Flux-Limited Diffusion for Multiple Scattering in Participating Media

For the rendering of multiple scattering effects in participating media, methods based on the diffusion approximation are an extremely efficient alternative to Monte Carlo path tracing. However, in sufficiently transparent regions, classical diffusion approximation suffers from non-physical radiative fluxes which leads to a poor match to correct light transport. In particular, this prevents the application of classical diffusion approximation to heterogeneous media, where opaque material is embedded within transparent regions. To address this limitation, we introduce flux-limited diffusion, a technique from the astrophysics domain. This method provides a better approximation to light transport than classical diffusion approximation, particularly when applied to heterogeneous media, and hence broadens the applicability of diffusion-based techniques. We provide an algorithm for flux-limited diffusion, which is validated using the transport theory for a point light source in an infinite homogeneous medium. We further demonstrate that our implementation of flux-limited diffusion produces more accurate renderings of multiple scattering in various heterogeneous datasets than classical diffusion approximation, by comparing both methods to ground truth renderings obtained via volumetric path tracing.Comment: Accepted in Computer Graphics Foru

Efficient Many-Light Rendering of Scenes with Participating Media

We present several approaches based on virtual lights that aim at capturing the light transport without compromising quality, and while preserving the elegance and efficiency of many-light rendering. By reformulating the integration scheme, we obtain two numerically efficient techniques; one tailored specifically for interactive, high-quality lighting on surfaces, and one for handling scenes with participating media

Progressive Transient Photon Beams

In this work we introduce a novel algorithm for transient rendering in participating media. Our method is consistent, robust, and is able to generate animations of time-resolved light transport featuring complex caustic light paths in media. We base our method on the observation that the spatial continuity provides an increased coverage of the temporal domain, and generalize photon beams to transient-state. We extend the beam steady-state radiance estimates to include the temporal domain. Then, we develop a progressive version of spatio-temporal density estimations, that converges to the correct solution with finite memory requirements by iteratively averaging several realizations of independent renders with a progressively reduced kernel bandwidth. We derive the optimal convergence rates accounting for space and time kernels, and demonstrate our method against previous consistent transient rendering methods for participating media

Efficient Methods for Computational Light Transport

En esta tesis presentamos contribuciones sobre distintos retos computacionales relacionados con transporte de luz. Los algoritmos que utilizan información sobre el transporte de luz están presentes en muchas aplicaciones de hoy en día, desde la generación de efectos visuales, a la detección de objetos en tiempo real. La luz es una valiosa fuente de información que nos permite entender y representar nuestro entorno, pero obtener y procesar esta información presenta muchos desafíos debido a la complejidad de las interacciones entre la luz y la materia. Esta tesis aporta contribuciones en este tema desde dos puntos de vista diferentes: algoritmos en estado estacionario, en los que se asume que la velocidad de la luz es infinita; y algoritmos en estado transitorio, que tratan la luz no solo en el dominio espacial, sino también en el temporal. Nuestras contribuciones en algoritmos estacionarios abordan problemas tanto en renderizado offline como en tiempo real. Nos enfocamos en la reducción de varianza para métodos offline,proponiendo un nuevo método para renderizado eficiente de medios participativos. En renderizado en tiempo real, abordamos las limitacionesde consumo de batería en dispositivos móviles proponiendo un sistema de renderizado que incrementa la eficiencia energética en aplicaciones gráficas en tiempo real. En el transporte de luz transitorio, formalizamos la simulación de este tipo transporte en este nuevo dominio, y presentamos nuevos algoritmos y métodos para muestreo eficiente para render transitorio. Finalmente, demostramos la utilidad de generar datos en este dominio, presentando un nuevo método para corregir interferencia multi-caminos en camaras Timeof- Flight, un problema patológico en el procesamiento de imágenes transitorias.n this thesis we present contributions to different challenges of computational light transport. Light transport algorithms are present in many modern applications, from image generation for visual effects to real-time object detection. Light is a rich source of information that allows us to understand and represent our surroundings, but obtaining and processing this information presents many challenges due to its complex interactions with matter. This thesis provides advances in this subject from two different perspectives: steady-state algorithms, where the speed of light is assumed infinite, and transient-state algorithms, which deal with light as it travels not only through space but also time. Our steady-state contributions address problems in both offline and real-time rendering. We target variance reduction in offline rendering by proposing a new efficient method for participating media rendering. In real-time rendering, we target energy constraints of mobile devices by proposing a power-efficient rendering framework for real-time graphics applications. In transient-state we first formalize light transport simulation under this domain, and present new efficient sampling methods and algorithms for transient rendering. We finally demonstrate the potential of simulated data to correct multipath interference in Time-of-Flight cameras, one of the pathological problems in transient imaging.<br /

Analyse de l'espace des chemins pour la composition des ombres et lumières

La réalisation des films d'animation 3D s'appuie de nos jours sur les techniques de rendu physiquement réaliste, qui simulent la propagation de la lumière dans chaque scène. Dans ce contexte, les graphistes 3D doivent jouer avec les effets de lumière pour accompagner la mise en scène, dérouler la narration du film, et transmettre son contenu émotionnel aux spectateurs. Cependant, les équations qui modélisent le comportement de la lumière laissent peu de place à l'expression artistique. De plus, l'édition de l'éclairage par essai-erreur est ralentie par les longs temps de rendu associés aux méthodes physiquement réalistes, ce qui rend fastidieux le travail des graphistes. Pour pallier ce problème, les studios d'animation ont souvent recours à la composition, où les graphistes retravaillent l'image en associant plusieurs calques issus du processus de rendu. Ces calques peuvent contenir des informations géométriques sur la scène, ou bien isoler un effet lumineux intéressant. L'avantage de la composition est de permettre une interaction en temps réel, basée sur les méthodes classiques d'édition en espace image. Notre contribution principale est la définition d'un nouveau type de calque pour la composition, le calque d'ombre. Un calque d'ombre contient la quantité d'énergie perdue dans la scène à cause du blocage des rayons lumineux par un objet choisi. Comparée aux outils existants, notre approche présente plusieurs avantages pour l'édition. D'abord, sa signification physique est simple à concevoir : lorsque l'on ajoute le calque d'ombre et l'image originale, toute ombre due à l'objet choisi disparaît. En comparaison, un masque d'ombre classique représente la fraction de rayons bloqués en chaque pixel, une information en valeurs de gris qui ne peut servir que d'approximation pour guider la composition. Ensuite, le calque d'ombre est compatible avec l'éclairage global : il enregistre l'énergie perdue depuis les sources secondaires, réfléchies au moins une fois dans la scène, là où les méthodes actuelles ne considèrent que les sources primaires. Enfin, nous démontrons l'existence d'une surestimation de l'éclairage dans trois logiciels de rendu différents lorsque le graphiste désactive les ombres pour un objet ; notre définition corrige ce défaut. Nous présentons un prototype d'implémentation des calques d'ombres à partir de quelques modifications du Path Tracing, l'algorithme de choix en production. Il exporte l'image originale et un nombre arbitraire de calques d'ombres liés à différents objets en une passe de rendu, requérant un temps supplémentaire de l'ordre de 15% dans des scènes à géométrie complexe et contenant plusieurs milieux participants. Des paramètres optionnels sont aussi proposés au graphiste pour affiner le rendu des calques d'ombres.The production of 3D animated motion picture now relies on physically realistic rendering techniques, that simulate light propagation within each scene. In this context, 3D artists must leverage lighting effects to support staging, deploy the film's narrative, and convey its emotional content to viewers. However, the equations that model the behavior of light leave little room for artistic expression. In addition, editing illumination by trial-and-error is tedious due to the long render times that physically realistic rendering requires. To remedy these problems, most animation studios resort to compositing, where artists rework a frame by associating multiple layers exported during rendering. These layers can contain geometric information on the scene, or isolate a particular lighting effect. The advantage of compositing is that interactions take place in real time, and are based on conventional image space operations. Our main contribution is the definition of a new type of layer for compositing, the shadow layer. A shadow layer contains the amount of energy lost in the scene due to the occlusion of light rays by a given object. Compared to existing tools, our approach presents several advantages for artistic editing. First, its physical meaning is straightforward: when a shadow layer is added to the original image, any shadow created by the chosen object disappears. In comparison, a traditional shadow matte represents the ratio of occluded rays at a pixel, a grayscale information that can only serve as an approximation to guide compositing operations. Second, shadow layers are compatible with global illumination: they pick up energy lost from secondary light sources that are scattered at least once in the scene, whereas the current methods only consider primary sources. Finally, we prove the existence of an overestimation of illumination in three different renderers when an artist disables the shadow of an object; our definition fixes this shortcoming. We present a prototype implementation for shadow layers obtained from a few modifications of path tracing, the main rendering algorithm in production. It exports the original image and any number of shadow layers associated with different objects in a single rendering pass, with an additional 15% time in scenes containing complex geometry and multiple participating media. Optional parameters are also proposed to the artist to fine-tune the rendering of shadow layers