Interactive inspection of complex multi-object industrial assemblies

The final publication is available at Springer via http://dx.doi.org/10.1016/j.cad.2016.06.005The use of virtual prototypes and digital models containing thousands of individual objects is commonplace in complex industrial applications like the cooperative design of huge ships. Designers are interested in selecting and editing specific sets of objects during the interactive inspection sessions. This is however not supported by standard visualization systems for huge models. In this paper we discuss in detail the concept of rendering front in multiresolution trees, their properties and the algorithms that construct the hierarchy and efficiently render it, applied to very complex CAD models, so that the model structure and the identities of objects are preserved. We also propose an algorithm for the interactive inspection of huge models which uses a rendering budget and supports selection of individual objects and sets of objects, displacement of the selected objects and real-time collision detection during these displacements. Our solution–based on the analysis of several existing view-dependent visualization schemes–uses a Hybrid Multiresolution Tree that mixes layers of exact geometry, simplified models and impostors, together with a time-critical, view-dependent algorithm and a Constrained Front. The algorithm has been successfully tested in real industrial environments; the models involved are presented and discussed in the paper.Peer ReviewedPostprint (author's final draft

Streaming of Plants in Distributed Virtual Environments

International audienceJust as in the real world, plants are important objects in virtual world for creating pleasant and realistic environments, especially those involving natural scenes. As such, much effort has been made in realistic modeling of plants. As the trend moves towards networked and distributed virtual environment, however, the current models are inadequate as they are not designed for progressive transmissions. In this paper, we fill in this gap by proposing a progressive representation for plants based on generalized cylinders. To facilitate the transmission of the plants, we quantify the visual contribution of each branch and use this weight in packet scheduling. We show the efficiency of our representations and effectiveness of our packet scheduler through simulations

Transmission adaptative de modèles 3D massifs

Avec les progrès de l'édition de modèles 3D et des techniques de reconstruction 3D, de plus en plus de modèles 3D sont disponibles et leur qualité augmente. De plus, le support de la visualisation 3D sur le web s'est standardisé ces dernières années. Un défi majeur est donc de transmettre des modèles massifs à distance et de permettre aux utilisateurs de visualiser et de naviguer dans ces environnements virtuels. Cette thèse porte sur la transmission et l'interaction de contenus 3D et propose trois contributions majeures. Tout d'abord, nous développons une interface de navigation dans une scène 3D avec des signets -- de petits objets virtuels ajoutés à la scène sur lesquels l'utilisateur peut cliquer pour atteindre facilement un emplacement recommandé. Nous décrivons une étude d'utilisateurs où les participants naviguent dans des scènes 3D avec ou sans signets. Nous montrons que les utilisateurs naviguent (et accomplissent une tâche donnée) plus rapidement en utilisant des signets. Cependant, cette navigation plus rapide a un inconvénient sur les performances de la transmission : un utilisateur qui se déplace plus rapidement dans une scène a besoin de capacités de transmission plus élevées afin de bénéficier de la même qualité de service. Cet inconvénient peut être atténué par le fait que les positions des signets sont connues à l'avance : en ordonnant les faces du modèle 3D en fonction de leur visibilité depuis un signet, on optimise la transmission et donc, on diminue la latence lorsque les utilisateurs cliquent sur les signets. Deuxièmement, nous proposons une adaptation du standard de transmission DASH (Dynamic Adaptive Streaming over HTTP), très utilisé en vidéo, à la transmission de maillages texturés 3D. Pour ce faire, nous divisons la scène en un arbre k-d où chaque cellule correspond à un adaptation set DASH. Chaque cellule est en outre divisée en segments DASH d'un nombre fixe de faces, regroupant des faces de surfaces comparables. Chaque texture est indexée dans son propre adaptation set à différentes résolutions. Toutes les métadonnées (les cellules de l'arbre k-d, les résolutions des textures, etc.) sont référencées dans un fichier XML utilisé par DASH pour indexer le contenu: le MPD (Media Presentation Description). Ainsi, notre framework hérite de la scalabilité offerte par DASH. Nous proposons ensuite des algorithmes capables d'évaluer l'utilité de chaque segment de données en fonction du point de vue du client, et des politiques de transmission qui décident des segments à télécharger. Enfin, nous étudions la mise en place de la transmission et de la navigation 3D sur les appareils mobiles. Nous intégrons des signets dans notre version 3D de DASH et proposons une version améliorée de notre client DASH qui bénéficie des signets. Une étude sur les utilisateurs montre qu'avec notre politique de chargement adaptée aux signets, les signets sont plus susceptibles d'être cliqués, ce qui améliore à la fois la qualité de service et la qualité d'expérience des utilisateur

Distribución y uso de modelos 3D en la web: ¿estamos listos?

[EN] Digital technologies are now mature for producing high quality digital replicas of Cultural Heritage (CH) assets. The research results produced in the last decade ignitedan impressive evolution and consolidation of the technologies for acquiring high-quality digital three-dimensional (3D)models, encompassing both geometry and color. What remains still an open problem is how to deliver those data and related knowledge to our society. The web is nowadays the main channel for the dissemination of knowledge. Emerging commercial solutions for web-publishing of 3D data are consolidating and becoming a de-facto standard for many applications(e-commerce, industrial products, education, etc.).In this framework, CH is a very specific domain, requiring highly flexible solutions. Some recent experiences arepresented, aimed at providing a support to the archival of archaeological3Ddata, supporting web-based publishing of very high-resolution digitization results and finally enabling the documentation of complex restoration actions. All those examples have been recently implemented on the open-source 3D Heritage Online Presenter (3DHOP)platform, developed at CNR-ISTI[ES] Las tecnologías digitales estánahora maduraspara producir réplicas digitales de alta calidad de valores activos del patrimonio cultural (CH). Los resultados de la investigación producidos en la última década han mostrado una evolución impresionante y una consolidación de las tecnologías para la capturade modelos digitales tridimensionales (3D)de alta calidad, que abarcanla geometríay el color.Lo que queda aún por resolver estárelacionado con la forma de distribuirlos datos y el conocimiento relacionado conla sociedad. La web es hoy en día el principal canal utilizado para divulgarel conocimiento. Las soluciones comerciales nuevas relacionadas con la publicación en la red de datos en 3D se están consolidando y convirtiendo en un estándar de facto para muchas aplicaciones(comercio electrónico, productos industriales, educación, etc.). En este escenario, el patrimonio culturales un dominio muy específico, que requiere soluciones muyflexibles.Se presentan algunas experiencias recientes, destinadasa proporcionar un apoyo al archivo de los datos arqueológicos3D, la publicaciónwebde los resultados de digitalización de muy alta resoluciónque permitenfinalmente la documentación de trabajos de restauracióncomplejos. Todos estos ejemplos se han implementado recientemente en la plataforma 3D Heritage Online Presenter(3DHOP)de código abierto, desarrolladaen el CNR-ISTI.The research leading to these results has received funding from the EU 7th Framework Programme (FP7/2007-2013) under grant agreement no. 654119 (EC "PARTHENOS" project) and EU H2020 Programme (“EMOTIVE: EMOTIve Virtual cultural Experiences through personalized storytelling”, H2020-SC6-CULT-COOP-08-2016) under grant agreement no. 727188.Scopigno, R.; Callieri, M.; Dellepiane, M.; Ponchio, F.; Potenziani, M. (2017). Delivering and using 3D models on the web: are we ready?. Virtual Archaeology Review. 8(17):1-9. https://doi.org/10.4995/var.2017.6405SWORD1981

Pushing the Limits of 3D Color Printing: Error Diffusion with Translucent Materials

Accurate color reproduction is important in many applications of 3D printing, from design prototypes to 3D color copies or portraits. Although full color is available via other technologies, multi-jet printers have greater potential for graphical 3D printing, in terms of reproducing complex appearance properties. However, to date these printers cannot produce full color, and doing so poses substantial technical challenges, from the shear amount of data to the translucency of the available color materials. In this paper, we propose an error diffusion halftoning approach to achieve full color with multi-jet printers, which operates on multiple isosurfaces or layers within the object. We propose a novel traversal algorithm for voxel surfaces, which allows the transfer of existing error diffusion algorithms from 2D printing. The resulting prints faithfully reproduce colors, color gradients and fine-scale details.Comment: 15 pages, 14 figures; includes supplemental figure

Network streaming and compression for mixed reality tele-immersion

Bulterman, D.C.A. [Promotor]Cesar, P.S. [Copromotor

Canadian Hydrogen Intensity Mapping Experiment (CHIME) Pathfinder

A pathfinder version of CHIME (the Canadian Hydrogen Intensity Mapping Experiment) is currently being commissioned at the Dominion Radio Astrophysical Observatory (DRAO) in Penticton, BC. The instrument is a hybrid cylindrical interferometer designed to measure the large scale neutral hydrogen power spectrum across the redshift range 0.8 to 2.5. The power spectrum will be used to measure the baryon acoustic oscillation (BAO) scale across this poorly probed redshift range where dark energy becomes a significant contributor to the evolution of the Universe. The instrument revives the cylinder design in radio astronomy with a wide field survey as a primary goal. Modern low-noise amplifiers and digital processing remove the necessity for the analog beamforming that characterized previous designs. The Pathfinder consists of two cylinders 37\,m long by 20\,m wide oriented north-south for a total collecting area of 1,500 square meters. The cylinders are stationary with no moving parts, and form a transit instrument with an instantaneous field of view of $\sim$100\,degrees by 1-2\,degrees. Each CHIME Pathfinder cylinder has a feedline with 64 dual polarization feeds placed every $\sim$30\,cm which Nyquist sample the north-south sky over much of the frequency band. The signals from each dual-polarization feed are independently amplified, filtered to 400-800\,MHz, and directly sampled at 800\,MSps using 8 bits. The correlator is an FX design, where the Fourier transform channelization is performed in FPGAs, which are interfaced to a set of GPUs that compute the correlation matrix. The CHIME Pathfinder is a 1/10th scale prototype version of CHIME and is designed to detect the BAO feature and constrain the distance-redshift relation.Comment: 20 pages, 12 figures. submitted to Proc. SPIE, Astronomical Telescopes + Instrumentation (2014

Visual Distortions in 360-degree Videos.

Omnidirectional (or 360°) images and videos are emergent signals being used in many areas, such as robotics and virtual/augmented reality. In particular, for virtual reality applications, they allow an immersive experience in which the user can interactively navigate through a scene with three degrees of freedom, wearing a head-mounted display. Current approaches for capturing, processing, delivering, and displaying 360° content, however, present many open technical challenges and introduce several types of distortions in the visual signal. Some of the distortions are specific to the nature of 360° images and often differ from those encountered in classical visual communication frameworks. This paper provides a first comprehensive review of the most common visual distortions that alter 360° signals going through the different processing elements of the visual communication pipeline. While their impact on viewers' visual perception and the immersive experience at large is still unknown-thus, it is an open research topic-this review serves the purpose of proposing a taxonomy of the visual distortions that can be encountered in 360° signals. Their underlying causes in the end-to-end 360° content distribution pipeline are identified. This taxonomy is essential as a basis for comparing different processing techniques, such as visual enhancement, encoding, and streaming strategies, and allowing the effective design of new algorithms and applications. It is also a useful resource for the design of psycho-visual studies aiming to characterize human perception of 360° content in interactive and immersive applications