Coherent Noise for Non-Photorealistic Rendering
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Perlin Textures in Real Time Using Opengl Antoine Miné, Fabrice Neyret
Perlin Textures in Real Time using OpenGL Antoine Miné, Fabrice Neyret To cite this version: Antoine Miné, Fabrice Neyret. Perlin Textures in Real Time using OpenGL. [Research Report] RR- 3713, INRIA. 1999, pp.18. inria-00072955 HAL Id: inria-00072955 https://hal.inria.fr/inria-00072955 Submitted on 24 May 2006 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. INSTITUT NATIONAL DE RECHERCHE EN INFORMATIQUE ET EN AUTOMATIQUE Perlin Textures in Real Time using OpenGL Antoine Mine´ Fabrice Neyret iMAGIS-IMAG, bat C BP 53, 38041 Grenoble Cedex 9, FRANCE [email protected] http://www-imagis.imag.fr/Membres/Fabrice.Neyret/ No 3713 juin 1999 THEME` 3 apport de recherche ISSN 0249-6399 Perlin Textures in Real Time using OpenGL Antoine Miné Fabrice Neyret iMAGIS-IMAG, bat C BP 53, 38041 Grenoble Cedex 9, FRANCE [email protected] http://www-imagis.imag.fr/Membres/Fabrice.Neyret/ Thème 3 — Interaction homme-machine, images, données, connaissances Projet iMAGIS Rapport de recherche n˚3713 — juin 1999 — 18 pages Abstract: Perlin’s procedural solid textures provide for high quality rendering of surface appearance like marble, wood or rock. -
Subdivision Surfaces Years of Experience at Pixar
Subdivision Surfaces Years of Experience at Pixar - Recursively Generated B-Spline Surfaces on Arbitrary Topological Meshes Ed Catmull, Jim Clark 1978 Computer-Aided Design - Subdivision Surfaces in Character Animation Tony DeRose, Michael Kass, Tien Truong 1998 SIGGRAPH Proceedings - Feature Adaptive GPU Rendering of Catmull-Clark Subdivision Surfaces Matthias Niessner, Charles Loop, Mark Meyer, Tony DeRose 2012 ACM Transactions on Graphics Subdivision Advantages • Flexible Mesh Topology • Efficient Representation for Smooth Shapes • Semi-Sharp Creases for Fine Detail and Hard Surfaces • Open Source – Beta Available Now • It’s What We Use – Robust and Fast • Pixar Granting License to Necessary Subdivision Patents graphics.pixar.com Consistency • Exactly Matches RenderMan Internal Data Structures and Algorithms are the Same • Full Implementation Semi-Sharp Creases, Boundary Interpolation, Hierarchical Edits • Use OpenSubdiv for Your Projects! Custom and Third Party Animation, Modeling, and Painting Applications Performance • GPU Compute and GPU Tessellation • CUDA, OpenCL, GLSL, OpenMP • Linux, Windows, OS X • Insert Prman doc + hierarchical viewer GPU Performance • We use CUDA internally • Best Performance on CUDA and Kepler • NVIDIA Linux Profiling Tools OpenSubdiv On GPU Subdivision Mesh Topology Points CPU Subdivision VBO Tables GPU Patches Refine CUDA Kernels Tessellation Draw Improved Workflows • True Limit Surface Display • Interactive Manipulation • Animate While Displaying Full Surface Detail • New Sculpt and Paint Possibilities Sculpting & Ptex • Sculpt with Mudbox • Export to Ptex • Render with RenderMan • Insert toad demo Sculpt & Animate Too ! • OpenSubdiv Supports Ptex • OpenSubdiv Matches RenderMan • Enables Interactive Deformation • Insert rendered toad clip graphics.pixar.com Feature Adaptive GPU Rendering of Catmull-Clark Subdivision Surfaces Thursday – 2:00 pm Room 408a . -
Fast, High Quality Noise
The Importance of Being Noisy: Fast, High Quality Noise Natalya Tatarchuk 3D Application Research Group AMD Graphics Products Group Outline Introduction: procedural techniques and noise Properties of ideal noise primitive Lattice Noise Types Noise Summation Techniques Reducing artifacts General strategies Antialiasing Snow accumulation and terrain generation Conclusion Outline Introduction: procedural techniques and noise Properties of ideal noise primitive Noise in real-time using Direct3D API Lattice Noise Types Noise Summation Techniques Reducing artifacts General strategies Antialiasing Snow accumulation and terrain generation Conclusion The Importance of Being Noisy Almost all procedural generation uses some form of noise If image is food, then noise is salt – adds distinct “flavor” Break the monotony of patterns!! Natural scenes and textures Terrain / Clouds / fire / marble / wood / fluids Noise is often used for not-so-obvious textures to vary the resulting image Even for such structured textures as bricks, we often add noise to make the patterns less distinguishable Ех: ToyShop brick walls and cobblestones Why Do We Care About Procedural Generation? Recent and upcoming games display giant, rich, complex worlds Varied art assets (images and geometry) are difficult and time-consuming to generate Procedural generation allows creation of many such assets with subtle tweaks of parameters Memory-limited systems can benefit greatly from procedural texturing Smaller distribution size Lots of variation -
Synthetic Data Generation for Deep Learning Models
32. DfX-Symposium 2021 Synthetic Data Generation for Deep Learning Models Christoph Petroll 1 , 2 , Martin Denk 2 , Jens Holtmannspötter 1 ,2, Kristin Paetzold 3 , Philipp Höfer 2 1 The Bundeswehr Research Institute for Materials, Fuels and Lubricants (WIWeB) 2 Universität der Bundeswehr München (UniBwM) 3 Technische Universität Dresden * Korrespondierender Autor: Christoph Petroll Institutsweg 1 85435 Erding Germany Telephone: 08122/9590 3313 Mail: [email protected] Abstract The design freedom and functional integration of additive manufacturing is increasingly being implemented in existing products. One of the biggest challenges are competing optimization goals and functions. This leads to multidisciplinary optimization problems which needs to be solved in parallel. To solve this problem, the authors require a synthetic data set to train a deep learning metamodel. The research presented shows how to create a data set with the right quality and quantity. It is discussed what are the requirements for solving an MDO problem with a metamodel taking into account functional and production-specific boundary conditions. A data set of generic designs is then generated and validated. The generation of the generic design proposals is accompanied by a specific product development example of a drone combustion engine. Keywords Multidisciplinary Optimization Problem, Synthetic Data, Deep Learning © 2021 die Autoren | DOI: https://doi.org/10.35199/dfx2021.11 1. Introduction and Idea of This Research Due to its great design freedom, additive manufacturing (AM) shows a high potential of functional integration and part consolidation [1]-[3]. For this purpose, functions and optimization goals that are usually fulfilled by individual components must be considered in parallel. -
Generating Realistic City Boundaries Using Two-Dimensional Perlin Noise
Generating realistic city boundaries using two-dimensional Perlin noise Graduation thesis for the Doctoraal program, Computer Science Steven Wijgerse student number 9706496 February 12, 2007 Graduation Committee dr. J. Zwiers dr. M. Poel prof.dr.ir. A. Nijholt ir. F. Kuijper (TNO Defence, Security and Safety) University of Twente Cluster: Human Media Interaction (HMI) Department of Electrical Engineering, Mathematics and Computer Science (EEMCS) Generating realistic city boundaries using two-dimensional Perlin noise Graduation thesis for the Doctoraal program, Computer Science by Steven Wijgerse, student number 9706496 February 12, 2007 Graduation Committee dr. J. Zwiers dr. M. Poel prof.dr.ir. A. Nijholt ir. F. Kuijper (TNO Defence, Security and Safety) University of Twente Cluster: Human Media Interaction (HMI) Department of Electrical Engineering, Mathematics and Computer Science (EEMCS) Abstract Currently, during the creation of a simulator that uses Virtual Reality, 3D content creation is by far the most time consuming step, of which a large part is done by hand. This is no different for the creation of virtual urban environments. In order to speed up this process, city generation systems are used. At re-lion, an overall design was specified in order to implement such a system, of which the first step is to automatically create realistic city boundaries. Within the scope of a research project for the University of Twente, an algorithm is proposed for this first step. This algorithm makes use of two-dimensional Perlin noise to fill a grid with random values. After applying a transformation function, to ensure a minimum amount of clustering, and a threshold mech- anism to the grid, the hull of the resulting shape is converted to a vector representation. -
To Infinity and Back Again: Hand-Drawn Aesthetic and Affection for the Past in Pixar's Pioneering Animation
To Infinity and Back Again: Hand-drawn Aesthetic and Affection for the Past in Pixar's Pioneering Animation Haswell, H. (2015). To Infinity and Back Again: Hand-drawn Aesthetic and Affection for the Past in Pixar's Pioneering Animation. Alphaville: Journal of Film and Screen Media, 8, [2]. http://www.alphavillejournal.com/Issue8/HTML/ArticleHaswell.html Published in: Alphaville: Journal of Film and Screen Media Document Version: Publisher's PDF, also known as Version of record Queen's University Belfast - Research Portal: Link to publication record in Queen's University Belfast Research Portal Publisher rights © 2015 The Authors. This is an open access article published under a Creative Commons Attribution-NonCommercial-NoDerivs License (https://creativecommons.org/licenses/by-nc-nd/4.0/), which permits distribution and reproduction for non-commercial purposes, provided the author and source are cited. General rights Copyright for the publications made accessible via the Queen's University Belfast Research Portal is retained by the author(s) and / or other copyright owners and it is a condition of accessing these publications that users recognise and abide by the legal requirements associated with these rights. Take down policy The Research Portal is Queen's institutional repository that provides access to Queen's research output. Every effort has been made to ensure that content in the Research Portal does not infringe any person's rights, or applicable UK laws. If you discover content in the Research Portal that you believe breaches copyright or violates any law, please contact [email protected]. Download date:28. Sep. 2021 1 To Infinity and Back Again: Hand-drawn Aesthetic and Affection for the Past in Pixar’s Pioneering Animation Helen Haswell, Queen’s University Belfast Abstract: In 2011, Pixar Animation Studios released a short film that challenged the contemporary characteristics of digital animation. -
MONSTERS INC 3D Press Kit
©2012 Disney/Pixar. All Rights Reserved. CAST Sullivan . JOHN GOODMAN Mike . BILLY CRYSTAL Boo . MARY GIBBS Randall . STEVE BUSCEMI DISNEY Waternoose . JAMES COBURN Presents Celia . JENNIFER TILLY Roz . BOB PETERSON A Yeti . JOHN RATZENBERGER PIXAR ANIMATION STUDIOS Fungus . FRANK OZ Film Needleman & Smitty . DANIEL GERSON Floor Manager . STEVE SUSSKIND Flint . BONNIE HUNT Bile . JEFF PIDGEON George . SAM BLACK Additional Story Material by . .. BOB PETERSON DAVID SILVERMAN JOE RANFT STORY Story Manager . MARCIA GWENDOLYN JONES Directed by . PETE DOCTER Development Story Supervisor . JILL CULTON Co-Directed by . LEE UNKRICH Story Artists DAVID SILVERMAN MAX BRACE JIM CAPOBIANCO Produced by . DARLA K . ANDERSON DAVID FULP ROB GIBBS Executive Producers . JOHN LASSETER JASON KATZ BUD LUCKEY ANDREW STANTON MATTHEW LUHN TED MATHOT Associate Producer . .. KORI RAE KEN MITCHRONEY SANJAY PATEL Original Story by . PETE DOCTER JEFF PIDGEON JOE RANFT JILL CULTON BOB SCOTT DAVID SKELLY JEFF PIDGEON NATHAN STANTON RALPH EGGLESTON Additional Storyboarding Screenplay by . ANDREW STANTON GEEFWEE BOEDOE JOSEPH “ROCKET” EKERS DANIEL GERSON JORGEN KLUBIEN ANGUS MACLANE Music by . RANDY NEWMAN RICKY VEGA NIERVA FLOYD NORMAN Story Supervisor . BOB PETERSON JAN PINKAVA Film Editor . JIM STEWART Additional Screenplay Material by . ROBERT BAIRD Supervising Technical Director . THOMAS PORTER RHETT REESE Production Designers . HARLEY JESSUP JONATHAN ROBERTS BOB PAULEY Story Consultant . WILL CSAKLOS Art Directors . TIA W . KRATTER Script Coordinators . ESTHER PEARL DOMINIQUE LOUIS SHANNON WOOD Supervising Animators . GLENN MCQUEEN Story Coordinator . ESTHER PEARL RICH QUADE Story Production Assistants . ADRIAN OCHOA Lighting Supervisor . JEAN-CLAUDE J . KALACHE SABINE MAGDELENA KOCH Layout Supervisor . EWAN JOHNSON TOMOKO FERGUSON Shading Supervisor . RICK SAYRE Modeling Supervisor . EBEN OSTBY ART Set Dressing Supervisor . -
CMSC 425: Lecture 14 Procedural Generation: Perlin Noise
CMSC 425 Dave Mount CMSC 425: Lecture 14 Procedural Generation: Perlin Noise Reading: The material on Perlin Noise based in part by the notes Perlin Noise, by Hugo Elias. (The link to his materials seems to have been lost.) This is not exactly the same as Perlin noise, but the principles are the same. Procedural Generation: Big game companies can hire armies of artists to create the immense content that make up the game's virtual world. If you are designing a game without such extensive resources, an attractive alternative for certain natural phenomena (such as terrains, trees, and atmospheric effects) is through the use of procedural generation. With the aid of a random number generator, a high quality procedural generation system can produce remarkably realistic models. Examples of such systems include terragen (see Fig. 1(a)) and speedtree (see Fig. 1(b)). terragen speedtree (a) (b) Fig. 1: (a) A terrain generated by terragen and (b) a scene with trees generated by speedtree. Before discussing methods for generating such interesting structures, we need to begin with a background, which is interesting in its own right. The question is how to construct random noise that has nice structural properties. In the 1980's, Ken Perlin came up with a powerful and general method for doing this (for which he won an Academy Award!). The technique is now widely referred to as Perlin Noise (see Fig. 2(a)). A terrain resulting from applying this is shown in Fig. 2(b). (The terragen software uses randomized methods like Perlin noise as a starting point for generating a terrain and then employs additional operations such as simulated erosion, to achieve heightened realism.) Perlin Noise: Natural phenomena derive their richness from random variations. -
The Metaverse and Digital Realities Transcript Introduction Plenary
[Scientific Innovation Series 9] The Metaverse and Digital Realities Transcript Date: 08/27/2021 (Released) Editors: Ji Soo KIM, Jooseop LEE, Youwon PARK Introduction Yongtaek HONG: Welcome to the Chey Institute’s Scientific Innovation Series. Today, in the 9th iteration of the series, we focus on the Metaverse and Digital Realities. I am Yongtaek Hong, a Professor of Electrical and Computer Engineering at Seoul National University. I am particularly excited to moderate today’s webinar with the leading experts and scholars on the metaverse, a buzzword that has especially gained momentum during the online-everything shift of the pandemic. Today, we have Dr. Michael Kass and Dr. Douglas Lanman joining us from the United States. And we have Professor Byoungho Lee and Professor Woontack Woo joining us from Korea. Now, I will introduce you to our opening Plenary Speaker. Dr. Michael Kass is a senior distinguished engineer at NVIDIA and the overall software architect of NVIDIA Omniverse, NVIDIA’s platform and pipeline for collaborative 3D content creation based on USD. He is also the recipient of distinguished awards, including the 2005 Scientific and Technical Academy Award and the 2009 SIGGRAPH Computer Graphics Achievement Award. Plenary Session Michael KASS: So, my name is Michael Kass. I'm a distinguished engineer from NVIDIA. And today we'll be talking about NVIDIA's view of the metaverse and how we need an open metaverse. And we believe that the core of that metaverse should be USD, Pixar's Universal Theme Description. Now, I don't think I have to really do much to introduce the metaverse to this group, but the original name goes back to Neal Stephenson's novel Snow Crash in 1992, and the original idea probably goes back further. -
State of the Art in Procedural Noise Functions
EUROGRAPHICS 2010 / Helwig Hauser and Erik Reinhard STAR – State of The Art Report State of the Art in Procedural Noise Functions A. Lagae1,2 S. Lefebvre2,3 R. Cook4 T. DeRose4 G. Drettakis2 D.S. Ebert5 J.P. Lewis6 K. Perlin7 M. Zwicker8 1Katholieke Universiteit Leuven 2REVES/INRIA Sophia-Antipolis 3ALICE/INRIA Nancy Grand-Est / Loria 4Pixar Animation Studios 5Purdue University 6Weta Digital 7New York University 8University of Bern Abstract Procedural noise functions are widely used in Computer Graphics, from off-line rendering in movie production to interactive video games. The ability to add complex and intricate details at low memory and authoring cost is one of its main attractions. This state-of-the-art report is motivated by the inherent importance of noise in graphics, the widespread use of noise in industry, and the fact that many recent research developments justify the need for an up-to-date survey. Our goal is to provide both a valuable entry point into the field of procedural noise functions, as well as a comprehensive view of the field to the informed reader. In this report, we cover procedural noise functions in all their aspects. We outline recent advances in research on this topic, discussing and comparing recent and well established methods. We first formally define procedural noise functions based on stochastic processes and then classify and review existing procedural noise functions. We discuss how procedural noise functions are used for modeling and how they are applied on surfaces. We then introduce analysis tools and apply them to evaluate and compare the major approaches to noise generation. -
Tile-Based Method for Procedural Content Generation
Tile-based Method for Procedural Content Generation Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By David Maung Graduate Program in Computer Science and Engineering The Ohio State University 2016 Dissertation Committee: Roger Crawfis, Advisor; Srinivasan Parthasarathy; Kannan Srinivasan; Ken Supowit Copyright by David Maung 2016 Abstract Procedural content generation for video games (PCGG) is a growing field due to its benefits of reducing development costs and adding replayability. While there are many different approaches to PCGG, I developed a body of research around tile-based approaches. Tiles are versatile and can be used for materials, 2D game content, or 3D game content. They may be seamless such that a game player cannot perceive that game content was created with tiles. Tile-based approaches allow localized content and semantics while being able to generate infinite worlds. Using techniques such as aperiodic tiling and spatially varying tiling, we can guarantee these infinite worlds are rich playable experiences. My research into tile-based PCGG has led to results in four areas: 1) development of a tile-based framework for PCGG, 2) development of tile-based bandwidth limited noise, 3) development of a complete tile-based game, and 4) application of formal languages to generation and evaluation models in PCGG. ii Vita 2009................................................................B.S. Computer Science, San Diego State -
A Cellular Texture Basis Function
A Cellular Texture Basis Function Steven Worley 1 ABSTRACT In this paper, we propose a new set of related texture basis func- tions. They are based on scattering ªfeature pointsº throughout 3 Solid texturing is a powerful way to add detail to the surface of < and building a scalar function based on the distribution of the rendered objects. Perlin's ªnoiseº is a 3D basis function used in local points. The use of distributed points in space for texturing some of the most dramatic and useful surface texture algorithms. is not new; ªbombingº is a technique which places geometric fea- We present a new basis function which complements Perlin noise, tures such as spheres throughout space, which generates patterns based on a partitioning of space into a random array of cells. We on surfaces that cut through the volume of these features, forming have used this new basis function to produce textured surfaces re- polkadots, for example. [9, 5] This technique is not a basis func- sembling ¯agstone-like tiled areas, organic crusty skin, crumpled tion, and is signi®cantly less useful than noise. Lewis also used paper, ice, rock, mountain ranges, and craters. The new basis func- points scattered throughout space for texturing. His method forms a tion can be computed ef®ciently without the need for precalculation basis function, but it is better described as an alternative method of or table storage. generating a noise basis than a new basis function with a different appearance.[3] In this paper, we introduce a new texture basis function that has INTRODUCTION interesting behavior, and can be evaluated ef®ciently without any precomputation.