manipulated manipulated original originalFigure 1: Transport manipulation in the GARAGE scene. Before/after close-ups (right): removing indirect highlights caused by the car, re-directing sunlight after it refracts through the windows, moving and rotating a glossy interreflection, and altering the mirror reflection. AbstractIndustry-quality content creation relies on tools for lighting artists to quickly prototype, iterate, and refine final renders. As industryleading studios quickly adopt physically-based rendering (PBR) across their art generation pipelines, many existing tools have become unsuitable as they address only simple effects without considering underlying PBR concepts and constraints. We present a novel light transport manipulation technique that operates directly on path-space solutions of the rendering equation. We expose intuitive direct and indirect manipulation approaches to edit complex effects such as (multi-refracted) caustics, diffuse and glossy indirect bounces, and direct / indirect shadows. With our sketch-and objectspace selection, all built atop a parameterized regular expression engine, artists can search and isolate shading effects to inspect and edit. We classify and filter paths on the fly and visualize the selected transport phenomena. We survey artists who used our tool to manipulate complex phenomena on both static and animated scenes.
Mimicking the appearance of the real world is a longstanding goal of computer graphics, with several important applications in the feature-film, architecture and medical industries. Images with well-designed shading are an important tool for conveying information about the world, be it the shape and function of a CAD model, or the mood of a movie sequence. However, authoring this content is often a tedious task, even if undertaken by groups of highly-trained and experienced artists. Unsurprisingly, numerous methods to facilitate and accelerate this appearance editing task have been proposed, enabling the editing of scene objects' appearances, lighting, and materials, as well as entailing the introduction of new interaction paradigms and specialized preview rendering techniques. In this STAR we provide a comprehensive survey of artistic appearance, lighting, and material editing approaches. We organize this complex and active research area in a structure tailored to academic researchers, graduate students, and industry professionals alike. In addition to editing approaches, we discuss how user interaction paradigms and rendering backends combine to form usable systems for appearance editing. We conclude with a discussion of open problems and challenges to motivate and guide future research.
Subpixel rendering increases the apparent display resolution by taking into account the subpixel structure of a given display. In essence, each subpixel is addressed individually, allowing the underlying signal to be sampled more densely. Unfortunately, naïve subpixel sampling introduces colour aliasing, as each subpixel only displays a specific colour (usually R, G and B subpixels are used). As previous work has shown, chromatic aliasing can be reduced significantly by taking the sensitivity of the human visual system into account. In this work, we find optimal filters for subpixel rendering for a diverse set of 1D and 2D subpixel layout patterns. We demonstrate that these optimal filters can be approximated well with analytical functions. We incorporate our filters into GPU-based multi-sample anti-aliasing to yield subpixel rendering at a very low cost (1-2 ms filtering time at HD resolution). We also show that texture filtering can be adapted to perform efficient subpixel rendering. Finally, we analyse the findings of a user study we performed, which underpins the increased visual fidelity that can be achieved for diverse display layouts, by using our optimal filters.
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