Reusing view-dependent animation

In this paper we present techniques for reusing view-dependent animation. First, we provide a framework for representing view-dependent animations. We formulate the concept of a view space, which is the space formed by the key views and their associated character poses. Tracing a path on the view space generates the corresponding view-dependent animation in real time. We then demonstrate that the framework can be used to synthesize new stylized animations by reusing view-dependent animations. We present three types of novel reuse techniques. In the first we show how to animate multiple characters from the same view space. Next, we show how to animate multiple characters from multiple view spaces. We use this technique to animate a crowd of characters. Finally, we draw inspiration from cubist paintings and create their view-dependent analogues by using different cameras to control different body parts of the same characte

Path tracing multivue adaptatif

International audienceRendering photo-realistic image sequences using path tracing and Monte Carlo integration often requires sampling a large number of paths to get converged results. In the context of rendering multiple views or animated sequences, such sampling can be highly redundant. Several methods have been developed to share sampled paths between spatially or temporarily similar views. However, such sharing is challenging since it can lead to bias in the final images. Our contribution is a Monte Carlo sampling technique which generates paths, taking into account several cameras. First, we sample the scene from all the cameras to generate hit points. Then, an importance sampling technique generates bouncing directions which are shared by a subset of cameras. This set of hit points and bouncing directions is then used within a regular path tracing solution. For animated scenes, paths remain valid for a fixed time only, but sharing can still occur between cameras as long as their exposure time intervals overlap. We show that our technique generates less noise than regular path tracing and does not introduce noticeable bias.Le rendu de séquences d'images photoréalistes en lancer de rayons nécessite souvent l'échantillonnage d'un grand nombre de chemins pour obtenir des résultats convergés. Dans le contexte du rendu multi-vue ou de séquences animées, cet échantillonnage peut être redondant. Plusieurs méthodes ont été développées pour réutiliser des chemins échantillonnés entre des vues proches spatialement ou temporellement. Cependant, un telle réutilisation est complexe car elle peut mener à du biais dans les images. Notre contribution est une technique d'échantillonnage qui génère des chemins en prenant en compte plusieurs caméras. Tout d'abord, nous échantillonnons la scène depuis toutes les caméras pour générer des points visibles. Ensuite, nous générons des directions par importance qui sont partagées par un sous-ensemble de caméras. Cet ensemble de points et de directions est ensuite utilisé dans une solution de lancer de rayons classique. Pour les scènes animées, les chemins ne sont réutilisables qu'à temps fixe, mais un partage peut toujours avoir lieu entre les caméras si leurs intervalles d'exposition se recouvrent. Notre technique génère moins de bruit que le path tracing classique à temps de calcul équivalent et n’introduit pas de biais perceptible

Frequency Based Radiance Cache for Rendering Animations

International audienceWe propose a method to render animation sequences with direct distant lighting that only shades a fraction of the total pixels. We leverage frequency-based analyses of light transport to determine shading and image sampling rates across an animation using a samples cache. To do so, we derive frequency bandwidths that account for the complexity of distant lights, visibility, BRDF, and temporal coherence during animation. We finaly apply a cross-bilateral filter when rendering our final images from sparse sets of shading points placed according to our frequency-based oracles (generally < 25% of the pixels, per frame)

Low-cost natural interface based on head movements

Sometimes people look for freedom in the virtual world. However, not all have the possibility to interact with a computer in the same way. Nowadays, almost every job requires interaction with computerized systems, so people with physical impairments do not have the same freedom to control a mouse, a keyboard or a touchscreen. In the last years, some of the government programs to help people with reduced mobility suffered a lot with the global economic crisis and some of those programs were even cut down to reduce costs. This paper focuses on the development of a touchless human-computer interface, which allows anyone to control a computer without using a keyboard, mouse or touchscreen. By reusing Microsoft Kinect sensors from old videogames consoles, a cost-reduced, easy to use, and open-source interface was developed, allowing control of a computer using only the head, eyes or mouth movements, with the possibility of complementary sound commands. There are already available similar commercial solutions, but they are so expensive that their price tends to be a real obstacle in their purchase; on the other hand, free solutions usually do not offer the freedom that people with reduced mobility need. The present solution tries to address these drawbacks. (C) 2015 Published by Elsevier B.V

Fast photorealistic techniques to simulate global illumination in videogames and virtual environments

Per al càlcul de la il·luminació global per a la síntesi d'imatges d'escenaris virtuals s'usen mètodes físicament acurats com a radiositat o el ray-tracing. Aquests mètodes són molt potents i capaços de generar imatges de gran realisme, però són molt costosos. A aquesta tesi presenta algunes tècniques per simular i/o accelerar el càlcul de la il·luminació global. La tècnica de les obscurances es basa en la suposició que com més amagat és un punt a l'escena, més fosc s'ha de veure. Es calcula analitzant l'entorn geomètric del punt i ens dóna un valor per a la seva il·luminació indirecta, que no és físicament acurat, però sí aparentment realista.Aquesta tècnica es millora per a entorns en temps real com els videojocs. S'aplica també a entorns de ray-tracing per a la generació d'imatges realistes. En aquest context, el càlcul de seqüències de frames per a l'animació de llums i càmeres s'accelera enormement reusant informació entre frames.Les obscurances serveixen per a simular la il·luminació indirecta d'una escena. La llum directa es calcula apart i de manera independent. El desacoblament de la llum directa i la indirecta és una gran avantatge, i en treurem profit. Podem afegir fàcilment l'efecte de coloració entre objectes sense afegir temps de càlcul. Una altra avantatge és que per calcular les obscurances només hem d'analitzar un entorn limitat al voltant del punt.Per escenes virtuals difuses, la radiositat es pot precalcular i l'escena es pot navegar amb apariència realista, però si un objecte de l'escena es mou en un entorn dinàmic en temps real, com un videojoc, el recàlcul de la il·luminació global de l'escena és prohibitiu. Com les obscurances es calculen en un entorn limitat, es poden recalcular en temps real per a l'entorn de l'objecte que es mou a cada frame i encara aconseguir temps real.A més, podem fer servir les obscurances per a calcular imatges de gran qualitat, o per seqüències d'imatges per una animació, com en el ray-tracing. Això ens permet tractar materials no difusos i investigar l'ús de tècniques normalment difuses com les obscurances en entorns generals. Quan la càmera està estàtica, l'ús d'animació de llum només afecta la il·luminació directa, i si usem obscurances per a la llum indirecta, gràcies al seu desacoblament, el càlcul de sèries de frames per a una animació és molt ràpid. El següent pas és afegir animació de càmera, reusant els valors de les obscurances entre frames. Aquesta última tècnica de reús d'informació de la il·luminació del punt d'impacte entre frames la podem usar per a tècniques acurades d'il·luminació global com el path-tracing, i nosaltres estudiem com reusar aquesta informació de manera no esbiaixada. A més, estudiem diferents tècniques de mostreig per a la semi-esfera, i les obscurances es calculen amb una nova tècnica, aplicant depth peeling amb GPU.To compute global illumination solutions for rendering virtual scenes, physically accurate methods based on radiosity or ray-tracing are usually employed. These methods, though powerful and capable of generating images with high realism, are very costly. In this thesis, some techniques to simulate and/or accelerate the computation of global illumination are studied. The obscurances technique is based on the supposition that the more occluded is a point in the scene, the darker it will appear. It is computed by analyzing the geometric environment of the point and gives a value for the indirect illumination for the point that is, though not physically accurate, visually realistic. This technique is enhanced and improved in real-time environments as videogames. It is also applied to ray-tracing frameworks to generate realistic images. In this last context, sequences of frames for animation of lights and cameras are dramatically accelerated by reusing information between frames.The obscurances are computed to simulate the indirect illumination of a scene. The direct lighting is computed apart and in an independent way. The decoupling of direct and indirect lighting is a big advantage, and we will take profit from this. We can easily add color bleeding effects without adding computation time. Another advantage is that to compute the obscurances we only need to analyze a limited environment around the point. For diffuse virtual scenes, the radiosity can be precomputed and we can navigate the scene with a realistic appearance. But when a small object moves in a dynamic real-time virtual environment, as a videogame, the recomputation of the global illumination of the scene is prohibitive. Thanks to the limited reach of the obscurance computation, we can recompute the obscurances only for the limited environment of the moving object for every frame and still have real-time frame rates. Obscurances can also be used to compute high quality images, or sequences of images for an animation, in a ray-tracing-like. This allows us to deal with non-diffuse materials and to research the use of a commonly diffuse technique as obscurances in general environments. For static cameras, using light animation only affects to direct lighting, and if we use obscurances for the indirect lighting, thanks to the decoupling of direct and indirect illumination, the computation of a series of frames for the animation is very fast. The next step is to add camera animation, reusing the obscurances results between frames. Using this last technique of reusing the illumination of the hit points between frames for a true global illumination technique as path tracing, we study how we can reuse this information in an unbiased way. Besides, a study of different sampling techniques for the hemisphere is made, obscurances are computed with the depth-peeling technique and using GPU