We discuss the following technical challenges during the stereoscopic production process; 1) Controlling the depth presentation, 2) Editing the stereoscopic sequences, 3) Generating compressed movies in display speci¯c formats. We conclude that the generation of high quality stereoscopic movie content using desktop tools and equipment is feasible. This does require careful quality control and manual intervention but we believe these overheads are worthwhile when presenting inherently 3D data as the result is signi¯cantly increased impact and better understanding of complex 3D scenes

Static 3D Triangle Mesh Compression Overview

3D triangle meshes are extremely used to model discrete surfaces, and almost always represented with two tables: one for geometry and another for connectivity. While the raw size of a triangle mesh is of around 200 bits per vertex, by coding cleverly (and separately) those two distinct kinds of information it is possible to achieve compression ratios of 15:1 or more. Different techniques must be used depending on whether single-rate vs. progressive bitstreams are sought; and, in the latter case, on whether or not hierarchically nested meshes are desirable during reconstructio

Multi-Resolution Texture Coding for Multi-Resolution 3D Meshes

We present an innovative system to encode and transmit textured multi-resolution 3D meshes in a progressive way, with no need to send several texture images, one for each mesh LOD (Level Of Detail). All texture LODs are created from the finest one (associated to the finest mesh), but can be re- constructed progressively from the coarsest thanks to refinement images calculated in the encoding process, and transmitted only if needed. This allows us to adjust the LOD/quality of both 3D mesh and texture according to the rendering power of the device that will display them, and to the network capacity. Additionally, we achieve big savings in data transmission by avoiding altogether texture coordinates, which are generated automatically thanks to an unwrapping system agreed upon by both encoder and decoder