Encontrar um modo de criar imagens fotorealísticas tem sido uma meta da Computação Gráfica por muitos anos [GLA 89]. Neste sentido, os aspectos que possuem principal importância são a modelagem e a iluminação. Ao considerar aspectos de modelagem, a obtenção de realismo mostra-se bastante difícil quando se pretende, através de técnicas tradicionais de modelagem, modelar objetos cujas formas não são bem definidas. Dentre alguns exemplos destes tipos de objetos, podem-se citar fogo, fumaça, nuvens, água, etc. Partindo deste fato, Reeves [REE 83] introduziu uma técnica denominada sistemas de partículas para efetuar a modelagem de fogo e explosões. Um sistema de partículas pode ser visto como um conjunto de partículas que evoluem ao longo do tempo. Os procedimentos envolvidos na animação de um sistema de partículas são bastante simples. Basicamente, a cada instante de tempo, novas partículas são geradas, os atributos das partículas antigas são alterados, ou estas partículas podem ser extintas de acordo com certas regras pré-definidas. Como as partículas de um sistema são entidades dinâmicas, os sistemas de partículas são especialmente adequados para o uso em animação. Ainda, dentre as principais vantagens dos sistemas de partículas quando comparados com as técnicas tradicionais de modelagem, podem-se citar a facilidade da obtenção de efeitos sobre as partículas (como borrão de movimento), a necessidade de poucos dados para a modelagem global do fenômeno, o controle por processos estocásticos, o nível de detalhamento ajustável e a possibilidade de grande controle sobre as suas deformações. Entretanto, os sistemas de partículas possuem algumas limitações e restrições que provocaram o pouco desenvolvimento de algoritmos específicos nesta área. Dentre estas limitações, as principais são a dificuldade de obtenção de efeitos realísticos de sombra e reflexão, o alto consumo de memória e o fato dos sistemas de partículas possuírem um processo de animação específico para cada efeito que se quer modelar. Poucos trabalhos foram desenvolvidos especificamente para a solução destes problemas, sendo que a maioria se destina à modelagem de fenômenos através de sistemas de partículas. Tendo em vista tais deficiências, este trabalho apresenta métodos para as soluções destes problemas. É apresentado um método para tornar viável a integração de sistemas de partículas em ambientes de Ray Tracing, através do uso de uma grade tridimensional. Também, são apresentadas técnicas para a eliminação de efeitos de aliasing das partículas, assim como para a redução da quantidades de memória exigida para o armazenamento dos sistemas de partículas. Considerando aspectos de animação de sistemas de partículas, também é apresentado uma técnica de aceleração para a detecção de colisões entre o sistema de partículas e os objetos de uma cena, baseada no uso de uma grade pentadimensional. Aspectos relativos à implementação, tempo de processamento e fatores de aceleração são apresentados no final do trabalho, assim como as possíveis extensões futuras e trabalhos sendo realizados. / Finding a way to create photorealistic images has been a goal of Computer Graphics for many years [GLA 89]. In this sense, the aspects that have main importance are modeling and illumination. Considering aspects of modeling, the obtention of realism is very difficult when it is intended to model fuzzy objects using traditional modeling techniques. Among some examples of these types of objects, fire, smoke, clouds, water, etc. can be mentioned. With this fact in mind, Reeves [REE 83] introduced a technique named particle systems for modeling of fire and explosions. A particle system can be seen as a set of particles that evolves over time. The procedures involved in the animation of particle systems are very simple. Basically, at each time instant, new particles are generated, the attributes of the old ones are changed, or these particles can be extinguished according to predefined rules. As the particles of a system are dynamic entities, particle systems are specially suitable for use in animation. Among the main advantages of particle systems, when compared to traditional techniques, it can be mentioned the facility of obtaining effects such as motion blur over the particles, the need of few data to the global modeling of a phenomen, the control by stochastic processes, an adjustable level of detail and a great control over their deformations. However, particle systems present some limitations and restrictions that cause the little development of specific algorithms in this area. Among this limitations, the main are the difficulty of obtention of realistic effects of shadow and reflection, the high requirement of memory and the fact that particle systems need a specific animation process for each effect intended to be modeled. Few works have been developed specifically for the solution of these problems; most of them are developed for the modeling of phenomena through the use of particle systems. Keeping these deficiencies in mind, this work presents methods for solving these problems. A method is presented to make practicable the integration of particle systems and ray tracing, through the use of a third-dimensional grid. Also, a technique is presented to eliminate effects of aliasing of particles, and to reduce the amount of memory required for the storage of particle systems. Considering particle systems animation, a technique is also presented to accelerate the collision detection between particle systems and the objects of a scene, based on the use of a fifth-dimensional grid. Aspects related to the implementation, processing time and acceleration factors are presented at the end of the work, as well as the possible future extensions and ongoing works.

Encontrar um modo de criar imagens fotorealísticas tem sido uma meta da Computação Gráfica por muitos anos [GLA 89]. Neste sentido, os aspectos que possuem principal importância são a modelagem e a iluminação. Ao considerar aspectos de modelagem, a obtenção de realismo mostra-se bastante difícil quando se pretende, através de técnicas tradicionais de modelagem, modelar objetos cujas formas não são bem definidas. Dentre alguns exemplos destes tipos de objetos, podem-se citar fogo, fumaça, nuvens, água, etc. Partindo deste fato, Reeves [REE 83] introduziu uma técnica denominada sistemas de partículas para efetuar a modelagem de fogo e explosões. Um sistema de partículas pode ser visto como um conjunto de partículas que evoluem ao longo do tempo. Os procedimentos envolvidos na animação de um sistema de partículas são bastante simples. Basicamente, a cada instante de tempo, novas partículas são geradas, os atributos das partículas antigas são alterados, ou estas partículas podem ser extintas de acordo com certas regras pré-definidas. Como as partículas de um sistema são entidades dinâmicas, os sistemas de partículas são especialmente adequados para o uso em animação. Ainda, dentre as principais vantagens dos sistemas de partículas quando comparados com as técnicas tradicionais de modelagem, podem-se citar a facilidade da obtenção de efeitos sobre as partículas (como borrão de movimento), a necessidade de poucos dados para a modelagem global do fenômeno, o controle por processos estocásticos, o nível de detalhamento ajustável e a possibilidade de grande controle sobre as suas deformações. Entretanto, os sistemas de partículas possuem algumas limitações e restrições que provocaram o pouco desenvolvimento de algoritmos específicos nesta área. Dentre estas limitações, as principais são a dificuldade de obtenção de efeitos realísticos de sombra e reflexão, o alto consumo de memória e o fato dos sistemas de partículas possuírem um processo de animação específico para cada efeito que se quer modelar. Poucos trabalhos foram desenvolvidos especificamente para a solução destes problemas, sendo que a maioria se destina à modelagem de fenômenos através de sistemas de partículas. Tendo em vista tais deficiências, este trabalho apresenta métodos para as soluções destes problemas. É apresentado um método para tornar viável a integração de sistemas de partículas em ambientes de Ray Tracing, através do uso de uma grade tridimensional. Também, são apresentadas técnicas para a eliminação de efeitos de aliasing das partículas, assim como para a redução da quantidades de memória exigida para o armazenamento dos sistemas de partículas. Considerando aspectos de animação de sistemas de partículas, também é apresentado uma técnica de aceleração para a detecção de colisões entre o sistema de partículas e os objetos de uma cena, baseada no uso de uma grade pentadimensional. Aspectos relativos à implementação, tempo de processamento e fatores de aceleração são apresentados no final do trabalho, assim como as possíveis extensões futuras e trabalhos sendo realizados. / Finding a way to create photorealistic images has been a goal of Computer Graphics for many years [GLA 89]. In this sense, the aspects that have main importance are modeling and illumination. Considering aspects of modeling, the obtention of realism is very difficult when it is intended to model fuzzy objects using traditional modeling techniques. Among some examples of these types of objects, fire, smoke, clouds, water, etc. can be mentioned. With this fact in mind, Reeves [REE 83] introduced a technique named particle systems for modeling of fire and explosions. A particle system can be seen as a set of particles that evolves over time. The procedures involved in the animation of particle systems are very simple. Basically, at each time instant, new particles are generated, the attributes of the old ones are changed, or these particles can be extinguished according to predefined rules. As the particles of a system are dynamic entities, particle systems are specially suitable for use in animation. Among the main advantages of particle systems, when compared to traditional techniques, it can be mentioned the facility of obtaining effects such as motion blur over the particles, the need of few data to the global modeling of a phenomen, the control by stochastic processes, an adjustable level of detail and a great control over their deformations. However, particle systems present some limitations and restrictions that cause the little development of specific algorithms in this area. Among this limitations, the main are the difficulty of obtention of realistic effects of shadow and reflection, the high requirement of memory and the fact that particle systems need a specific animation process for each effect intended to be modeled. Few works have been developed specifically for the solution of these problems; most of them are developed for the modeling of phenomena through the use of particle systems. Keeping these deficiencies in mind, this work presents methods for solving these problems. A method is presented to make practicable the integration of particle systems and ray tracing, through the use of a third-dimensional grid. Also, a technique is presented to eliminate effects of aliasing of particles, and to reduce the amount of memory required for the storage of particle systems. Considering particle systems animation, a technique is also presented to accelerate the collision detection between particle systems and the objects of a scene, based on the use of a fifth-dimensional grid. Aspects related to the implementation, processing time and acceleration factors are presented at the end of the work, as well as the possible future extensions and ongoing works.

While modern digital entertainment has seen a major shift toward photorealism in animation, there is still significant demand for stylized rendering tools. Stylized, or non-photorealistic rendering (NPR), applications generally sacrifice physical accuracy for artistic or functional visual output. Oftentimes, NPR applications focus on extracting specific features from a 3D environment and highlighting them in a unique manner. One application of interest involves recreating 2D hand-drawn art styles in a 3D-modeled environment. This task poses challenges in the form of spatial coherence, feature extraction, and stroke line rendering. Previous research on this topic has also struggled to overcome specific performance bottlenecks, which have limited use of this technology in real-time applications. Specifically, many stylized rendering techniques have difficulty operating on large-scale scenes, such as open-world terrain environments. In this paper, we describe various novel rendering techniques for mimicking hand-drawn art styles in a large-scale 3D environment, including modifications to existing methods for stroke rendering and hatch-line texturing. Our system focuses on providing various complex styles while maintaining real-time performance, to maximize user-interactability. Our results demonstrate improved performance over existing real-time methods, and offer a few unique style options for users, though the system still suffers from some visual inconsistencies.

I flera år har återskapandet av fotorealistiska bilder spelat en viktig roll när det gäller användningen av 3D-CGI för visualisering och marknadsföring. Återskapandet av något som kan kallas fotorealistiskt utan att ha använt en kamera medför många fördelar och möjligheter som fotografering har svårt att uppnå. På grund av detta har flera företag börjat använda CGI som en alternativ metod för marknadsföring istället för fotografi. Det finns dock fortfarande områden där användningen av CGI är begränsad, antingen på grund av hög komplexitet vilket innebär höga kostnader. För denna studie fokuserar vi på användningen och upplevelsen av CGI-bilder av mat som används i reklam. Anledningen till detta är på grund av vår dagliga interaktion och konsumtion av mat, vilket kan medföra att vår perception av något som just mat, drastiskt kan skilja sig från vår perception av andra produkter som är skapade med hjälp av CGI. För att testa vår perception av CGI-bilder av mat formulerade vi en enkätundersökning vars syfte var att jämföra CGI-bilder med dess fotografiska motsvarighet för att döma den aptitlighet som deltagarna känner inför varje bild. Detta genomfördes genom att deltagarna betygsatte olika bilder med ett aptitlighetsvärde samt kommenterade om hur de kände inför specifika bilder och även deras generella åsikter om användningen av CGI för marknadsföring. Vår undersökning visade en ringa preferens mot CGI-bilderna jämfört med de fotografierna som vi använt. Det fanns dock flera deltagare som ogillade det "plastiga" och orealistiska utseendet av CGI-bilderna vilket ledde till mycket lägre aptitlighet. Vi hypotiserar att anledningen till en preferens för CGI-bilderna i denna studie är för att CGI-bilder kan ha en orealistisk perfektion som kan framhäva mer aptitlighet än vad produkten utseende skulle göra i verkligheten. Vilken typ av produkt som bilderna representerar kan också spela en stor del i vårt resultat. I denna studie använde vi bilder på chokladbitar, resultatet kan därför starkt vara kopplat till val av bilder och om studien skulle använt bilder av andra matkategorier, t.ex. kött, frukt eller grönsaker, skulle resultatet kunna se annorlunda ut. / For several years, the recreation of photorealistic images has had a major role within the use of 3D-CGI for visualisation and advertisement. The recreation of something that can be called photorealistic without the use of a camera provides several advantages over photography. Because of this - several companies has begun using CGI as an alternative method within advertisement. There's still however, areas where the use of CGI remains limited - either because of the complexity and thus the expense, or because of how we as human perceive something that is done with CGI. We focused this study on the use of CGI food images used for advertisement. The reason for this is that we interact and consume food everyday, which can mean that our perception of something that we see as a consumable item may be drastically different from other products created with CGI. To test the perception of CGI images of food, we created a survey which purpose was to compare images of food utilizing CGI with photographic counterparts to judge the experienced appeal felt towards each image by a group of participants. This was done by having participants rate the images with a score of appeal as well as give written feedback of their thoughts about specific images and their general opinion of the use of CGI for advertisement purposes. Our survey showed a slight preference towards the CGI rendered images compared to the photographs that we used. There were however, several participants who disliked the "plastic" and unrealistic look of the CGI images that severely lowered the amount of appeal that was experienced. We hypothesize that the reason for the preference for CGI images in this study was because the use of CGI can make an image have an unrealistic perfection to it that can provoke a stronger appeal than how the look of the product would do in actuality. The type of product that the image represents may also play an important factor. This study focuses on chocolate bars, and thus the results may vary greatly if the study was conducted with the use of other food products, such as meat, fruit or vegetables.

[pt] Um dos principais objetivos da computação gráfica é a geração de imagens fotorrealistas, ou seja, imagens indistinguíveis das de uma capturada por uma câmera real ou, mais ambiciosamente, imagens que provocam a mesma sensação no sistema visual de um observador quando olhando diretamente para uma cena. Aplicações incluem o projeto de iluminação, a arquitetura, a realidade virtual e a indústria do cinema. Esse trabalho apresenta a arquitetura de um sistema capaz de resolver, por técnicas de Monte Carlo, a equação do transporte da luz, essencialmente uma aproximação das equações de Maxwell para ótica geométrica. Além de ser um renderer funcional, o sistema é implementado na forma de um framework em cima do qual pode-se facilmente experimentar idéas na área de síntese de imagens fotorrealistas, como, por exemplo, diferentes materiais, geometrias, estruturas de aceleração e estratégias de integração. / [en] One of the main goals in computer graphics is to create photorealistic images, that is, images indistinguishable from the ones captured by a real camera, or, more ambitiously, images that cause the same sensation on the visual system of an observer looking directly at a scene. Applications include illumination design, architecture, virtual reality and the movie industry. This work presents the architecture of a renderer that solves by Monte Carlo techniques the light transport equation, essentially a geometric optics approximation of Maxwell´s equations. The system is not only a functional renderer but also a framework where we can easily experiment new ideas in photorealistic image synthesis, such as new materials, geometries, acceleration structures and integration techniques.

Indiana University-Purdue University Indianapolis (IUPUI) / Empirical research on the uncanny valley has primarily been concerned with visual elements. The current study is intended to show how manipulating auditory variables of the stimuli affect participant’s ratings. The focus of research is to investigate whether an uncanny valley effect occurs when humans are exposed to stimuli that have an incongruity between auditory and visual aspects. Participants were exposed to sets of stimuli which are both congruent and incongruent in their levels of audio/visual humanness. Explicit measures were used to explore if a mismatch in the human realism of facial and vocal aspects produces an uncanny valley effect and attempt to explain a possible cause of this effect. Results indicate that an uncanny valley effect occurs when humans are exposed to stimuli that have an incongruity between auditory and visual aspects.

La synthèse d'images dites photoréalistes nécessite d'évaluer numériquement la manière dont la lumière et la matière interagissent physiquement, ce qui, malgré la puissance de calcul impressionnante dont nous bénéficions aujourd'hui et qui ne cesse d'augmenter, est encore bien loin de devenir une tâche triviale pour nos ordinateurs. Ceci est dû en majeure partie à la manière dont nous représentons les objets: afin de reproduire les interactions subtiles qui mènent à la perception du détail, il est nécessaire de modéliser des quantités phénoménales de géométries. Au moment du rendu, cette complexité conduit inexorablement à de lourdes requêtes d'entrées-sorties, qui, couplées à des évaluations d'opérateurs de filtrage complexes, rendent les temps de calcul nécessaires à produire des images sans défaut totalement déraisonnables. Afin de pallier ces limitations sous les contraintes actuelles, il est nécessaire de dériver une représentation multiéchelle de la matière. Dans cette thèse, nous construisons une telle représentation pour la matière dont l'interface correspond à une surface perturbée, une configuration qui se construit généralement via des cartes d'élévations en infographie. Nous dérivons notre représentation dans le contexte de la théorie des microfacettes (conçue à l'origine pour modéliser la réflectance de surfaces rugueuses), que nous présentons d'abord, puis augmentons en deux temps. Dans un premier temps, nous rendons la théorie applicable à travers plusieurs échelles d'observation en la généralisant aux statistiques de microfacettes décentrées. Dans l'autre, nous dérivons une procédure d'inversion capable de reconstruire les statistiques de microfacettes à partir de réponses de réflexion d'un matériau arbitraire dans les configurations de rétroréflexion. Nous montrons comment cette théorie augmentée peut être exploitée afin de dériver un opérateur général et efficace de rééchantillonnage approximatif de cartes d'élévations qui (a) préserve l'anisotropie du transport de la lumière pour n'importe quelle résolution, (b) peut être appliqué en amont du rendu et stocké dans des MIP maps afin de diminuer drastiquement le nombre de requêtes d'entrées-sorties, et (c) simplifie de manière considérable les opérations de filtrage par pixel, le tout conduisant à des temps de rendu plus courts. Afin de valider et démontrer l'efficacité de notre opérateur, nous synthétisons des images photoréalistes anticrenelées et les comparons à des images de référence. De plus, nous fournissons une implantation C++ complète tout au long de la dissertation afin de faciliter la reproduction des résultats obtenus. Nous concluons avec une discussion portant sur les limitations de notre approche, ainsi que sur les verrous restant à lever afin de dériver une représentation multiéchelle de la matière encore plus générale. / Photorealistic rendering involves the numeric resolution of physically accurate light/matter interactions which, despite the tremendous and continuously increasing computational power that we now have at our disposal, is nowhere from becoming a quick and simple task for our computers. This is mainly due to the way that we represent objects: in order to reproduce the subtle interactions that create detail, tremendous amounts of geometry need to be queried. Hence, at render time, this complexity leads to heavy input/output operations which, combined with numerically complex filtering operators, require unreasonable amounts of computation times to guarantee artifact-free images. In order to alleviate such issues with today's constraints, a multiscale representation for matter must be derived. In this thesis, we derive such a representation for matter whose interface can be modelled as a displaced surface, a configuration that is typically simulated with displacement texture mapping in computer graphics. Our representation is derived within the realm of microfacet theory (a framework originally designed to model reflection of rough surfaces), which we review and augment in two respects. First, we render the theory applicable across multiple scales by extending it to support noncentral microfacet statistics. Second, we derive an inversion procedure that retrieves microfacet statistics from backscattering reflection evaluations. We show how this augmented framework may be applied to derive a general and efficient (although approximate) down-sampling operator for displacement texture maps that (a) preserves the anisotropy exhibited by light transport for any resolution, (b) can be applied prior to rendering and stored into MIP texture maps to drastically reduce the number of input/output operations, and (c) considerably simplifies per-pixel filtering operations, resulting overall in shorter rendering times. In order to validate and demonstrate the effectiveness of our operator, we render antialiased photorealistic images against ground truth. In addition, we provide C++ implementations all along the dissertation to facilitate the reproduction of the presented results. We conclude with a discussion on limitations of our approach, and avenues for a more general multiscale representation for matter.

<p>What makes an image photorealistic and how to pinpoint and understand how our mind interprets different elements in an image conditions? It is proposed that the phrase "imperfect makes perfect" is the key for the photorealistic goal in today’s 3D. There is a review of all the elements for the creation of one perfect image, such as Global Illumination, Anti-Aliasing and also a basic review of photography, how a scene is set up, color temperature and the nature of the real light. To put different theories to a test, the common three dimensional software 3D Studio Max was used with the V-Ray renderer. On a field trip to IKEA communications, we were assigned a project of a room scene containing a kitchen, with a finished scene model. A kitchen was created and experimented to reach a result where there is no visible difference between a computer generated image and the photography. Our result was not what we had hoped for due to many problems with our scene. We ourselves see this as a first step toward a scientific explanation to photorealism and what makes something photorealistic.</p>

In this study, an appearance reconstruction method based on extraction of material re&amp / #64258 / ectance properties of a three-dimensional (3D) object from its twodimensional (2D) images is explained. One of the main advantages of this system is that the reconstructed object can be rendered in real-time with photorealistic quality in varying illumination conditions. Bidirectional Re&amp / #64258 / ectance Distribution Functions (BRDFs) are used in representing the re&amp / #64258 / ectance of the object. The re&amp / #64258 / ectance of the object is decomposed into di&amp / #64256 / use and specular components and each component is estimated seperately. While estimating the di&amp / #64256 / use components, illumination-invariant images of the object are computed from the input images, and a global texture of the object is extracted from these images by using surface particles. The specular re&amp / #64258 / ectance data are collected from the residual images obtained by taking di&amp / #64256 / erence between the input images and corresponding illumination-invariant images, and a Lafortune BRDF model is &amp / #64257 / tted to these data. At the rendering phase, the di&amp / #64256 / use and specular components are blended into each other to achieve a photorealistic appearance of the reconstructed object.

What makes an image photorealistic and how to pinpoint and understand how our mind interprets different elements in an image conditions? It is proposed that the phrase "imperfect makes perfect" is the key for the photorealistic goal in today’s 3D. There is a review of all the elements for the creation of one perfect image, such as Global Illumination, Anti-Aliasing and also a basic review of photography, how a scene is set up, color temperature and the nature of the real light. To put different theories to a test, the common three dimensional software 3D Studio Max was used with the V-Ray renderer. On a field trip to IKEA communications, we were assigned a project of a room scene containing a kitchen, with a finished scene model. A kitchen was created and experimented to reach a result where there is no visible difference between a computer generated image and the photography. Our result was not what we had hoped for due to many problems with our scene. We ourselves see this as a first step toward a scientific explanation to photorealism and what makes something photorealistic.