1,069 research outputs found

    Virtual tour

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    Interactive 3D Visualization of Architectural models might be the best way to get some idea about an Architecture Plan. Photo-realistic visualization often attracts the investors and customers for whom the architectural blueprints are obscure. Architectural Visualization is considered to have a bright future ahead of it as more and more architects and real estate developers are using this technology. Virtual Walk-through can give not only ideas about your building but its interiors and design too. The Architectural Virtual Environment also most widely used in Gaming and Entertainment Industry in creating a complex movie scenes or a game environment

    Real-time transition texture synthesis for terrains.

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    Depicting the transitions where differing material textures meet on a terrain surface presents a particularly unique set of challenges in the field of real-time rendering. Natural landscapes are inherently irregular and composed of complex interactions between many different material types of effectively endless detail and variation. Although consumer grade graphics hardware is becoming ever increasingly powerful with each successive generation, terrain texturing remains a trade-off between realism and the computational resources available. Technological constraints aside, there is still the challenge of generating the texture resources to represent terrain surfaces which can often span many hundreds or even thousands of square kilometres. To produce such textures by hand is often impractical when operating on a restricted budget of time and funding. This thesis presents two novel algorithms for generating texture transitions in realtime using automated processes. The first algorithm, Feature-Based Probability Blending (FBPB), automates the task of generating transitions between material textures containing salient features. As such features protrude through the terrain surface FBPB ensures that the topography of these features is maintained at transitions in a realistic manner. The transitions themselves are generated using a probabilistic process that also dynamically adds wear and tear to introduce high frequency detail and irregularity at the transition contour. The second algorithm, Dynamic Patch Transitions (DPT), extends FBPB by applying the probabilistic transition approach to material textures that contain no salient features. By breaking up texture space into a series of layered patches that are either rendered or discarded on a probabilistic basis, the contour of the transition is greatly increased in resolution and irregularity. When used in conjunction with high frequency detail techniques, such as alpha masking, DPT is capable of producing endless, detailed, irregular transitions without the need for artistic input

    Procedural Modeling and Physically Based Rendering for Synthetic Data Generation in Automotive Applications

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    We present an overview and evaluation of a new, systematic approach for generation of highly realistic, annotated synthetic data for training of deep neural networks in computer vision tasks. The main contribution is a procedural world modeling approach enabling high variability coupled with physically accurate image synthesis, and is a departure from the hand-modeled virtual worlds and approximate image synthesis methods used in real-time applications. The benefits of our approach include flexible, physically accurate and scalable image synthesis, implicit wide coverage of classes and features, and complete data introspection for annotations, which all contribute to quality and cost efficiency. To evaluate our approach and the efficacy of the resulting data, we use semantic segmentation for autonomous vehicles and robotic navigation as the main application, and we train multiple deep learning architectures using synthetic data with and without fine tuning on organic (i.e. real-world) data. The evaluation shows that our approach improves the neural network's performance and that even modest implementation efforts produce state-of-the-art results.Comment: The project web page at http://vcl.itn.liu.se/publications/2017/TKWU17/ contains a version of the paper with high-resolution images as well as additional materia

    A Survey of Procedural Techniques for City Generation

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    The computer game industry requires a skilled workforce and this combined with the complexity of modern games, means that production costs are extremely high. One of the most time consuming aspects is the creation of game geometry, the virtual world which the players inhabit. Procedural techniques have been used within computer graphics to create natural textures, simulate special effects and generate complex natural models including trees and waterfalls. It is these procedural techniques that we intend to harness to generate geometry and textures suitable for a game situated in an urban environment. Procedural techniques can provide many benefits for computer graphics applications when the correct algorithm is used. An overview of several commonly used procedural techniques including fractals, L-systems, Perlin noise, tiling systems and cellular basis is provided. The function of each technique and the resulting output they create are discussed to better understand their characteristics, benefits and relevance to the city generation problem. City generation is the creation of an urban area which necessitates the creation of buildings, situated along streets and arranged in appropriate patterns. Some research has already taken place into recreating road network patterns and generating buildings that can vary in function and architectural style. We will study the main body of existing research into procedural city generation and provide an overview of their implementations and a critique of their functionality and results. Finally we present areas in which further research into the generation of cities is required and outline our research goals for city generation

    Procedural feature generation for volumetric terrains using voxel grammars

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    © 2018 Terrain generation is a fundamental requirement of many computer graphics simulations, including computer games, flight simulators and environments in feature films. There has been a considerable amount of research in this domain, which ranges between fully automated and semi-automated methods. Voxel representations of 3D terrains can create rich features that are not found in other forms of terrain generation techniques, such as caves and overhangs. In this article, we introduce a semi-automated method of generating features for volumetric terrains using a rule-based procedural generation system. Features are generated by selecting subsets of a voxel grid as input symbols to a grammar, composed of user-created operators. This results in overhangs and caves generated from a set of simple rules. The feature generation runs on the CPU and the GPU is utilised to extract a robust mesh from the volumetric dataset

    Tales of the Lost Worlds: An Immersive Audio Approach to Storytelling

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    The purpose of ‘Tales of the Lost Worlds: An Immersive Audio Approach to Storytelling’ is to compile an online immersive audio portfolio of three short stories made for YouTube and Facebook. The material is a mixture of pre-existing and new audio and visuals, each focused on an original story. The motivation behind this research is to consolidate a storytelling approach utilizing immersive audio to enrich the experience of a surrealistic world. A variety of techniques and plugins have been researched in order to mix ambisonics. The result is a diverse and coherent portfolio that displays competence in immersive mixing and a future of captivating storytelling.https://remix.berklee.edu/graduate-studies-production-technology/1217/thumbnail.jp

    Narrative, Design, and Modelling of a Game with High-Fidelity Graphics

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    Victims of Dead Stories is a single-player, first-person game in a 3D environment with graphicsthattrytoassimilatereality,thattakesadvantageofthecharacteristicsofschizophrenia to develop the story of the main character and the drastic changes that the playable environments will undergo. Thus being a psychological horror game with a great visual focus to tell the narrative through interactions and events. This game would start by introducing the main character to a relatively familiar environment to the player. A house where is divided into three playable sections, the hallway, the living room and lastly, the staircase. Each section will play a significant role in the player’s progression. While the hallway is where the most physical changes to the player’s surroundings will occur, the living room will serve as a progression of the story and the events that occur there. However, it is in the staircase that the main point of this project, the creation of loops, will be discovered. Wheneverthemaincharacterpassesthroughthe last door of the staircase, he will find himself in the starting position of the game. Even so, the environment that surrounds him will change, especially on a visual level. The objective of Victims of Dead Stories is to advance through eleven loops, where the visuals of the environments will be progressively more macabre, starting with an ordinary house, until finally the walls are covered in blood, having visual clues about the narrative that are scattered around the map. This report about Victims of Dead Stories consists of the description of the visual graphic elements, having as a main focus the creation of realistic 3D models and textures, resorting to the use of 3D modelling software- Blender-, image editing software- Photoshop-, and texture creation and editing software- Substance Pantier-. This creation of realistic 3Dmodels and textures aims to increase the player’s immersion in the playable environment. Afterthisinitial description, the developmentprocedurewillbeapproached, showing the final visual result of Victims of Dead Stories. The characteristics that determine what schizophrenia is and which ones were chosen to be implemented in Victims of Dead Stories will also be addressed.Victims of DeadStories é umjogoparaumúnicojogador,naprimeirapessoa, numambiente 3Dcomgráficosquetentamassimilararealidade, queaproveitaascaracterísticas da esquizofrenia para desenvolver a história da personagem principal e as mudanças drásticas que osambientes jogáveis irão sofrer. Sendo assim um jogo de terror psicológico com umgrande foco visual para contar a narrativa através de interações e eventos. Este jogo começaria por introduzir a personagem principal a um ambiente relativamente familiar para o jogador. Uma casa onde é dividida em três secções jogáveis, o corredor, a sala de estar e por último a escadaria. Cada secção desempenhará um papel significativo na progressão do jogador. Enquanto que o corredor é onde se verificarão mais mudanças físicas no ambiente que rodeia o jogador, a sala de estar servirá como uma progressão da história e dos eventos que aí se desenrolam. Contudo, é na escadaria que o ponto principal deste projeto, a criação de loops, será descoberto. Sempre que a personagem principal passar pela última porta das escadas, encontrar-se-á na posição inicial do jogo. Ainda assim, o ambiente que o rodeia irá mudar, especialmente a nível visual. O objetivo de Victims of Dead Stories é avançar através de onze loops, onde o visual dos ambientes será progressivamentemaismacabro,começandoporumacasavulgar,atéfinalmenteasparedes estarem cobertas de sangue, tendo pistas visuais sobre a narrativa estão espalhadas à volta do mapa. Este relatório sobre Victims of Dead Stories consiste na descrição dos elementos visuais gráficos, tendo como foco principal a criação de modelos 3D e texturas realistas, recorrendo ao uso do software de modelaçao 3D- Blender-, ao software de edição de imagesPhotoshop-, e ao software de criação e edição de texturas- Substance Pantier-. Esta criação de modelos 3D etexturas realistas visa aumentar a imersão do jogador no ambiente jogável. Após esta descrição inicial, será abordado o procedimento de desenvolvimento, mostrando o resultado visual final de Victims of Dead Stories. As características que determinam o que é a esquizofrenia e que foram escolhidas para serem implementadas em serão também abordadas

    Oil Painting 3D Scene: A Desert Survival Game Environment

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    Oil Painting 3D Scene: A Desert Survival Game Environment is a hand-painted, stylized game level. The whole environment includes desert, animals, plants, rocks, small particle effects and a shack built in Unreal Engine. This report outlines the whole production process, from the very beginning of visual development stage till completion, and illustrates my ideas, sketches, obstacles, tests, design choices, failures and successes, as well as technical specifics
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