Yizhou Yu Computer, Yizhou Yu · 1999
Projective texture-mapping is a powerful tool for image-based rendering. However, visibility information must be obtained in order to project correct textures onto the geometric sturcture. This paper presents a novel visibility algorithm for determining which polygons are visible from each camera position. It has object-space precision, but operates in both image-space and object-space to get better performance. It generates much less polygons than traditional object-space algorithms to help accelerate the speed of texture-mapping. The techniques used to achieve these are conservative image-space occlusion testing and object-space shallow clipping. This algorithm has been successfully used to generate large-scale image-based rendering of a whole university campus, and image-based rendering of architectures under dynamic lighting. 1
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Thierry Molinier, David Fofi, Patrick Gorria · Proceedings of SPIE, the International Society for Optical Engineering/Proceedings of SPIE · 2006
Industrial reproduction, as stereography or lithography, have a lack in texture information, as they only deal with 3D reconstruction. In this paper, we provide a new technique to map texture on real 3D objects, by synthesizing a novel view from two camera images to a projector frame, considered as a camera acting in reverse. No prior information on the pose or the shape of the 3D object is necessary, however hard calibration of the complete system is needed.
Cited by 2
David Guinnip, David Rice, Christopher Jaynes et al. · Digital Library (University of West Bohemia) · 2003
We introduce an encoding technique that supports efficient view-dependent image-based rendering applications that combine photorealistic images with an underlying surface mesh. The representation increases rendering efficiency, reduces the space required to store large numbers of object views, and supports direct image-based editing for realistic object manipulation. The Master Texture Space encoding transforms an original set of exemplar images into a set of Master Textures that share a globally consistent set of texture coordinates based on underlying object geometry and independent of camera positions used to create the exemplar views. An important
Cited by 0Open access
Alessandro Luchetti, Matteo Zanetti, Denis Kalkofen et al. · ACTA IMEKO · 2022
<p class="Abstract">Modern applications in virtual reality require a high level of fruition of the environment as if it was real. In applications that have to deal with real scenarios, it is important to acquire both its three-dimensional (3D) structure and details to enable the users to achieve good immersive experiences. The purpose of this paper is to illustrate a method to obtain a mesh with high quality texture combining a raw 3D mesh model of the environment and 360 <em>°</em> images. The main outcome is a mesh with a high level of photorealistic details. This enables both a good depth perception thanks to the mesh model and high visualization quality thanks to the 2D resolution of modern omnidirectional cameras. The fundamental step to reach this goal is the correct alignment between the 360 ° camera and the 3D mesh model. For this reason, we propose a method that embodies two steps: 1) find the 360 <em>° </em>cameras pose within the current 3D environment; 2) project the high-quality 360 <em>° </em>image on top of the mesh. After the method description, we outline its validation in two virtual reality scenarios, a mine and city environment, respectively, which allows us to compare the achieved results with the ground truth.</p>
Cited by 1Open access
Paul Haeberli, Mark Segal · 2011
Texture mapping has traditionally been used to add realism to computer graphics images. In recent years, this technique has moved from the domain of software rendering systems to that of high performance graphics hardware. But texture mapping hardware can be used for many more applications than simply applying diffuse patterns to polygons. We survey applications of texture mapping including simple texture mapping, projective textures, and image warping. We then describe texture mapping techniques for drawing anti-aliased lines, air-brushes, and anti-aliased text. Next we show how texture mapping may be used as a fundamental graphics primitive for volume rendering, environment mapping, color interpolation, contouring, and many other applications. CR
Cited by 70
Paul Haeberli, Mark Segal · 1993
Texture mapping has traditionally been used to add realism to computer graphics images. In recent years, this technique has moved from the domain of software rendering systems to that of high performance graphics hardware. But texture mapping hardware can be used for many more applications than simply applying diffuse patterns to polygons. We survey applications of texture mapping including simple texture mapping, projective textures, and image warping. We then describe texture mapping techniques for drawing anti-aliased lines, air-brushes, and anti-aliased text. Next we show how texture mapping may be used as a fundamental graphics primitive for volume rendering, environment mapping, color interpolation, contouring, and many other applications.
Cited by 0
Michael Cohen, Claude Puech, Francois Sillion et al. · 1993
Texture mapping has traditionally been used to add realism to computer graphics images. In recent years, this technique has moved from the domain of software rendering systems to that of high performance graphics hardware. But texture mapping hardware can be used for many more applications than simply applying diffuse patterns to polygons. Wesurvey applications of texture mapping including simple texture mapping, projective textures, and image warping. We then describe texture mapping techniques for drawing anti-aliased lines, air-brushes, and antialiased text. Next we show how texture mapping may be used as a fundamental graphics primitive for volume rendering, environment mapping, color interpolation, contouring, and many other applications. CR Categories and Subject Descriptors: I.3.3 [Computer Graphics]: Picture/Image Generation; I.3.7 [Computer Graphics]: Three-Dimensional Graphics and Realism - color, shading, shadowing, texture-mapping, line drawing, and anti-aliasing 1 Introd...
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Dongho Kim, James K. Hahn · 2003
As graphics hardware is available on most PCs these days, hardware-assisted real-time rendering becomes more important in many applications, such as games or virtual reality. Texture mapping is also important in graphics rendering, because it gives much visual detail without modeling of complex geometry. Conventional texture mapping by graphics hardware relies on the linear interpolations of the texture coordinates inside the triangles. Although this approximation works fine for most applications, the nonlinear modeling of texture coordinates is needed in some applications. This dissertation discusses how to model and implement nonlinear texture mapping with graphics hardware. Two applications using nonlinear texture parameterizations are introduced. They are cylindrical projective texture mapping and interactive image warping. Nonlinear texture mapping for these applications are modeled and implemented using environment mapped bump mapping (EMBM) capability and programmable pixel shader. By the decomposition of the nonlinear texture parameterization into the linear and nonlinear components, nonlinear residuals can be controlled by EMBM or pixel shader, while the linear components are used as texture coordinates for the conventional texture mapping.
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Luiz Velho, Jonas Sossai · 2012
Abstract. The use of attribute maps for 3D surfaces is an important issue in Geometric Modeling, Visualization and Simulation. Attribute maps describe various properties of a surface that are necessary in applications. In the case of visual properties, such as color, they are also called texture maps. Usually, the attribute representation exploits a parametrization g: U ⊂ R 2 → R 3 of a surface in order to establish a two-dimensional domain where attributes are defined. However, it is not possible, in general, to find a global parametrization without introducing distortions into the mapping. For this reason, an atlas structure is often employed. The atlas is a set of charts defined by a piecewise parametrization of a surface, which allows local mappings with small distortion. Texture atlas generation can be naturally posed as an optimization problem where the goal is to minimize both the number of charts and the distortion of each mapping. Additionally, specific applications can impose other restrictions, such as the type of mapping. An example is 3D photography, where the texture comes from images of the object captured by a camera [1]. Consequently, the underlying parametrization is a projective mapping. In this work, we investigate the problem of building and manipulating texture atlases for 3D photography applications. We adopt a variational approach to construct an atlas structure with the desired properties. For this purpose, we have extended the method of Cohen-Steiner et al. [3] to handle the texture mapping set-up by minimizing distortion error when creating local charts. We also introduce a new metric tailored to projective maps that is suited to 3D photography. Projective texture atlas serves as a foundation for an attribute processing framework. We exploit it in the user interface of a texture editing/painting interactive application. Other features incorporated into this framework include: texture compression, blending and inpainting. Our current research is looking into using surface attributes like normal and displacement fields for modeling operations. §1.
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Clifford, William · MURAL - Maynooth University Research Archive Library (National University of Ireland, Maynooth) · 2023
Simulation provides a safe and controlled environment ideal for human testing [49, 142, 120]. Simulation of real environments has reached new heights in terms of photo-realism. Often, a team of professional graphical artists would have to be hired to compete with modern commercial simulators. Meanwhile, machine vision methods are currently being developed that attempt to automatically provide geometrically consistent and photo-realistic 3D models of real scenes [189, 139, 115, 19, 140, 111, 132]. Often the only requirement is a set of images of that scene. A road engineer wishing to simulate the environment of a real road for driving experiments could potentially use these tools. This thesis develops a driving simulator that uses machine vision methods to reconstruct a real road automatically. A computer graphics method called projective texture mapping is applied to enhance the photo-realism of the 3D models[144, 43]. This essentially creates a virtual projector in the 3D environment to automatically assign image coordinates to a 3D model. These principles are demonstrated using custom shaders developed for an OpenGL rendering pipeline. Projective texture mapping presents a list of challenges to overcome, these include reverse projection and projection onto surfaces not immediately in front of the projector [53]. A significant challenge was the removal of dynamic foreground objects. 3D reconstruction systems create 3D models based on static objects captured in images. Dynamic objects are rarely reconstructed. Projective texture mapping of images, including these dynamic objects, can result in visual artefacts. A workflow is developed to resolve this, resulting in videos and 3D reconstructions of streets with no moving vehicles on the scene. The final simulator using 3D reconstruction and projective texture mapping is then developed. The rendering camera had a motion model introduced to enable human interaction. The final system is presented, experimentally tested, and future potential works are discussed.
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Eisemann, M., De Decker, B., Magnor, M. et al. · Document Server@UHasselt (UHasselt) · 2009
We present a novel multi-view, projective texture mapping technique. While previous multi-view texturing approaches lead to blurring and ghosting artefacts if 3D geometry and/or camera calibration are imprecise, we propose a texturing algorithm that warps ("floats") projected textures during run-time to preserve crisp, detailed texture appearance. Our GPU implementation achieves interactive to real-time frame rates. The method is very generally applicable and can be used in combination with many image-based rendering methods or projective texturing applications. By using Floating Textures in conjunction with, e.g., visual hull rendering, light field rendering, or free-viewpoint video, improved rendering results are obtained from fewer input images, less accurately calibrated cameras, and coarser 3D geometry proxies.
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Eisemann, Martin, De Decker, Bernd, Sellent, Anita et al. · Digitale Bibliothek Braunschweig (Verbundzentrale Göttingen (VZG)) · 2007
We present a novel multi-view, projective texture mapping technique. While previous multi-view texturing approaches lead to blurring and ghosting artefacts if 3D geometry and/or camera calibration are imprecise, we propose a texturing algorithm that warps (floats) projected textures during run-time to preserve crisp, detailed texture appearance. Our GPU implementation achieves interactive to real-time frame rates. The method is very generally applicable and can be used in combination with many image-based rendering methods or projective texturing applications. By using Floating Textures in conjunction with, e.g., visual hull rendering, light field rendering, or free-viewpoint video, improved rendering results are obtained from fewer input images, less accurately calibrated cameras, and coarser 3D geometry proxies.
Cited by 0Open access
Martin Eisemann, Bernd De Decker, Anita Sellent et al. · 2007
We present a novel multi-view, projective texture mapping technique. While previous multi-view texturing approaches lead to blurring and ghosting artefacts if 3D geometry and/or camera calibration are imprecise, we propose a texturing algorithm that warps (“floats”) projected textures during run-time to preserve crisp, detailed texture appearance. Our GPU implementation achieves interactive to real-time frame rates. The method is very generally applicable and can be used in combination with many image-based rendering methods or projective texturing applications. By using Floating Textures in conjunction with, e.g., visual hull rendering, light field rendering, or freeviewpoint video, improved rendering results are obtained from fewer input images, less accurately calibrated cameras, and coarser 3D geometry proxies.
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Adrian Xuan Wei Lim, Lynnette Hui Xian Ng, Conor Griffin et al. · arXiv (Cornell University) · 2023
We present Reverse Projection, a novel projective texture mapping technique for painting a decal directly to the texture of a 3D object. Designed to be used in games, this technique works in real-time. By using projection techniques that are computed in local space textures and outward-looking, users using low-end android devices to high-end gaming desktops are able to enjoy the personalization of their assets. We believe our proposed pipeline is a step in improving the speed and versatility of model painting.
Cited by 3Open access
M. Eisemann, B. De Decker, M. Magnor et al. · 2008
We present a novel multi-view, projective texture mapping technique. While previous multi-view texturing approaches lead to blurring and ghosting artefacts if 3D geometry and/or camera calibration are imprecise, we propose a texturing algorithm that warps (“floats”) projected textures during run-time to preserve crisp, detailed texture appearance. Our GPU implementation achieves interactive to real-time frame rates. The method is very generally applicable and can be used in combination with many image-based rendering methods or projective texturing applications. By using Floating Textures in conjunction with, e.g., visual hull rendering, light field rendering, or free-viewpoint video, improved rendering results are obtained from fewer input images, less accurately calibrated cameras, and coarser 3D geometry proxies. Categories and Subject Descriptors (according to ACM CCS): I.3.3 [Computer Graphics]: Picture/Image Generation I.3.7 [Computer Graphics]: Three-Dimensional Graphics and Realism 1.
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Kok-Lim Low, Adrian Ilie · 2001
object viewed from a given viewpoint, such that the object is completely enclosed in the frustum and the final object&apos; s image area is also near-maximal in the given 2D rectangular viewing region. This optimization can be used to improve the resolution of shadow maps and texture maps for projective texture mapping. Instead of doing the optimization in 3D space to find a good view frustum, our method uses a 2D approach. The basic idea of our approach is as follows. First, from the given viewpoint, a sample image of the object is generated using a conveniently-computed view frustum. A tight 2D bounding quadrilateral is then computed to enclose the image of the object. Next, considering the projective warp between the bounding quadrilateral and the rectangular viewing region, our method applies a technique of camera calibration to compute a new view frustum that generates an image that covers the viewing region as much as possible.
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Scenes Ming Li, Ming Li, Marcus Magnor et al. · 2003
This paper presents an online system which is capable of reconstructing and rendering dynamic objects in real scenes. We reconstruct visual hulls of the objects by using a shape-from-silhouette approach. During rendering, a novel blending scheme is employed to compose multiple background images. Visibility artifacts on the dynamic object are removed by using opaque projective texture mapping. We also propose a dynamic texture packing technique to improve rendering performance by exploiting region-of-interest information. Our system takes multiple live or pre-recorded video streams as input. It produces realistic real-time rendering results of dynamic objects in their surrounding natural environment in which the user can freely navigate.
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Kok‐Lim Low, Adrian Ilie · 2002
This paper presents a method to compute a view frustum for a 3D object viewed from a given viewpoint, such that the object is completely enclosed in the frustum and the final object’s image area is also near-maximal in the given 2D rectangular viewing region. This optimization can be used to improve the resolution of shadow maps and texture maps for projective texture mapping. Instead of doing the optimization in 3D space to find a good view frustum, our method uses a 2D approach. The basic idea of our approach is as follows. First, from the given viewpoint, a sample image of the object is generated using a conveniently-computed view frustum. A tight 2D bounding quadrilateral is then computed to enclose the image of the object. Next, considering the projective warp between the bounding quadrilateral and the rectangular viewing region, our method applies a technique of camera calibration to compute a new view frustum that generates an image that covers the viewing region as much as possible. 1
Cited by 2
Kenji Mase, Hikaru Nishira · 2007
The representation of a visual scene is a key issue in navigating through image-based virtual environments. Using affine and projective invariants, sequential /multiple images from a pivoting camera can be easily mosaiced into a planar sheet. We discuss the importance of field-of-view to share the sensation of the scene observer (i.e. camera person) in a virtual environment and propose a method of obtaining the total field-of-view angle of image mosaics. The extension to an environment with moving objects as well as applications are presented. 1. Introduction Recent progress in computer graphics technology, especially in the texture-mapping (e.g. environmentmapping) of pixel images is closing the gap between 3-D scene reconstruction from image sequences and the creation of geometrically modeled virtual environments. Due to the visual perception ability of humans, we can &quot;feel&quot; reality by mapping scene images (texture) onto roughly reconstructed geometric models such as human faces an...
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Jian Wen Fang, Jin Hui Yu, Shuang Xia Han et al. · Key engineering materials · 2011
This paper presents a model for automatically generating 3D cartoon ocean water animations in real-time. The dynamic ocean water surface model is modeled by a spectral method. The cartoon rendering process is implemented by multipass on GPU: First, we code normal of ocean model and generate normal map. Next, we extract discontinuities from normal map and smooth it into edge map. Finally we combine the edge map with cartoon shading based on a projective texture mapping. Some experimental results demonstrate the prettiness and efficiency of the presented model.
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