Contrôle artistique du rendu en synthèse d'images

Les images de synthèse sont désormais omniprésentes dans les domaines de création artistique, en particulier celui du cinéma. Dans ce cadre, un infographiste modélise une scène virtuelle, qui est ensuite rendue par un algorithme spécialisé, appelé moteur de rendu, pour produire une image résultat, le rendu. La description de la scène et l'algorithme de rendu reposent tous deux sur des modèles physiques afin d'assurer un résultat réaliste. Cependant, l'infographiste ne recherche pas seulement un résultat réaliste mais aussi un objectif artistique, relatif à l'oeuvre concernée. Cet objectif artistique peut être en opposition avec le réalisme physique du rendu, de la même manière qu'en peinture, des techniques comme le clair-obscur ne correspondent pas à une réalité physique mais répondent à un objectif artistique précis. Dans cette thèse, nous commençons par définir la problèmatique de contrôle artistique du rendu en synthèse d'images et établissons trois critères d'évaluation des méthodes d'édition du rendu. Nous proposons une taxonomie caractérisant les différents paradigmes d'approches permettant de contrôler le rendu. Dans nos travaux, nous nous intéressons aux approches comportementales permettant de répondre équitabement à tous les critères d'évaluation retenus. Ces méthodes agissent sur le comportement du transport lumineux. Suivant cette approche, nous proposons un formalisme théorique d'édition du rendu par téléportation du transport lumineux, que nous intégrons aux équations de radiométrie, bases des algorithmes de rendu. Nous proposons ensuite une implémentation pratique, appelée portails, dans laquelle le contrôle du transport se fait à l'aide d'un couple de surfaces, entrée et sortie, représentant la téléportation dans l'espace 3D du transport lumineux. Nous intégrons les portails à différents moteurs courants, et analysons les résultats obtenus, à la fois nouveaux et en comparaison des travaux précèdents. Finalement, nous proposons une analyse préliminaire de la structure de l'espace des chemins et faisons un tour d'horizon des travaux futurs.Nowadays, computer-generated imagery (CGI) is a standard in digital content creation, as in the context of film production. Visual artists design a model of the virtual scene. The renderer, a specific software, then produces the resulting image, called rendering. Both the 3D model and the renderer rely on physical laws in order to give photorealism. However, for artistic purposes, the visual artist does not necessarily seeks photorealism but is more inclined to care about artistic goals, mostly based on the related work of art. These artistic goals may be in opposition to physically-based rendering, in a similar way to techniques such as chiaroscuro in painting which do not yield a photorealistic result but rather aim at a precise artistic goal. In this PhD thesis, we first define the question of artistic control in rendering and specify three criteria to evaluate editing techniques. We propose a taxonomy to characterise the suitable paradigms to edit rendering. In our work, we focus on behavioural approaches, which properly suit all the evaluation criteria we defined. These methods act on the behaviour of light transport. Following this approach, we propose a theoretical formalism to edit rendering through the teleportation of light transport. We integrate this formalism in the underlying concept of rendering techniques, the rendering equation. We propose a practical tool we call \emph{RayPortals}. Using RayPortals, the rendering is edited using a pair of surfaces, input and output, defining the teleportation in 3D space of ligth transport. We integrate RayPortals in usual rendering techniques. We compare to previous work and also show some novel results. Ultimately, we propose a preliminary analysis of the path-space structure and summarize the future works

Contrôle artistique par édition de la propagation des rayons en photon mapping

National audiencePhysically based rendering with global illumination effects, has become a standard technique for high quality computer generated imagery. Nonetheless, being able to control the resulting picture so that it corresponds to the artist vision is still a tedious trial and error process. We introduce a path selection and edition metaphor, to give the artist a precise control over the final rendering without modifying the scene parameters. Starting from the identification of a lighting feature and its transcription in a path space regular expression, the proposed approach consists in selecting the corresponding light transport paths in 3D space and transforms them according to user defined operations.These operations affect both the geometry and the color spectrum of the paths.We demonstrate the wide range of control it permits on various lighting features, from low frequency color bleeding to high frequency caustics as well as view-dependent reflections.e rendu produisant des effets d'éclairement global est devenu un standard pour la synthèse d'image de haute qualité.Néanmoins, les graphistes ne peuvent éditer les images générées informatiquement qu'au prix d'un travail long et fastidieux sur la définition des sources de lumières et des matériaux de la scène 3D.Nous proposons une approche d'édition qui donne un contrôle précis sur le rendu final, sans modifier les paramètres de la scène 3D.À partir de l'identification d'un effet lumineux définie par une syntaxe d'interaction, l'approche consiste à sélectionner des chemins de transport lumineux et de les transformer suivant des opérations définies par le graphiste.Ces opérations sont des transformations sur la géométrie du transport lumineux ainsi que sur les spectres transportés par les chemins.Nous montrons la large gamme d'éditions que notre approche permet sur divers effets lumineux, allant des variations basses fréquences de diffusion indirecte de couleur, jusqu'aux variations hautes fréquences typiques des caustiques

Artistic control in physically-based rendering

Les images de synthèse sont désormais omniprésentes dans les domaines de création artistique, en particulier celui du cinéma. Dans ce cadre, un infographiste modélise une scène virtuelle, qui est ensuite rendue par un algorithme spécialisé, appelé moteur de rendu, pour produire une image résultat, le rendu. La description de la scène et l'algorithme de rendu reposent tous deux sur des modèles physiques afin d'assurer un résultat réaliste. Cependant, l'infographiste ne recherche pas seulement un résultat réaliste mais aussi un objectif artistique, relatif à l'oeuvre concernée. Cet objectif artistique peut être en opposition avec le réalisme physique du rendu, de la même manière qu'en peinture, des techniques comme le clair-obscur ne correspondent pas à une réalité physique mais répondent à un objectif artistique précis. Dans cette thèse, nous commençons par définir la problèmatique de contrôle artistique du rendu en synthèse d'images et établissons trois critères d'évaluation des méthodes d'édition du rendu. Nous proposons une taxonomie caractérisant les différents paradigmes d'approches permettant de contrôler le rendu. Dans nos travaux, nous nous intéressons aux approches comportementales permettant de répondre équitabement à tous les critères d'évaluation retenus. Ces méthodes agissent sur le comportement du transport lumineux. Suivant cette approche, nous proposons un formalisme théorique d'édition du rendu par téléportation du transport lumineux, que nous intégrons aux équations de radiométrie, bases des algorithmes de rendu. Nous proposons ensuite une implémentation pratique, appelée portails, dans laquelle le contrôle du transport se fait à l'aide d'un couple de surfaces, entrée et sortie, représentant la téléportation dans l'espace 3D du transport lumineux. Nous intégrons les portails à différents moteurs courants, et analysons les résultats obtenus, à la fois nouveaux et en comparaison des travaux précèdents. Finalement, nous proposons une analyse préliminaire de la structure de l'espace des chemins et faisons un tour d'horizon des travaux futurs.Nowadays, computer-generated imagery (CGI) is a standard in digital content creation, as in the context of film production. Visual artists design a model of the virtual scene. The renderer, a specific software, then produces the resulting image, called rendering. Both the 3D model and the renderer rely on physical laws in order to give photorealism. However, for artistic purposes, the visual artist does not necessarily seeks photorealism but is more inclined to care about artistic goals, mostly based on the related work of art. These artistic goals may be in opposition to physically-based rendering, in a similar way to techniques such as chiaroscuro in painting which do not yield a photorealistic result but rather aim at a precise artistic goal. In this PhD thesis, we first define the question of artistic control in rendering and specify three criteria to evaluate editing techniques. We propose a taxonomy to characterise the suitable paradigms to edit rendering. In our work, we focus on behavioural approaches, which properly suit all the evaluation criteria we defined. These methods act on the behaviour of light transport. Following this approach, we propose a theoretical formalism to edit rendering through the teleportation of light transport. We integrate this formalism in the underlying concept of rendering techniques, the rendering equation. We propose a practical tool we call \emph{RayPortals}. Using RayPortals, the rendering is edited using a pair of surfaces, input and output, defining the teleportation in 3D space of ligth transport. We integrate RayPortals in usual rendering techniques. We compare to previous work and also show some novel results. Ultimately, we propose a preliminary analysis of the path-space structure and summarize the future works

Light Transport Editing with Ray Portals

International audiencePhysically based rendering, using path-space formulation of global illumination, has become a standard technique for high-quality computer generated imagery. Nonetheless, being able to control and edit the resulting picture so that it corresponds to the artist vision is still a tedious trial-and-error process. We show how the manipulation of light transport translates into the path-space integral formulation of the rendering equation. We introduce portals as a path-space manipulation tool to edit and control renderings and show how our editing tool unifies and extends previous work on lighting editing. Portals allow the artist to precisely control the final aspect of the image without modifying neither scene geometry nor lighting setup. According to the setup of two geometric handles and a simple path selection filter, portals capture specific lightpaths and teleport them through 3D space. We implement portals in major path based algorithms (Photon Mapping, Progressive Photon Mapping and Bi-directional Path Tracing) and demonstrate the wide range of control this technique allows on various lighting effects, from low frequency color bleeding to high frequency caustics as well as view-dependent reflections

GASS Trial study protocol a multicentre, single-blind, randomised clinical trial comparing general anaesthesia and sedation during intra-arterial treatment for stroke

International audienceIntroduction - Treatment of acute stroke has drastically changed in the last 10 years. Endovascular therapy is now the standard of care for patients with a stroke caused by a large vessel occlusion in the anterior circulation. The impact of the type of anaesthesia (general anaesthesia or conscious sedation) during endovascular therapy on the outcome of the patients is still a matter of debate. Previous studies are mostly retrospective and/or focused on the early postprocedure outcome and/or without blood pressure goals and/or single-centre small size studies. We therefore designed a multicentre study hypothesising that conscious sedation is associated with a better functional outcome 3 months after endovascular therapy for the treatment of stroke compared with general anaesthesia.Methods/analysis - The General Anesthesia vs Sedation for Stroke (GASS) Trial is a randomised, parallel, single-blind, multicentre study of 350 patients undergoing endovascular therapy for the treatment of stroke. Patients will be randomly allocated to receive either a general anaesthesia or a conscious sedation. The primary outcome measure is the modified Rankin score assessed 3 months after the treatment. Data will be analysed on the intention-to-treat principle.Ethics/dissemination - The GASS Trial has been approved by an independent ethics committee for all study centres. Participant recruitment begins in September 2016. Results will be published in international peer-reviewed medical journals. Trial registration number - NCT02822144

General Anesthesia versus Sedation, Both with Hemodynamic Control, during Intraarterial Treatment for Stroke: The GASS Randomized Trial

International audienceBackground: It is speculated that the anesthetic strategy during endovascular therapy for stroke may have an impact on the outcome of the patients. The authors hypothesized that conscious sedation is associated with a better functional outcome 3 months after endovascular therapy for the treatment of stroke compared with general anesthesia. Methods: In this single-blind, randomized trial, patients received either a standardized general anesthesia or a standardized conscious sedation. Blood pressure control was also standardized in both groups. The primary outcome measure was a modified Rankin score less than or equal to 2 (0 = no symptoms; 5 = severe disability) assessed 3 months after treatment. The main secondary outcomes were complications, mortality, reperfusion results, and National Institutes of Health Stroke Scores at days 1 and 7. Results: Of 351 randomized patients, 345 were included in the analysis. The primary outcome occurred in 129 of 341 (38%) of the patients: 63 (36%) in the conscious sedation group and 66 (40%) in the general anesthesia group (relative risk, 0.91 [95% CI, 0.69 to 1.19]; P = 0.474). Patients in the general anesthesia group experienced more intraoperative hypo- or hypertensive episodes, while the cumulative duration was not different (mean +/- SD, 36 +/- 31 vs. 39 +/- 25 min; P = 0.079). The time from onset and from arrival to puncture were longer in the general anesthesia group (mean difference, 19 min [i.e., -00:19] [95% CI, -0:38 to 0] and mean difference, 9 min [95% CI, -0:18 to -0:01], respectively), while the time from onset to recanalization was similar in both groups. Recanalization was more often successful in the general anesthesia group (144 of 169 [85%] vs. 131 of 174 [75%]; P = 0.021). The incidence of symptomatic intracranial hemorrhage was similar in both groups. Conclusions: The functional outcomes 3 months after endovascular treatment for stroke were similar with general anesthesia and sedation. Our results, therefore, suggest that clinicians can use either approach

RayPortals: a light transport editing framework

International audiencePhysically based rendering, using path-space formulation of global illumination, has become a standard technique for high-quality computer-generated imagery. Nonetheless, being able to control and edit the resulting picture so that it corresponds to the artist vision is still a tedious trial-and-error process. We show how the manipulation of light transport translates into the path-space integral formulation of the rendering equation. We introduce portals as a path-space manipulation tool to edit and control renderings and show how our editing tool unifies and extends previous work on lighting editing. Portals allow the artist to precisely control the final aspect of the image without modifying neither scene geometry nor lighting setup. According to the setup of two geometric handles and a simple path selection filter, portals capture specific lightpaths and teleport them through 3D space. We implement portals in major path-based algorithms (Photon Mapping, Progressive Photon Mapping and Bi-directional Path Tracing) and demonstrate the wide range of control this technique allows on various lighting effects, from low-frequency color bleeding to high-frequency caustics as well as view-dependent reflections

Importance of polyfunctional thiols on semi-industrial Gew\uc3\ubcrztraminer wines and the correlation to technological treatments

Thiol compounds responsible for tropical fruit associated aroma have been extensively studied over the last 20 years. The occurrence of their non-aromatic precursors in grapes and musts is reported largely mainly for the cultivar Sauvignon Blanc. The presence of these thiols as precursors or free molecules in grape, juice, and wine has been reported in several different varieties, suggesting that they are more or less ubiquitous both for Vitis spp. and interspecific hybrids. The biosynthetic pathways resulting in these compounds are yet to be completely elucidated, but, in the meantime, industry needs to improve technological knowledge to better manage winemaking steps to enhance the variety-dependent aroma of wine. In this work, we studied the implications of the use of grape skin tannins\u2014rich and poor in thiol precursors\u2014 on the final content of 3-sulfanylhexan-1-ol (3MH) and its acetate (3MHA) in wine and the effect in terms of sensory appreciability. The evaluation of 36 vinifications carried out in a semi-industrial scale permitted us to prove that only a tannin originally rich in precursors (High), when added to juice at the beginning of fermentation, enhanced both the concentration of precursors in the juice and the final concentration of aromatic thiols in the resultant wine. The 3MH and 3MHA developed as a consequence of the juice supplementation with tannin High and increased pleasantness and typicality of Gew\ufcrztraminer wines. A later supplementation with tannin High at the end of the alcoholic fermentation was sensorially not effective