Performance and quality analysis of convolution-based volume illumination

Convolution-based techniques for volume rendering are among the fastest in the on-the-fly volumetric illumination category. Such methods, however, are still considerably slower than conventional local illumination techniques. In this paper we describe how to adapt two commonly used strategies for reducing aliasing artifacts, namely pre-integration and supersampling, to such techniques. These strategies can help reduce the sampling rate of the lighting information (thus the number of convolutions), bringing considerable performance benefits. We present a comparative analysis of their effectiveness in offering performance improvements. We also analyze the (negligible) differences they introduce when comparing their output to the reference method. These strategies can be highly beneficial in setups where direct volume rendering of continuously streaming data is desired and continuous recomputation of full lighting information is too expensive, or where memory constraints make it preferable not to keep additional precomputed volumetric data in memory. In such situations these strategies make single pass, convolution-based volumetric illumination models viable for a broader range of applications, and this paper provides practical guidelines for using and tuning such strategies to specific use cases

Aperture Supervision for Monocular Depth Estimation

We present a novel method to train machine learning algorithms to estimate scene depths from a single image, by using the information provided by a camera's aperture as supervision. Prior works use a depth sensor's outputs or images of the same scene from alternate viewpoints as supervision, while our method instead uses images from the same viewpoint taken with a varying camera aperture. To enable learning algorithms to use aperture effects as supervision, we introduce two differentiable aperture rendering functions that use the input image and predicted depths to simulate the depth-of-field effects caused by real camera apertures. We train a monocular depth estimation network end-to-end to predict the scene depths that best explain these finite aperture images as defocus-blurred renderings of the input all-in-focus image.Comment: To appear at CVPR 2018 (updated to camera ready version

Data-driven approaches for interactive appearance editing

This thesis proposes several techniques for interactive editing of digital content and fast rendering of virtual 3D scenes. Editing of digital content - such as images or 3D scenes - is difficult, requires artistic talent and technical expertise. To alleviate these difficulties, we exploit data-driven approaches that use the easily accessible Internet data (e. g., images, videos, materials) to develop new tools for digital content manipulation. Our proposed techniques allow casual users to achieve high-quality editing by interactively exploring the manipulations without the need to understand the underlying physical models of appearance. First, the thesis presents a fast algorithm for realistic image synthesis of virtual 3D scenes. This serves as the core framework for a new method that allows artists to fine tune the appearance of a rendered 3D scene. Here, artists directly paint the final appearance and the system automatically solves for the material parameters that best match the desired look. Along this line, an example-based material assignment approach is proposed, where the 3D models of a virtual scene can be "materialized" simply by giving a guidance source (image/video). Next, the thesis proposes shape and color subspaces of an object that are learned from a collection of exemplar images. These subspaces can be used to constrain image manipulations to valid shapes and colors, or provide suggestions for manipulations. Finally, data-driven color manifolds which contain colors of a specific context are proposed. Such color manifolds can be used to improve color picking performance, color stylization, compression or white balancing.Diese Dissertation stellt Techniken zum interaktiven Editieren von digitalen Inhalten und zum schnellen Rendering von virtuellen 3D Szenen vor. Digitales Editieren - seien es Bilder oder dreidimensionale Szenen - ist kompliziert, benötigt künstlerisches Talent und technische Expertise. Um diese Schwierigkeiten zu relativieren, nutzen wir datengesteuerte Ansätze, die einfach zugängliche Internetdaten, wie Bilder, Videos und Materialeigenschaften, nutzen um neue Werkzeuge zur Manipulation von digitalen Inhalten zu entwickeln. Die von uns vorgestellten Techniken erlauben Gelegenheitsnutzern das Editieren in hoher Qualität, indem Manipulationsmöglichkeiten interaktiv exploriert werden können ohne die zugrundeliegenden physikalischen Modelle der Bildentstehung verstehen zu müssen. Zunächst stellen wir einen effizienten Algorithmus zur realistischen Bildsynthese von virtuellen 3D Szenen vor. Dieser dient als Kerngerüst einer Methode, die Nutzern die Feinabstimmung des finalen Aussehens einer gerenderten dreidimensionalen Szene erlaubt. Hierbei malt der Künstler direkt das beabsichtigte Aussehen und das System errechnet automatisch die zugrundeliegenden Materialeigenschaften, die den beabsichtigten Eigenschaften am nahesten kommen. Zu diesem Zweck wird ein auf Beispielen basierender Materialzuordnungsansatz vorgestellt, für den das 3D Model einer virtuellen Szene durch das simple Anführen einer Leitquelle (Bild, Video) in Materialien aufgeteilt werden kann. Als Nächstes schlagen wir Form- und Farbunterräume von Objektklassen vor, die aus einer Sammlung von Beispielbildern gelernt werden. Diese Unterräume können genutzt werden um Bildmanipulationen auf valide Formen und Farben einzuschränken oder Manipulationsvorschläge zu liefern. Schließlich werden datenbasierte Farbmannigfaltigkeiten vorgestellt, die Farben eines spezifischen Kontexts enthalten. Diese Mannigfaltigkeiten ermöglichen eine Leistungssteigerung bei Farbauswahl, Farbstilisierung, Komprimierung und Weißabgleich

Computer graphics simulation of organic and inorganic optical and morphological appearance changes.

Organic bodies are subject to internal biological, chemical and physical processes as well as environmental interactions after death, which cause significant structural and optical changes. Simulating corpse decomposition and the environmental effects on its surface can help improve the realism of computer generated scenes and provide the impression of a living, dynamic environment. The aim of this doctorate thesis is to simulate post mortem processes of the human body and their visual effects on its appearance. The proposed method is divided into three processes; surface weathering due to environmental activities, livor mortis and natural mummification by desiccation. The decomposing body is modelled by a layered model consisting of a tetrahedral mesh representing the volume and a high resolution triangle surface mesh representing the skin. A particle-based surface weathering approach is employed to add environmental effects. The particles transport substances that are deposited on the object’s surface. A novel, biologically-inspired blood pooling simulation is used to recreate the physical processes of livor mortis and its visual effects on the corpse’s appearance. For the mummification, a physically-based approach is used to simulate the moisture diffusion process inside the object and the resulting de- formations of the volume and skin. In order to simulate the colouration changes associated with livor mortis and mummification, a chemically-based layered skin shader that considers time and spatially varying haemoglobin, oxygen and moisture contents is proposed. The suggested approach is able to model changes in the internal structure and the surface appearance of the body that resemble the post mortem processes livor mortis, natural mummification by desiccation and surface weathering. The surface weathering approach is able to add blemishes, such as rust and moss, to an object’s surface while avoiding inconsistencies in deposit sizes and dis- continuities on texture seams. The livor mortis approach is able to model the pink colouration changes caused by blood pooling, pressure induced blanching effects, fixation of hypostasis and the purple discolouration due to oxygen loss in blood. The mummification method is able to reproduce volume shrinkage effects caused by moisture loss, skin wrinkling and skin darkening that are comparable to real mummies

Utilisation de la notion de région d'intérêt pour la visualisation tridimensionnelle d'images médicales

Un des problèmes de la visualisation d'images médicales est de pouvoir manipuler en temps réel des données tridimensionnelles en conservant le maximum d'information. Or, grâce à l'avancement des techniques d'acquisition, ces données sont de plus haute définition et nécessitent plus de mémoire pour les stocker et les traiter. Des techniques de visualisation innovantes sont alors nécessaires pour naviguer de façon efficace dans les données. Une méthode couramment utilisée est d'employer une représentation multi-résolution des données afin de pouvoir manipuler les données en basse résolution et de pouvoir obtenir une haute résolution lorsque l'on fixe le poit d'observation. Or, toutes les régions des données n'ont pas la même importance. En effet certaines zones sont indispensables à un bon diagnostique et sont appelées régions d'intérêt. Les autres régions, appelées contexte, sont toutefois nécessaires pour permettre de bien situer ces régions d'intéret

Perceptually-motivated, interactive rendering and editing of global illumination

This thesis proposes several new perceptually-motivated techniques to synthesize, edit and enhance depiction of three-dimensional virtual scenes. Finding algorithms that fit the perceptually economic middle ground between artistic depiction and full physical simulation is the challenge taken in this work. First, we will present three interactive global illumination rendering approaches that are inspired by perception to efficiently depict important light transport. Those methods have in common to compute global illumination in large and fully dynamic scenes allowing for light, geometry, and material changes at interactive or real-time rates. Further, this thesis proposes a tool to edit reflections, that allows to bend physical laws to match artistic goals by exploiting perception. Finally, this work contributes a post-processing operator that depicts high contrast scenes in the same way as artists do, by simulating it "seen'; through a dynamic virtual human eye in real-time.Diese Arbeit stellt eine Anzahl von Algorithmen zur Synthese, Bearbeitung und verbesserten Darstellung von virtuellen drei-dimensionalen Szenen vor. Die Herausforderung liegt dabei in der Suche nach Ausgewogenheit zwischen korrekter physikalischer Berechnung und der künstlerischen, durch die Gesetze der menschlichen Wahrnehmung motivierten Praxis. Zunächst werden drei Verfahren zur Bild-Synthese mit globaler Beleuchtung vorgestellt, deren Gemeinsamkeit in der effizienten Handhabung großer und dynamischer virtueller Szenen liegt, in denen sich Geometrie, Materialen und Licht frei verändern lassen. Darauffolgend wird ein Werkzeug zum Editieren von Reflektionen in virtuellen Szenen das die menschliche Wahrnehmung ausnutzt um künstlerische Vorgaben umzusetzen, vorgestellt. Die Arbeit schließt mit einem Filter am Ende der Verarbeitungskette, der den wahrgenommen Kontrast in einem Bild erhöht, indem er die Entstehung von Glanzeffekten im menschlichen Auge nachbildet

The delta radiance field

The wide availability of mobile devices capable of computing high fidelity graphics in real-time has sparked a renewed interest in the development and research of Augmented Reality applications. Within the large spectrum of mixed real and virtual elements one specific area is dedicated to produce realistic augmentations with the aim of presenting virtual copies of real existing objects or soon to be produced products. Surprisingly though, the current state of this area leaves much to be desired: Augmenting objects in current systems are often presented without any reconstructed lighting whatsoever and therefore transfer an impression of being glued over a camera image rather than augmenting reality. In light of the advances in the movie industry, which has handled cases of mixed realities from one extreme end to another, it is a legitimate question to ask why such advances did not fully reflect onto Augmented Reality simulations as well. Generally understood to be real-time applications which reconstruct the spatial relation of real world elements and virtual objects, Augmented Reality has to deal with several uncertainties. Among them, unknown illumination and real scene conditions are the most important. Any kind of reconstruction of real world properties in an ad-hoc manner must likewise be incorporated into an algorithm responsible for shading virtual objects and transferring virtual light to real surfaces in an ad-hoc fashion. The immersiveness of an Augmented Reality simulation is, next to its realism and accuracy, primarily dependent on its responsiveness. Any computation affecting the final image must be computed in real-time. This condition rules out many of the methods used for movie production. The remaining real-time options face three problems: The shading of virtual surfaces under real natural illumination, the relighting of real surfaces according to the change in illumination due to the introduction of a new object into a scene, and the believable global interaction of real and virtual light. This dissertation presents contributions to answer the problems at hand. Current state-of-the-art methods build on Differential Rendering techniques to fuse global illumination algorithms into AR environments. This simple approach has a computationally costly downside, which limits the options for believable light transfer even further. This dissertation explores new shading and relighting algorithms built on a mathematical foundation replacing Differential Rendering. The result not only presents a more efficient competitor to the current state-of-the-art in global illumination relighting, but also advances the field with the ability to simulate effects which have not been demonstrated by contemporary publications until now