Physically based shading in theory and practice

Hill, Stephen; Stephen, Mcauley,; Dupuy, Jonathan; Gotanda, yoshiharu; Heitz, Eric; Hoffman, Naty; Lagarde, Sébastien; Langlands, Anders; Megibben, Ian; Rayani, Farhez; Rousiers, Charles de

doi:10.1145/2504435.2504457

Cited by 15 publications

(11 citation statements)

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“…Fundamentally, PBR adoption in industry consists of two principal components [MHM*13]: physically correct and consistent specifications for virtual luminaires in a scene, including emission profiles and geometric shape; and, physically correct definitions of the reflectance profiles used to describe the scattering of light at surfaces in a scene. The standard radiometric units and mathematical models used in realistic image synthesis form the foundation for this segmentation and all necessary definitions.…”

Section: Rendering Challenges and Production Concernsmentioning

confidence: 99%

“…Many of these examples similarly discuss the shortcomings of previous non‐PBR ad‐hoc shading workflows, especially in the presence of secondary lighting effects, and we draw upon many such examples presented by McAuley et al . [MHM*13] in Figure : as alluded to earlier, the lack of explicit segmentation between lighting and material properties can lead to unexpected behaviour during content generation, especially in the presence of secondary illumination; for example, in the context of simple direct‐illumination simulations, an artist is afforded an additional degree of freedom when specifying lighting and material parameters, as the same image can be generated using any (infinite) number of potential lighting and material parameter settings (Figure , left column); however, once secondary lighting effects (such as physically accurate global illumination) are included, this additional degree of freedom disappears and an artist must properly account for the different roles that lighting and material play in realistic image synthesis.…”

Section: Rendering Challenges and Production Concernsmentioning

confidence: 99%

“…From a software engineering perspective, these parameterizations are also amenable for implementation in node‐based, layered/hierarchical material graphs, such as the system used in the ‘The Order 1886’ production by Ready at Dawn Studios [MHM*13] where a base material object is defined with default material parameters, and all other materials are derived from the base material and encoded using a sparser, differential parameterization. One benefit of such a layered approach is that global appearance changes can be propagated by simply modifying interior/non‐leaf material nodes.…”

Section: Rendering Challenges and Production Concernsmentioning

confidence: 99%

“…Indeed, several existing rendering‐related domain‐specific languages facilitate this decoupling. The Open Shading Language (OSL) specification [MHM*13] explicitly decouples transport integration from, e.g. material models using a radiance closure paradigms; any shading engine that implements the OSL specification can incorporate any underlying light transport algorithm that samples lighting according to the closures specified by the shaders.…”

Section: Rendering Challenges and Production Concernsmentioning

confidence: 99%

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

Schmidt

Pellacini

Nowrouzezahrai

et al. 2015

Computer Graphics Forum

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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.

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Section: Rendering Challenges and Production Concernsmentioning

confidence: 99%

Section: Rendering Challenges and Production Concernsmentioning

confidence: 99%

Section: Rendering Challenges and Production Concernsmentioning

confidence: 99%

Section: Rendering Challenges and Production Concernsmentioning

confidence: 99%

See 2 more Smart Citations

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

Schmidt

Pellacini

Nowrouzezahrai

et al. 2015

Computer Graphics Forum

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“…Spatial variation is encoded by storing the material parameters as textures. This material representation is the most commonly used in today's production environments and games [McAuley et al 2013]. …”

Section: Introductionmentioning

confidence: 99%

AppIm

2014

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original a bilateral unsharp scale composite/final GPU/start d end/3'48" original b bilateral unsharp scale composite/final GPU/start e end/15'50" original c source cloned final/scaled final/phys GPU/start f end/3'59"Figure 1: (a-b) burning effect on ground or wood, applying different operations starting from same sources and compositing them, (c) a sequence showing the embedding of a metal decoration in a concrete greek column using the seamless cloning. Notice how using physical space presents artefacts. (d-f) start and end of GPU painting sessions. AbstractEditing spatially-varying appearance is commonplace in most graphics applications. In this paper, we focus on materials whose appearance is described by BRDFs or BSSRDFs, with parameters specified by textures, and with local frame perturbations, namely bump, normal and tangent maps. Editing these materials amounts to editing the textures that encode the spatial variation. To perform these edits, artists commonly adopt imaging softwares since they have rich toolsets and well-understood user interfaces. But editing material parameters as images does not produce consistent results since the parameters' behaviours in their relative spaces are not taken in account. Our goal is to address this issue with a solution that is practical, in that we do not want to change material representation or editing workflow to ensure adoption. We observe that most image editing operations can be written as linear combination of colors. We thus define editing spaces for material parameters such that linear operations in these spaces respect their inherent meaning of the parameters. Transformations to and from editing spaces are non-linear to capture the non-linear behaviour of the parameters. Since GPUs are particularly efficient when executing linear operations, they can be used well with editing spaces.We demonstrate the use of editing spaces to edit microfacet BRDFs and SubEdit BSSRDFs by performing various imaging operations such as layering, linear and non-linear filtering, local and global contrast enhancements, and hardware-accelerated painting.

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Individualized foveated rendering with eye-tracking head-mounted display

Kim,

Jung

et al. 2024

Virtual Reality

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Foveated rendering (FR) technology is designed to improve the efficiency of graphical rendering processes. In rendering, individualized approaches can help to balance users’ experiences of visual quality and saving computational resource. However, previous studies have not rigorously examined it related with the FR techniques. To address this issue, we developed an individualized FR (IFR) method using different central vision sizes and peripheral vision resolutions across individuals in virtual reality. In three user studies with 88 participants who were divided into groups designated as “large central area (LCA)” and “small central area (SCA),” the effects of IFR were compared with those of using the full-resolution condition and the average FR condition. The results indicate that the LCA group experienced higher visual quality under the IFR and full-resolution conditions than under the average FR condition. In contrast, the SCA group exhibited comparable levels of dependent measures between the IFR and average FR conditions, but both were lower than those of the full-resolution condition. We also evaluated the computational benefits of the proposed IFR method, and the results demonstrated the effectiveness of our approach in saving resources across the two groups. Although lower-bound adjustments may be required for some users, our overall results suggest that IFR is a malleable technology for enhancing rendering efficiency in virtual reality.

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Physically based shading in theory and practice

Cited by 15 publications

References 0 publications

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

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

AppIm

Individualized foveated rendering with eye-tracking head-mounted display

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