State of the Art in Artistic Editing of Appearance, Lighting and Material

Fig. 1. A still life photograph of our optimized printouts. The thickness of all the pictured samples is 1 cm.Color texture reproduction in 3D printing commonly ignores volumetric light transport (cross-talk) between surface points on a 3D print. Such light di usion leads to signi cant blur of details and color bleeding, and is particularly severe for highly translucent resin-based print materials. Given their widely varying scattering properties, this cross-talk between surface points strongly depends on the internal structure of the volume surrounding each surface point. Existing scattering-aware methods use simpli ed models for light di usion, and often accept the visual blur as an immutable property of the print medium. In contrast, our work counteracts heterogeneous scattering to obtain the impression of a crisp albedo texture on top of the 3D print, by optimizing for a fully volumetric material distribution that preserves the target appearance. Our method employs an e cient numerical optimizer on top of a general Monte-Carlo simulation of heterogeneous scattering, supported by a practical calibration procedure to obtain scattering parameters from a given set of printer materials. Despite the inherent translucency of the medium, we reproduce detailed surface textures on 3D prints. We evaluate our system using a commercial, ve-tone 3D print process and compare against the printer's native color texturing mode, demonstrating *Oskar Elek and Denis Sumin share the rst authorship of this work. Permission to make digital or hard copies of all or part of this work for personal or classroom use is granted without fee provided that copies are not made or distributed for pro t or commercial advantage and that copies bear this notice and the full citation on the rst page. Copyrights for components of this work owned by others than ACM must be honored. Abstracting with credit is permitted. To copy otherwise, or republish, to post on servers or to redistribute to lists, requires prior speci c permission and/or a fee. Request permissions from permissions@acm.org. © 2017 ACM. 0730-0301/2017/11-ART241 $15.00 DOI: 10.1145/3130800.3130890 that our method preserves high-frequency features well without having to compromise on color gamut.

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“…An excellent survey is provided by Schmidt et al [2014]; here, we limit the discussion to editing of translucent objects.…”

Section: Materials Editingmentioning

confidence: 99%

Scattering-aware texture reproduction for 3D printing

Elek

Sumin

Zhang³

et al. 2017

ACM Trans. Graph.

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“…We focus here on light field editing, and refer the reader to the excellent survey by Schmidt et al [10] for a more general discussion on visual content editing. Seitz and Kutulakos [11] performed edits such as painting and scissoring by creating a voxel-based representation of the light field to propagate the edits.…”

Section: Related Work A) Editing Toolsmentioning

confidence: 99%

Analyzing Interfaces and Workflows for Light Field Editing

Ortín

Jarabo

Masiá

et al. 2017

IEEE J. Sel. Top. Signal Process.

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With the increasing number of available consumer light field cameras, such as Lytro TM , Raytrix TM , or Pelican Imaging TM , this new form of photography is progressively becoming more common. However, there are still very few tools for light field editing, and the interfaces to create those edits remain largely unexplored. Given the extended dimensionality of light field data, it is not clear what the most intuitive interfaces and optimal workflows are, in contrast with wellstudied 2D image manipulation software. In this work we provide a detailed description of subjects' performance and preferences for a number of simple editing tasks, which form the basis for more complex operations. We perform a detailed state sequence analysis and hidden Markov chain analysis based on the sequence of tools and interaction paradigms users employ while editing light fields. These insights can aid researchers and designers in creating new light field editing tools and interfaces, thus helping to close the gap between 4D and 2D image editing.

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“…Recently, Schmidt et al [SPN*14] compiled a comprehensive overview of artistic editing of appearance, lighting and material. One way to deliver fast updates is to relight a static scene.…”

Section: Related Workmentioning

confidence: 99%

“…While much work pushed consistent, progressive light transport for faster convergence [GKDS12, HPJ12, KD13], individual effects such as sharp caustics may still take a long time to converge. This is problematic during scene editing, since fast feedback is essential to an artist [SPN*14]. Previously, light editing approaches started the simulation anew, whenever a scene element changed.…”

Section: Introductionmentioning

confidence: 99%

Consistent Scene Editing by Progressive Difference Images

Günther¹,

Grosch

2015

Computer Graphics Forum

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Even though much research was dedicated to the acceleration of consistent, progressive light transport simulations, the computation of fully converged images is still very time‐consuming. This is problematic, as for the practical use in production pipelines, the rapid editing of lighting effects is important. While previous approaches restart the simulation with every scene manipulation, we make use of the coherence between frames before and after a modification in order to accelerate convergence of the context that remained similar. This is especially beneficial if a scene is edited that has already been converging for a long time, because much of the previous result can be reused, e.g., sharp caustics cast or received by the unedited scene parts. In its essence, our method performs the scene modification stochastically by predicting and accounting for the difference image. In addition, we employ two heuristics to handle cases in which stochastic removal is likely to lead to strong noise. Typical scene interactions can be broken down into object adding and removal, material substitution, camera movement and light editing, which we all examine in a number of test scenes both qualitatively and quantitatively. As we focus on caustics, we chose stochastic progressive photon mapping as the underlying light transport algorithm. Further, we show preliminary results of bidirectional path tracing and vertex connection and merging.

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State of the Art in Artistic Editing of Appearance, Lighting and Material

Cited by 42 publications

References 115 publications

Scattering-aware texture reproduction for 3D printing

Scattering-aware texture reproduction for 3D printing

Analyzing Interfaces and Workflows for Light Field Editing

Consistent Scene Editing by Progressive Difference Images

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