Rendering (Computer Graphics)

Metode ray tracing adalah salah satu metode render dalam grafika komputer tigadimensi yang mensimulasikan sifat-sifat fisik sinar di alam Dengan metode ray tracing, akan didapatkan citra hasil render dengan model pencahayaan yang realistis. Salah satu kelemahan roy ...

Human Interaction in meetings is one of the famous fields of social dynamics. Meeting is integral part of every organization. In this, meeting outcome is extracted using tree based approach. Meetings contents or conversation are available in forms such as audio, video and text. In this, pattern of meeting is extracted from text document. An interaction is represented in the form of tree. Meeting Output is generated using data mining technique. Firstly the contents are filtered, extracted and steamed. Secondly classification is done into six categories propose, comment, acknowledgement, request Info, ask Opinion, pos Opinion, and neg Opinion. Next the interaction tree is constructed which represent the interaction flow of meeting. Finally the meeting output is generated from interaction tree using frequent pattern mining algorithm. The behavior of person is determined which includes a person who proposed a lot of ideas, a person with positive or negative attitude.

Realistic renderings contain a large amount of information about the spatial, geometric and material properties of prospective buildings that can directly affect design decisions, yet these images are most of the time used as after-the-fact representational visualizations. In this paper we propose a model to make the realistic images a very part of the design and decision making process. If we are to utilize realistic images during earlier decision making stages of the design processes, then we should develop experiential workflows in which we can create and interact with immersive realistic images real-time. We take several steps towards establishing an interactive rendering-animating-editing workflow that enables the designers to work with real-time rendered stereoscopic animations. In our system, we use realism to create an immersive exploration environment, as opposed to underutilizing it to represent a static moment.

Today there are 2 major evolutions in spatial audio. First, an enhanced 3D audio experience, where virtual sound sources can be accurately synthesized in any direction, is possible with technologies such as binaural, Wave Field Synthesis, Higher Order Ambisonics or Vector Base Amplitude Panning. Second, 3D audio is on the way to being democratized through binaural adaptation for headphone listening. These evolutions call for revisiting the methods and tools used to assess the perception of spatial sound reproduction. The first objective of this paper is to delineate the problem, by exploring the potential dimensions and the related attributes underlying the perception of spatial sound, mainly within the context of binaural reproduction. Secondly, assessment methods, including both standard and less conventional ones, are listed, and their relevance for the measure of the attributes previously identified is discussed.

The Graph is a powerful mathematical tool applied in many fields as transportation, communication, informatics, economy, … In an ordinary graph, the weights of edges and vertexes are considered independently where the length of a path is the sum of weights of the edges and the vertexes on this path. However, in many practical problems, weights at a vertex are not the same for all paths passing this vertex but depend on coming and leaving edges. The presented paper develops a model of the extended linear multi-commodity multi-cost network that can be more exactly and effectively applied to model many practical problems. Then, maximal limit cost flow problems are modeled as implicit linear programming problems. On the base of dual theory in linear rogramming, an effective approximate algorithm is developed.

In this paper we propose a solution for view synthesis of scenes presenting highly non-Lambertian objects. While Image- Based Rendering methods can easily render diffuse materials given only their depth, non-Lambertian objects present non-linear displacements of their features, characterized by curved lines in epipolar plane images. Hence, we propose to replace the depth maps used for rendering new viewpoints by a more complex “non- Lambertian map” describing the light field?s behavior. In a 4D light field, diffuse features are linearly displaced following their disparity, but non-Lambertian feature can follow any trajectory and need to be approximated by non-Lambertian maps. We compute those maps from nine input images using Bezier or polynomial interpolation. After the map computation, a classical Image- Based Rendering method is applied to warp the input images to novel viewpoints.

Real-time crowd simulation for virtual environment applications requires not only navigation and locomotion in large environments while avoiding obstacles and agents, but also rendering high quality 3D fully articulated figures to enhance realism. In this paper, we present a framework for real-time simulation of crowds. The framework is composed of a Hardware Accelerated Character Animation Library (HALCA), a crowd simulation system that can handle large crowds with high densities (HiDAC), and an Animation Planning Mediator (APM) that bridges the gap between the global position of the agents given by HiDAC and the correct skeletal state so that each agent is rendered with natural locomotion in real-time. The main goal of this framework is to allow high quality visualization and animation of several hundred realistic looking characters (about 5000 polygons each) navigating virtual environments on a single display PC, a HMD (Head Mounted Display), or a CAVE system. Results of several ...

RapidMiner is a software for machine learning, data mining, predictive analytics, and business analytics. The server will record large web log files when user visits the website. Extracting knowledge from such huge data demands for new methods. In this paper, we propose a web usage mining method with RapidMiner. At first, the redundant files in log file are deleted by Matlab and then we mines web log which has been pretreated with RapidMiner, it obtains the custom of different user to visit the website by processing and analyzing log file, and mines unusual rules, and provides the reference for the policy decision and construction of website. Experimental result analysis show that, applying RapidMiner in web usage mining, will obtain frequent model which user visits the website, manage to optimize the website structure and recommends for users.

We would like to invite you to join this exciting new project as a chapter contributor. Since this is a textbook, a great deal of this chapter entails a survey on the topic under the paradigm of cyber-physical systems, what can be done onboard and remotely, the distributed nature of the system and some exercises on futurology (anticipating trends can shed some light on upcoming designs). IET will bring great visibility to your work. You are welcome to suggest another topic/chapter title if you feel it would be more suitable. Each chapter should be around 20-25 pages each and can be submitted as a Word or Latex File. The IET will send you additional information (formatting, permission form, etc.) with the contributor's agreement once you have agreed to contribute to the book. Visit http:// www.theiet.org/resources/author-hub/books/index.cfm to get all information you need as a contributor to an IET research-level book. Each book is expected to have a total number of 500 printed pages (based on approximately 550 words per page with a 20% allowance for figures and tables). We have included a tentative schedule and list of topics below. If this is something you would consider, please send me the title of your chapter, a short description/abstract of the chapter content, and your full contact details. We will expect original content and new results for this book. You can, of course, reuse published material but the percentage of material reuse for the chapter should be less than 40%. The IET will run a piracy software on the full manuscript to control that you are including original material and will reject chapters who contain a large amount of already-published material so please do take this into consideration.

This paper presents a novel robotic painting system able to create artworks using the palette knife technique. The implementation of this method with a robotic system is particularly challenging, since the robot needs to precisely manipulate the palette knife to pick up and release the color on the canvas. The painting system comprises a 6-DOF collaborative robot, a camera to acquire the information on the color position, and several algorithms for the artistic rendering of the images and for the planning of the trajectories that the robot has to follow. During the painting process the user can modify multiple parameters: both software, for example, stroke position and orientation, and hardware, for example, palette knife inclination and height, to obtain different stroke effects. Finally, the experimental results are discussed by analyzing the artworks painted by the novel robotic system.

In this paper, we present a novel space skipping algorithm for per-pixel displacement map rendering on the GPU that significantly accelerates ray convergence. Without any preprocessing, this technique achieves raw displacement map rendering performance two to four times as fast as other techniques without loss of visual quality. Displacement mapping algorithms accurately render complex shapes projected within flat geometry by casting rays from the viewer into a tangent-space height-field; this enables otherwise unachievable resolutions of 3-D detail in games and simulations. Our algorithm accelerates ray convergence by first computing ray boundary intervals within screen-space uniform pixel blocks. For 4x4 pixel blocks, this computation is one sixteenth the complexity of ordinary ray casting. The final pass then uses the dynamically computed depth intervals to converge on a precise intersection point very rapidly. As a result, our algorithm enables rendering of raw displacement map data significantly faster than existing algorithms. Moreover, this technique can provide performance improvement to other existing per-pixel displacement mapping algorithms as well, with or without preprocessing.

This paper presents a new hybrid Kinect-variety based synthesis scheme that renders artifacts-free multiple views for autostereoscopic/ auto-multiscopic displays. The proposed approach does not explicitly require dense scene depth information for synthesizing novel views from arbitrary viewpoints. Instead, the integrated framework first constructs a consistent minimal image-space parameterization of the underlying 3D scene. The compact representation of scene structure is formed using only implicit sparse depth information of few reference scene points extracted from raw RGB-D data. The views from arbitrary positions can be inferred by moving the novel camera in parameterized space by enforcing Euclidean constraints on reference scene images under a full-perspective projection model. Unlike state-of-the-art DIBR methods, where input depth map accuracy is crucial for high quality output, our proposed algorithm does not depend on precise per-pixel geometry information. Therefore, it simply sidesteps to recover and refine the incomplete or noisy depth estimates with advanced filling or upscaling techniques. Our approach performs fairly well in unconstrained indoor/outdoor environments, where the performance of range sensors or dense depth-based algorithms could be seriously affected due to scene complex geometric conditions. We demonstrate that the proposed hybrid scheme provides guarantees on the completeness, optimality with respect to the inter-view consistency of the algorithm. In the experimental validation, we performed a quantitative evaluation as well as subjective assessment on scene with complex geometric or surface properties. Comparison with latest representative DIBR methods is additionally performed to demonstrate the superior performance of the proposed scheme.

A Vuforia SDK-based AR application uses the display of the mobile device as a "magic lens" or looking glass into an augmented world where the real and virtual worlds appear to coexist. The application renders the live camera preview image on the display to represent a view of the physical world. Virtual 3D objects are then superimposed on the live camera preview and they appear to be tightly coupled in the real world An application developed for Vuforia will give your users a more compelling experience:

We introduce a novel voxel-based algorithm that interactively simulates both diffuse and glossy single-bounce indirect illumination. Our algorithm generates high quality images similar to the reference solution while using only a fraction of the memory of previous methods. The key idea in our work is to decouple occlusion data, stored in voxels, from lighting and geometric data, encoded in a new per-light data structure called layered reflective shadow maps (LRSMs). We use voxel cone tracing for visibility determination and integrate outgoing radiance by performing lookups in a pre-filtered LRSM. Finally we demonstrate that our simple data structures are easy to implement and can be rebuilt every frame to support both dynamic lights and scenes.

In the last fifteen years, the digital representation is entered in an increasingly radical way in universities.
Teaching disciplines CAD should be done at several levels but since the first year of the degree course.
In fact, left to organize themselves, students learn in a self-taught the computer aided design, often using
unsuitable software and getting bad results. During the class of Disegno dell’Architettura, we developed an
integrated method to simultaneously handle both analog and digital design drawing, working on joint integration
and continuous interaction in the exercises assigned.

Despite a long history of research and conservation dating back to the late 19th century, when the current stage in the management of the three large Antequeran megalithic monuments started in 2004 there was an almost complete absence of high-resolution cartography to support their study and protection. To being to solve this severe deficiency, a high-resolution cartographic survey of Menga through terrestrial laser scanning, 3D modelling and photogrammetry was carried out in 2005. In this paper we present a short summary of that work, describing its technical and conceptual basis as well as the results that were obtained. In addition, we briefly discuss some examples of the highly positive impact this newly developed cartography has had on the management and research of this megalithic monument.

Traditionally, computer graphics has been concerned
with producing imagery that is as physically accurate as
possible. But accurate physical simulation of geometry, lighting
and material properties of a visual scene can be cumbersome
and time-consuming. At the same time, human vision is far
from accurate, which offers an enormous opportunity to create
imagery at a reduced computational cost as well as with less
reliance on human modelers. As a result, a recent trend is towards
accepting perceptual plausibility instead of physical accuracy as
a guiding principle in the design of modeling and rendering
systems. This requires us to understand visual realism, which
involves both learning statistical regularities of the world, for
instance by employing huge amounts of data, as well as humans
visual perception of it. This paper addresses issues related
to understanding realism, presents several applications, and
discusses what this interesting approach may lead to in the future.

The purpose of this project was to create several methods for achieving non-photorealistic appearance of the objects or, in other words, the goal was to create several different implementations of the cartoonish shader, which can sometimes be referred to as a cel-shader or just toon-shader.

The use of computer-generated imagery is becoming increasingly ubiquitous across many fields including media, advertising, architecture and art. This represents a fundamental shift within visual culture, as imagery can now be produced routinely by means of rendering algorithms based on spatial representations. We propose that the account of the image provided by Gilles Deleuze in his books on cinema provides a rich philosophical framework for understanding such contemporary imaging practices. By providing a Deleuzian reading of James Kajiya's 1986 rendering equation we argue that there is a tacit ontology of the image underwriting both Deleuze's work on cinema and current computer graphics technologies. This ontology frees the image from traditional transcendent categories of subject positions or vantage points and instead revolves around the concept of an immanent image. We argue that these considerations lead us to a reformulation of the notion of the virtual, one that challenges its rigid segregation from the real.

Este trabajo de investigación propone el estudio, análisis y desarrollo del proceso de diseño arquitectónico y su posible variabilidad determinada por el uso de técnicas y herramientas digitales de diseño.

Frente a esto se define como la problemática inicial a la ‘discretización del diseño arquitectónico’ entendida como la divergencia entre los procesos tradicionales de diseño arquitectónico frente a la sistematización racional, como mecanismo de búsqueda arquitectónica, que proponen actualmente las nuevas herramientas digitales de diseño.

—. The teaching workgroup of the CoDE Lab of the Politecnico di Milano has always believed that analyzing, deconstructing and reconstructing the architecture teaches a lot in terms of understanding. If the process is done correctly, it entirely retraces the creative dynamics developed by the original designer. Subsequently, the practice we developed in teamwork is to choose a notable architectural work, designed and/or created by a Master of architecture, and to reproduce it in all details: aesthetical-formal, morphological, technological, structural, modular, etc. The final result is a well-developed reconstructed model of great specific interest. The true subject deals with architects of great stature and professional capabilities, who based their work and their career on the application of original "methods", rules and logics representing the foundation of their architecture. This case study deals with a recent research line based on Andrea Palladio's architecture, and especially on his villas. Palladio is one of the most famous and imitated architect of the world and his architecture has deeply affected whole generations of architects. Palladio is also one of the first, and most known, architects-writers and in his books we can get enough information to study and to do a 3D CAAD reconstruction, also of those parts that have never been built.

What is contemporary architecture?
Although it seems to be a simple question, we will soon discover with some discouragement how ambitious and complicated it can be to find an appropriate answer to this question.
According to the Cambridge Dictionary, the contemporary word is defined as to " living at, happening at or belonging to the same period "[2].
In the specific field of design, contemporary architecture implies a chronological question. In its essence refers to architecture product of its time, and which defines its own topicality.
Conceptually, contemporary architecture rejects those historical styles of the past, replacing them with an innovative and different proposal from what existed so far. For the architects Beatriz Villanueva Cajide and Francisco Javier Casas Cobo, contemporary architecture, "... historiographically, does not exist, except in the absolute present, understanding as such the moment lived and, maybe, ten or twenty years ago, until the moment when the historiography frames it like history and ceases to be contemporary "[3].
In the contemporary, we rethink architecture as "... to check that aspects have lost validity, which have been renewed and what [new] concepts ... have appeared" [4]. It is in this sense that the idea of contemporary architecture acquires greater relevance: as a motor of change, it establishes new theoretical positions between man and his architectural production.
In the beginning of this new century, we find ourselves living a particularly sensitive historical moment. For Josep María Montaner, we are able to "... have a certain perspective to interpret the evolution of architecture ... and detect the most remarkable characteristics of the recent turn of the century" [5].
We are in the presence of a new way of understanding the architectural project, under a technological-digital perspective, where process and generation are tinged with a search for optimization and efficiency. Numerous sources produce and reproduce an unprecedented architecture, developed in an area of some formal forcefulness, where mathematical algorithms, digital biological systems and advanced structural systems try to detach from their heavy historical-eclecticist load.
In an attempt to answer the initial question, this article proposes the study of six key concepts, six elements that help us understand and define precisely the characteristics of this new architecture.

V-Ray is a commercial rendering plug-in for 3D computer graphics software applications. It is developed by Chaos Group (Bulgarian: Хаос Груп), a Bulgarian company based in Sofia, Bulgaria, established in 1997. V-Ray is used in media, entertainment, and design industries such as film and video game production, industrial design, product design and architecture. The company chief architects are Peter Mitev and Vladimir Koylazov.

V-Ray is a rendering engine that uses global illumination algorithms, including path tracing, photon mapping, irradiance maps and directly computed global illumination.

The desktop 3D applications that are supported by V-Ray are:

Autodesk 3ds Max
Autodesk Revit[2]
Cinema 4D
Maya
Modo
Nuke
Rhinoceros
SketchUp
Softimage
Blender
Academic and stand-alone versions of V-Ray are also available.

This paper overviews existing plausibility measures of 3D narrative animations with a focus on analyzing the realism of 3D characters and their performances. The main intent of this survey is to critically review factors that affect an overall perceptual sense of realism. Media literature addressing formal realism is connected to the technical facets of the 3D practice. This theoretical-technical bridge creates a case study database, from which a novel graphical system called The Character Plausibility Graph is proposed. The Character Plausibility Graph acts as an expanded edition of the well-known Uncanny Valley diagram, and depicts the relative effects of different formal visual elements on the character' sense of plausibility. The proposed graph is a dissection of a 3D character into its static and kinetic components and hence provides a visual tool to reflect upon the effects individually. This research concludes that stylization better serves the overall sense of plausibility than mere photo-realism or naturalism. It also reveals that performance of the characters and their animating method play a more significant role in the constitution of their realism, than their static design and rendering style.

El croma o clave de color (green screen) es una técnica audiovisual utilizada muy ampliamente tanto en cine, televisión y fotografía, que consiste en extraer un color de la imagen (usualmente el verde o el azul) y reemplazar el área que ocupaba ese color por otra imagen o video, con la ayuda de un equipo especializado o un ordenador. Está técnica es ampliamente usada para comerciales de televisión, programas de noticias, películas y series de televisión. Permite al usuario tener un fondo alterno y simular que se encuentra en algún lugar especial sin necesidad de tener que viajar hasta esa ubicación. La versión de Blender 2.8 contiene varias mejoras en cuanto al uso del editor de nodos para llevar a cabo esta tarea. En el presente documento se verá como llevar a cabo el proceso paso a paso sobre un video ya capturado. Las cuestiones en cuanto a la edición del vídeo quedan fuera del alcance de este documento por lo que se le recomienda usa algún software de edición de video como por ejemplo Olive Editor.

Scope of the book:
This book focusses on the technical concepts of deep learning and its associated branch Neural Networks for the various dimensions of image processing applications. The proposed volume intends to bring together researchers to report the latest results or progress in the development of the above-mentioned areas. Since there is a deficit of books on this specific subject matter, the editors aim to provide a common platform for researchers working in this area to exhibit their novel findings.
Topics of Interest:
This book solicits contributions, which include the fundamentals in the field of Deep Artificial Neural Networks and Image Processing supported by case studies and practical examples. Each chapter is expected to be self-contained and to cover an in-depth analysis of real life applications of neural networks to image analysis.

Un’edizione particolarmente ricca di contenuti che vede “Le saldature per i PCB” per la rubrica dedicata ad Arduino. La rubrica Automotive presenta tre nuove realizzazioni del gruppo ANT. Il profilo dei gambi filettatati sarà il tema della puntata di Basi per il disegno e la progettazione. Nunzia Nullo presenta “The Avengers: Age of Ultron” nella rubrica Cinema. Carlo Cocchia è la Designer’s story di questo mese. Daniele Pinna ci parla di Backup e vulnerabilità dei Router nella rubrica Hardware & Sicurezza. Yuri Tedesco, laureando in ingegneria biomedica, propone un articolo sui “Rilevatori ottici di cancro” nella rubrica Ingegneria Biomedica Open Access. Alberto Vallortigara è l’ospite della rubrica Intervista. Nicola Amalfitano ci parla di Danzòn e Son nella rubrica Musica. Nella rubrica New Hardware for CAD si parla de I LASER scanner. Il corso di orientamento BIM tratta la stesura delle mappe d’impiego. SEGUIMI è il comando analizzato nel corso di base di SketchUp. Antonello Buccella presenta un tutorial sulla renderizzazione interna di SketchUp. Fabrizio Pieri propone la II puntata del suo corso su QGIS mentre Simone Piccioni descrive le procedure ottimali per stampare in 3D con SketchUp.

Nell'editoriale di questo mese la presentazione del restyling di CADZONE+, il sito della nostra Community CAD. Per la rubrica Cinema e Animazione Nunzia Nullo presenta “Il ragazzo invisibile”  di G. Salvatores. Continua l’analisi degli elementi filettati in Basi per il disegno e la progettazione. La Designer’s story di questo mese riguarda Mario Botta il famoso architetto svizzero. Daniele Pinna presenta due suoi articoli sugli straordinari SSD e sull'ultima minaccia virale del web: Cryptolocker. Nella rubrica Intervista una gradevole chiacchierata con Sylvie Zennir, la talentuosa modellista 3D della Comm. Nella rubrica Musica, Nicola Amalfitano ricorda Pino Daniele recentemente scomparso. Nutrita la sezione dedicata ai Corsi ed ai Tutorials: le mappe di anteprima BIM saranno l’argomento della nuova puntata del Corso di orientamento alla BIM; il Corso di base di SketchUp ha come tema il comando SPOSTA; si conclude il Corso di modellazione geolocalizzata con i suggerimenti di Antonello Buccella per arricchire la scena; S. Piccioni presenta un tutorial sulla mappatura dei materiali e Gabriele Asero uno sul blend material in VRAY. Conclude l’edizione Fabrizio Pieri con la prima puntata sul Corso di QGIS.

A paper based on a presentation delivered at the Mediated City Conference at Ravensbourne University in 2014.

The burgeoning digital visualization industry has, in recent years, become an integral component of urban property development in major city centers. The marketing of highly lucrative and capital intensive urban real estate hinges on the provision of photo-realistic representations of as-yet unrealized architectural structures. The visualization industry is often disparaged within the design community for its overtly commercial application, its largely undifferentiated aesthetic, and its employment of media workers outside of the architectural profession (epitomized by the out-sourcing of work to large-scale “render farms” located around the globe). Yet the generally low professional and cultural status of the practice of 3D rendering should not distract us from its undeniably growing importance within contemporary urban development. For instance, the visualization industry offers a quintessential example of how digital convergence is disrupting and re-organizing traditional media and design industries.

Examining the output of Factory Fifteen as a case study helps shed light on the ways in which urban planning, design aesthetics, film knowledge and digital media technologies are becoming increasingly intertwined. While the possibilities produced by these new disciplinary convergences are often seized upon by commercial interests, there are also new creative, and even critical, openings emerging. The overtly socio-political content of Factory Fifteen’s urban animations is testament to the existence of this critical potential. The speculative register of the design studio’s films diverges, therefore, from the opportunism of economic property speculation, embracing instead the cautionary speculative traditions of the science fiction genre. This paper will begin by outlining the recent critical debates surrounding the emergence of digital architectural visualizations, highlighting the complex networks and convergence of practices involved in their creation. It will then turn to an examination of Factory Fifteen’s distinct position within this growing industry, considering the studio’s unusual intermixing of politically challenging and commercial rendering work.

Over the last twenty years, a keen imaginative realism has
characterized the representation of several projects worldwide.
It is an ongoing process that is shaping not only the image but
the very idea of the Architecture project. This risky phenomenon
gives way to the ‘standardization’ (Micheli, Lo Ricco, 2003) of the
contemporary world by promoting an immediate ‘visibility’ of the
project. Countering the spread of this phenomenon – which sees the
realistic fixation of render as the most obvious limit – an ‘assemblage
design’ is proposed: is a project approach – named out of the actornetwork theory (Latour, 2015) – able to comprehendere (from Latin
‘keep together) and ‘translate’ through collages the heterogeneity and
fluidity of the reality we live.
From these premises the contribution aims to investigate the
potential of the collage as a project tool that ‘keeps together’ various
techniques. The collage expression process, born in Art with [...]