Single-picture reconstruction and rendering of trees for plausible vegetation synthesis

State-of-the-art approaches for tree reconstruction either put limiting constraints on the input side (requiring multiple photographs, a scanned point cloud or intensive user input) or provide a representation only suitable for front views of the tree. In this paper we present a complete pipeline for synthesizing and rendering detailed trees from a single photograph with minimal user effort. Since the overall shape and appearance of each tree is recovered from a single photograph of the tree crown, artists can benefit from georeferenced images to populate landscapes with native tree species. A key element of our approach is a compact representation of dense tree crowns through a radial distance map. Our first contribution is an automatic algorithm for generating such representations from a single exemplar image of a tree. We create a rough estimate of the crown shape by solving a thin-plate energy minimization problem, and then add detail through a simplified shape-from-shading approach. The use of seamless texture synthesis results in an image-based representation that can be rendered from arbitrary view directions at different levels of detail. Distant trees benefit from an output-sensitive algorithm inspired on relief mapping. For close-up trees we use a billboard cloud where leaflets are distributed inside the crown shape through a space colonization algorithm. In both cases our representation ensures efficient preservation of the crown shape. Major benefits of our approach include: it recovers the overall shape from a single tree image, involves no tree modeling knowledge and minimal authoring effort, and the associated image-based representation is easy to compress and thus suitable for network streaming.Peer ReviewedPostprint (author's final draft

Procedural Generation and Rendering of Realistic, Navigable Forest Environments: An Open-Source Tool

Simulation of forest environments has applications from entertainment and art creation to commercial and scientific modelling. Due to the unique features and lighting in forests, a forest-specific simulator is desirable, however many current forest simulators are proprietary or highly tailored to a particular application. Here we review several areas of procedural generation and rendering specific to forest generation, and utilise this to create a generalised, open-source tool for generating and rendering interactive, realistic forest scenes. The system uses specialised L-systems to generate trees which are distributed using an ecosystem simulation algorithm. The resulting scene is rendered using a deferred rendering pipeline, a Blinn-Phong lighting model with real-time leaf transparency and post-processing lighting effects. The result is a system that achieves a balance between high natural realism and visual appeal, suitable for tasks including training computer vision algorithms for autonomous robots and visual media generation.Comment: 14 pages, 11 figures. Submitted to Computer Graphics Forum (CGF). The application and supporting configuration files can be found at https://github.com/callumnewlands/ForestGenerato

Realistic Simulation of Seasonal Variant Maples

International audienceThis paper presents a biologically-motivated system of seasonal variant scenes generation for maples, which has a obvious leaf color transformation during the time. Given climate data and knowledge on environmental influence to maples, our system is able to simulate this seasonal leaf color transformation process. Our system consists of three steps: environment configuration, climate influence simulation and leaf texture acquisition. The first step decides the general color change timing of the maple tree based on its local environment. Then we make further adjustments to the timing determined in the last step taking into account the influence of climate in the specific case. In the last step, the texture maps of leaves are generated based on the pigment information. Our system is also able to simulate the seasonal color variance of other trees by adjusting related parameters

Simulation levels of detail for plant motion

In this paper we describe a method for simulating motion of realistically complex plants interactively. We use a precomputation stage to generate the plant structure, along with a set of simulation levels of detail. The levels of detail are made by continuously grouping branches starting from the tips of the branches and working toward the trunk. Grouped branches are simulated as single branches that have similar simulation characteristics to the original branches. During run-time, we traverse the plant and determine the allowable error in the simulation of branch motion. This allows us to choose the appropriate simulation level of detail and we provide smooth transitions from level to level. Our level of detail approach affects only the simulation parameters, allowing geometry to be handled independently. Using this method we can significantly improve simulation times for complex trees

Procedural modeling of plant ecosystems maximizing vegetation cover

Vegetation plays a major role in the realistic display of outdoor scenes. However, manual plant placement can be tedious. For this reason this paper presents a new proposal in the field of procedural modeling of natural scenes. This method creates plant ecosystems that maximizes the covered space by optimizing an objective function subject to a series of constraints defined by a system of inequalities. This system includes the constraints of the environment taking into account characteristics of the terrain and the plant species involved. Once the inequality system has been defined, a solution will be obtained that tries to maximize the radius of the projected area of the trees and therefore the extension of the vegetation cover on the ground. The technique eliminates the trees that do not achieve a minimum growth radius, simulating the typical competitive process of nature. Results show the good performance and the high visual quality of the ecosystems obtained by the proposed technique. The use of this kind of optimization techniques could be used to solve other procedural modeling problems in other fields of application.Funding for open access charge: CRUE-Universitat Jaume

Combining Procedural and Hand Modeling Techniques for Creating Animated Digital 3D Natural Environments

This thesis focuses on a systematic solution for rendering 3D photorealistic natural environments using Maya\u27s procedural methods and ZBrush. The methods used in this thesis started with comparing two industry specific procedural applications, Vue and Maya\u27s Paint Effects, to determine which is better suited for applying animated procedural effects with the highest level of fidelity and expandability. Generated objects from Paint Effects contained the highest potential through object attributes, texturing and lighting. To optimize results further, compatibility with sculpting programs such as ZBrush are required to sculpt higher levels of detail. The final combination workflow produces results used in the short film Fall. The need for producing these effects is attributed to the growth of the visual effect industry\u27s ability to deliver realistic simulated complexities of nature and as such, the public\u27s insatiable need to see them on screen. Usually, however, the requirements for delivering a photorealistic digital environment fall under tight deadlines due to various phases of the visual effects project being interconnected across multiple production houses, thereby requiring the need for effective methods to deliver a high-end visual presentation. The use of a procedural system, such as an L-system, is often an initial step within a workflow leading toward creating photorealistic vegetation for visual effects environments. Procedure-based systems, such as Maya\u27s Paint Effects, feature robust controls that can generate many natural objects. A balance is thus created between being able to model objects quickly, but with limited detail, and control. Other methods outside this system must be used to achieve higher levels of fidelity through the use of attributes, expressions, lighting and texturing. Utilizing the procedural engine within Maya\u27s Paint Effects allows the beginning stages of modeling a 3D natural environment. ZBrush\u27s manual system approach can further bring the aesthetics to a much finer degree of fidelity. The benefit in leveraging both types of systems results in photorealistic objects that preserve all of the procedural and dynamic forces specified within the Paint Effects procedural engine