Map Style Formalization: Rendering Techniques Extension for Cartography

International audienceCartographic design requires controllable methods and tools to produce maps that are adapted to users' needs and preferences. The formalized rules and constraints for cartographic representation come mainly from the conceptual framework of graphic semiology. Most current Geographical Information Systems (GIS) rely on the Styled Layer Descriptor and Semiology Encoding (SLD/SE) specifications which provide an XML schema describing the styling rules to be applied on geographic data to draw a map. Although this formalism is relevant for most usages in cartography, it fails to describe complex cartographic and artistic styles. In order to overcome these limitations, we propose an extension of the existing SLD/SE specifications to manage extended map stylizations, by the means of controllable expressive methods. Inspired by artistic and cartographic sources (Cassini maps, mountain maps, artistic movements, etc.), we propose to integrate into our system three main expressive methods: linear stylization, patch-based region filling and vector texture generation. We demonstrate how our pipeline allows to personalize map rendering with expressive methods in several examples

Automatic 3D model creation with velocity-based surface deformations

The virtual worlds of Computer Graphics are populated by geometric objects, called models. Researchers have addressed the problem of synthesizing models automatically. Traditional modeling approaches often require a user to guide the synthesis process and to look after the geometry being synthesized, but user attention is expensive, and reducing user interaction is therefore desirable. I present a scheme for the automatic creation of geometry by deforming surfaces. My scheme includes a novel surface representation; it is an explicit representation consisting of points and edges, but it is not a traditional polygonal mesh. The novel surface representation is paired with a resampling policy to control the surface density and its evolution during deformation. The surface deforms with velocities assigned to its points through a set of deformation operators. Deformation operators avoid the manual computation and assignment of velocities, the operators allow a user to interactively assign velocities with minimal effort. Additionally, Petri nets are used to automatically deform a surface by mimicking a user assigning deformation operators. Furthermore, I present an algorithm to translate from the novel surface representations to a polygonal mesh. I demonstrate the utility of my model generation scheme with a gallery of models created automatically. The scheme's surface representation and resampling policy enables a surface to deform without requiring a user to control the deformation; self-intersections and hole creation are automatically prevented. The generated models show that my scheme is well suited to create organic-like models, whose surfaces have smooth transitions between surface features, but can also produce other kinds of models. My scheme allows a user to automatically generate varied instances of richly detailed models with minimal user interaction

Emotional remapping of music to facial animation

We propose a method to extract the emotional data from a piece of music and then use that data via a remapping algorithm to automatically animate an emotional 3D face sequence. The method is based on studies of the emotional aspect of music and our parametric-based behavioral head model for face animation. We address the issue of affective communication remapping in general, i.e. translation of affective content (eg. emotions, and mood) from one communication form to another. We report on the results of our MusicFace system, which use these techniques to automatically create emotional facial animations from multiinstrument polyphonic music scores in MIDI format and a remapping rule set. ? ACM, 2006. This is the author\u27s version of the work. It is posted here by permission of ACM for your personal use. Not for redistribution. The definitive version was published in Proceedings of the 2006 ACM SIGGRAPH symposium on Videogames, 143-149. Boston, Massachusetts: ACM. doi:10.1145/1183316.118333

Modelling and Visualisation of the Optical Properties of Cloth

Cloth and garment visualisations are widely used in fashion and interior design, entertaining, automotive and nautical industry and are indispensable elements of visual communication. Modern appearance models attempt to offer a complete solution for the visualisation of complex cloth properties. In the review part of the chapter, advanced methods that enable visualisation at micron resolution, methods used in three-dimensional (3D) visualisation workflow and methods used for research purposes are presented. Within the review, those methods offering a comprehensive approach and experiments on explicit clothes attributes that present specific optical phenomenon are analysed. The review of appearance models includes surface and image-based models, volumetric and explicit models. Each group is presented with the representative authors’ research group and the application and limitations of the methods. In the final part of the chapter, the visualisation of cloth specularity and porosity with an uneven surface is studied. The study and visualisation was performed using image data obtained with photography. The acquisition of structure information on a large scale namely enables the recording of structure irregularities that are very common on historical textiles, laces and also on artistic and experimental pieces of cloth. The contribution ends with the presentation of cloth visualised with the use of specular and alpha maps, which is the result of the image processing workflow

Patch-based 3D Natural Scene Generation from a Single Example

We target a 3D generative model for general natural scenes that are typically unique and intricate. Lacking the necessary volumes of training data, along with the difficulties of having ad hoc designs in presence of varying scene characteristics, renders existing setups intractable. Inspired by classical patch-based image models, we advocate for synthesizing 3D scenes at the patch level, given a single example. At the core of this work lies important algorithmic designs w.r.t the scene representation and generative patch nearest-neighbor module, that address unique challenges arising from lifting classical 2D patch-based framework to 3D generation. These design choices, on a collective level, contribute to a robust, effective, and efficient model that can generate high-quality general natural scenes with both realistic geometric structure and visual appearance, in large quantities and varieties, as demonstrated upon a variety of exemplar scenes.Comment: 23 pages, 26 figures, accepted by CVPR 2023. Project page: http://weiyuli.xyz/Sin3DGen

Real-time Cinematic Design Of Visual Aspects In Computer-generated Images

Creation of visually-pleasing images has always been one of the main goals of computer graphics. Two important components are necessary to achieve this goal --- artists who design visual aspects of an image (such as materials or lighting) and sophisticated algorithms that render the image. Traditionally, rendering has been of greater interest to researchers, while the design part has always been deemed as secondary. This has led to many inefficiencies, as artists, in order to create a stunning image, are often forced to resort to the traditional, creativity-baring, pipelines consisting of repeated rendering and parameter tweaking. Our work shifts the attention away from the rendering problem and focuses on the design. We propose to combine non-physical editing with real-time feedback and provide artists with efficient ways of designing complex visual aspects such as global illumination or all-frequency shadows. We conform to existing pipelines by inserting our editing components into existing stages, hereby making editing of visual aspects an inherent part of the design process. Many of the examples showed in this work have been, until now, extremely hard to achieve. The non-physical aspect of our work enables artists to express themselves in more creative ways, not limited by the physical parameters of current renderers. Real-time feedback allows artists to immediately see the effects of applied modifications and compatibility with existing workflows enables easy integration of our algorithms into production pipelines

Interactive Video Game Content Authoring using Procedural Methods

This thesis explores avenues for improving the quality and detail of game graphics, in the context of constraints that are common to most game development studios. The research begins by identifying two dominant constraints; limitations in the capacity of target gaming hardware/platforms, and processes that hinder the productivity of game art/content creation. From these constraints, themes were derived which directed the research‟s focus. These include the use of algorithmic or „procedural‟ methods in the creation of graphics content for games, and the use of an „interactive‟ content creation strategy, to better facilitate artist production workflow. Interactive workflow represents an emerging paradigm shift in content creation processes used by the industry, which directly integrates game rendering technology into the content authoring process. The primary motivation for this is to provide „high frequency‟ visual feedback that enables artists to see games content in context, during the authoring process. By merging these themes, this research develops a production strategy that takes advantage of „high frequency feedback‟ in an interactive workflow, to directly expose procedural methods to artists‟, for use in the content creation process. Procedural methods have a characteristically small „memory footprint‟ and are capable of generating massive volumes of data. Their small „size to data volume‟ ratio makes them particularly well suited for use in game rendering situations, where capacity constraints are an issue. In addition, an interactive authoring environment is well suited to the task of setting parameters for procedural methods, reducing a major barrier to their acceptance by artists. An interactive content authoring environment was developed during this research. Two algorithms were designed and implemented. These algorithms provide artists‟ with abstract mechanisms which accelerate common game content development processes; namely object placement in game environments, and the delivery of variation between similar game objects. In keeping with the theme of this research, the core functionality of these algorithms is delivered via procedural methods. Through this, production overhead that is associated with these content development processes is essentially offloaded from artists onto the processing capability of modern gaming hardware. This research shows how procedurally based content authoring algorithms not only harmonize with the issues of hardware capacity constraints, but also make the authoring of larger and more detailed volumes of games content more feasible in the game production process. Algorithms and ideas developed during this research demonstrate the use of procedurally based, interactive content creation, towards improving detail and complexity in the graphics of games

Increasing the performance and realism of procedurally generated buildings

As multimedia such as games and movies grow, so does the need for content. Textures, 3D models, expansive terrain, sound effects, and other data must be generated to support and enrich these multimedia productions. As this need for content continues to grow, two critical problems emerge: the cost of hiring artists to create the content becomes extremely large, as does the amount of memory needed to store and manipulate the content.;To combat these issues, procedural content generation, or content generated algorithmically rather than via an artist, has been introduced. Algorithmically generating content allows for rapid creation of large amounts of certain classes of content with little human effort; further, this content can be represented extremely compactly, often by only exposing a handful of parameters.;In the realm of 3D building generation, split grammars have proven useful for generating a wide variety of buildings while being relatively intuitive. These split grammars have been used to generate entire cities full of detailed buildings with a fairly small number of rules.;Split grammars have two important areas which can be expanded upon: first, the writing of an appropriate grammar can require a significant amount of work and knowledge, especially when a grammar is required that must follow a certain building style while providing a high degree of variation. Second, applying these grammars to produce a building can be slow, often requiring an offline pregeneration phase which eliminates the usefulness the size benefits of the grammar\u27s compactness.;For the first problem, we propose a data mining approach to refining preexisting grammars, wherein a user can specify buildings which they prefer, and from these preferences a set of rules will be generated that will guide future building generation. We will show that the generated rules have a high degree of accuracy when used to predict whether a user will like or dislike a building, often in the upper 90%.;For the second problem, we provide two areas of improvement: a preprocessing step which parses a split grammar to make it easier and more efficient to apply the grammar without loss of generality, and a scheme that allows the execution of a grammar entirely within a geometry shader on a modern graphics processing unit (GPU) such that building generation can take advantage of the parallelization found on modern graphics cards. We will show that this second improvement can provide a speed benefit anywhere between 3 and 10 times a purely CPU approach, with further speed benefits possible depending on the nature of the grammars