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Byong Mok Oh Byong Mok Oh Max Chen Max Chen Julie Dorsey Julie Dorsey Frédo Durand Frédo Durand

Hundreds of thousands of polygons! Hundreds of thousands of polygons! Painstaking detail for the artist to create. Painstaking detail for the artist to

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Page 1: Hundreds of thousands of polygons! Hundreds of thousands of polygons! Painstaking detail for the artist to create. Painstaking detail for the artist to

Byong Mok OhByong Mok Oh Max Chen Max Chen Julie DorseyJulie Dorsey Frédo DurandFrédo Durand

Page 2: Hundreds of thousands of polygons! Hundreds of thousands of polygons! Painstaking detail for the artist to create. Painstaking detail for the artist to

• Hundreds of thousands of polygons!Hundreds of thousands of polygons!• Painstaking detail for the artist to create.Painstaking detail for the artist to create.• Something’s not quite convincing.Something’s not quite convincing.

Page 3: Hundreds of thousands of polygons! Hundreds of thousands of polygons! Painstaking detail for the artist to create. Painstaking detail for the artist to

• Already photorealistic.Already photorealistic.• Detail exists before the artist begins to Detail exists before the artist begins to work.work.

Page 4: Hundreds of thousands of polygons! Hundreds of thousands of polygons! Painstaking detail for the artist to create. Painstaking detail for the artist to
Page 5: Hundreds of thousands of polygons! Hundreds of thousands of polygons! Painstaking detail for the artist to create. Painstaking detail for the artist to

Just follow these simple steps!Just follow these simple steps!• Separate the source image into layers.Separate the source image into layers.• Assign depth.Assign depth.• Adjust lighting.Adjust lighting.

Using two proprietary tools, Using two proprietary tools, The Clone The Clone Brushing ToolBrushing Tool & & The Texture-Illuminance The Texture-Illuminance Decoupling FilterDecoupling Filter, a single image can be , a single image can be transformed into a three dimensional transformed into a three dimensional scene.scene.

Page 6: Hundreds of thousands of polygons! Hundreds of thousands of polygons! Painstaking detail for the artist to create. Painstaking detail for the artist to
Page 7: Hundreds of thousands of polygons! Hundreds of thousands of polygons! Painstaking detail for the artist to create. Painstaking detail for the artist to

Layering is over 75% Layering is over 75% of the work!of the work!

Page 8: Hundreds of thousands of polygons! Hundreds of thousands of polygons! Painstaking detail for the artist to create. Painstaking detail for the artist to

A reference location is set, A reference location is set, and each layer of depth is and each layer of depth is used to create perspective.used to create perspective.

Page 9: Hundreds of thousands of polygons! Hundreds of thousands of polygons! Painstaking detail for the artist to create. Painstaking detail for the artist to

• Artists can manually adjust Artists can manually adjust depth by, “chiseling”. depth by, “chiseling”. • Depth paint is blended for Depth paint is blended for smooth transitions.smooth transitions.

Page 10: Hundreds of thousands of polygons! Hundreds of thousands of polygons! Painstaking detail for the artist to create. Painstaking detail for the artist to

• To ensure accuracy, a planar surface is To ensure accuracy, a planar surface is used as a reference point.used as a reference point.• A map is generated to represent the A map is generated to represent the surface depth.surface depth.• All objects’ depth will be based on this All objects’ depth will be based on this surface.surface.

Page 11: Hundreds of thousands of polygons! Hundreds of thousands of polygons! Painstaking detail for the artist to create. Painstaking detail for the artist to

To create depth in simple objects, To create depth in simple objects, spheres, cylinders and cubes are spheres, cylinders and cubes are used mask depth.used mask depth.

Page 12: Hundreds of thousands of polygons! Hundreds of thousands of polygons! Painstaking detail for the artist to create. Painstaking detail for the artist to

For more organic looking objects, For more organic looking objects, level sets are used.level sets are used.

Level sets break an object into Level sets break an object into levels from the surface inwards, levels from the surface inwards, allowing the object to “bulge” out allowing the object to “bulge” out around the edges, creating fuller, around the edges, creating fuller, more life-like depth.more life-like depth.

Page 13: Hundreds of thousands of polygons! Hundreds of thousands of polygons! Painstaking detail for the artist to create. Painstaking detail for the artist to

Artists can tweak the depth settings and Artists can tweak the depth settings and paint additional depth, or remove added paint additional depth, or remove added depth to both organic and primitive depth to both organic and primitive geometry.geometry.

Page 14: Hundreds of thousands of polygons! Hundreds of thousands of polygons! Painstaking detail for the artist to create. Painstaking detail for the artist to

Much like Adobe Photoshop’s Much like Adobe Photoshop’s “Rubber Stamp” tool, Clone “Rubber Stamp” tool, Clone Brushing allows an artist to paint Brushing allows an artist to paint one part of an image with the one part of an image with the color of another.color of another.

This does not handle lighting or This does not handle lighting or depth changes very well.depth changes very well.

Page 15: Hundreds of thousands of polygons! Hundreds of thousands of polygons! Painstaking detail for the artist to create. Painstaking detail for the artist to

Using color primarily from areas of Using color primarily from areas of similar depth and orientation, similar depth and orientation, distortion is minimized.distortion is minimized.

A reference image or layer is used A reference image or layer is used as a texture. as a texture.

Brushing becomes real time texture Brushing becomes real time texture mapping. mapping.

U & V coordinates from the source U & V coordinates from the source are painted onto 3D objects.are painted onto 3D objects.

Page 16: Hundreds of thousands of polygons! Hundreds of thousands of polygons! Painstaking detail for the artist to create. Painstaking detail for the artist to

4 pixels are sampled for each 4 pixels are sampled for each pixel painted, allowing the pixel painted, allowing the system to interpolate color system to interpolate color with some accuracy. with some accuracy.

Only bilinear interpolation is Only bilinear interpolation is implemented, so textures can implemented, so textures can be painted in real time.be painted in real time.

Page 17: Hundreds of thousands of polygons! Hundreds of thousands of polygons! Painstaking detail for the artist to create. Painstaking detail for the artist to

Pixels being painted are treated as Pixels being painted are treated as “active” pixels. “active” pixels.

Any painting over these pixels is Any painting over these pixels is smoothed linearly, giving a natural look, smoothed linearly, giving a natural look, without high overhead.without high overhead.

Page 18: Hundreds of thousands of polygons! Hundreds of thousands of polygons! Painstaking detail for the artist to create. Painstaking detail for the artist to

One pixel ahead of each active pixel is One pixel ahead of each active pixel is sampled prior to being painted. sampled prior to being painted.

This allows the system to predict what will This allows the system to predict what will be painted next, in any direction, speeding be painted next, in any direction, speeding up performance.up performance.

Page 19: Hundreds of thousands of polygons! Hundreds of thousands of polygons! Painstaking detail for the artist to create. Painstaking detail for the artist to

Painted pixels Painted pixels cannot be cannot be sampled. sampled. Textured objects Textured objects are “frozen”.are “frozen”.

Page 20: Hundreds of thousands of polygons! Hundreds of thousands of polygons! Painstaking detail for the artist to create. Painstaking detail for the artist to

• The system can identify the major The system can identify the major light sources in a scene.light sources in a scene.

• Light can then be added, removed, Light can then be added, removed, replicated or altered.replicated or altered.

Page 21: Hundreds of thousands of polygons! Hundreds of thousands of polygons! Painstaking detail for the artist to create. Painstaking detail for the artist to

Once the major light sources in a Once the major light sources in a scene are identified, their effects scene are identified, their effects can be negated, and individual can be negated, and individual objects can be discerned from a objects can be discerned from a scene.scene.

Page 22: Hundreds of thousands of polygons! Hundreds of thousands of polygons! Painstaking detail for the artist to create. Painstaking detail for the artist to

Understanding the light in a Understanding the light in a scene greatly enhances the scene greatly enhances the accuracy of the scene’s depth.accuracy of the scene’s depth.

Page 23: Hundreds of thousands of polygons! Hundreds of thousands of polygons! Painstaking detail for the artist to create. Painstaking detail for the artist to

Soft shadows aren’t always Soft shadows aren’t always distinguishable. Filtering distinguishable. Filtering helps smooth the transition helps smooth the transition between a soft shadow between a soft shadow and an object.and an object.

Page 24: Hundreds of thousands of polygons! Hundreds of thousands of polygons! Painstaking detail for the artist to create. Painstaking detail for the artist to

Even with filtering, some Even with filtering, some shadows will still be visible.shadows will still be visible.

Page 25: Hundreds of thousands of polygons! Hundreds of thousands of polygons! Painstaking detail for the artist to create. Painstaking detail for the artist to

Originally implemented as an Originally implemented as an Apple Quick Time Virtual Tour, Apple Quick Time Virtual Tour, panoramic stitching was the panoramic stitching was the first implementation of Image first implementation of Image Based Modeling. Based Modeling.

With this system, each object in With this system, each object in a scene like this could be a scene like this could be modeled.modeled.

Page 26: Hundreds of thousands of polygons! Hundreds of thousands of polygons! Painstaking detail for the artist to create. Painstaking detail for the artist to
Page 27: Hundreds of thousands of polygons! Hundreds of thousands of polygons! Painstaking detail for the artist to create. Painstaking detail for the artist to

Stereo images have Stereo images have been used, with been used, with limited success, to limited success, to generate 3D models.generate 3D models.

Page 28: Hundreds of thousands of polygons! Hundreds of thousands of polygons! Painstaking detail for the artist to create. Painstaking detail for the artist to

With Non-Distorted Clone With Non-Distorted Clone Brushing & Texture-Illuminance Brushing & Texture-Illuminance Decoupling Filters, a polygon Decoupling Filters, a polygon efficient 3D scene can be efficient 3D scene can be generated from an image like this generated from an image like this within 13 hours.within 13 hours.