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Fatigue has been attributed to traffic accident with higher fatality rate and causes severe damage to the surroundings compared to accidents where drivers are alert. This study presents and demonstrates an innovative driver fatigue detection method based on fatigue related facial action units’ (AU) identification employing a photometric stereo (PS) testbed for 3D AU reconstruction. Initially, normal vectors were extracted for 3D AUs, subsequently, ‘Quiver/Bump map’ were constructed from the normal vectors. The quiver maps were further utilized for training deep neural networks. The findings exhibit that the proposed method outperforms 2D image based classification in terms of validation accuracy, for AU1, AU15 and AU41 detection. A novel method incorporating machine vision for intelligent transportation has been developed and demonstrated for driver’s fatigue detection. The proposed method is also compared to other established methods and significant (95%) improvement in terms of accuracy is achieved.

This paper analyzes the computer modeling technology and its application in ceramic tea set design, including 3DX MAX computer modeling technology, application of 3D model in ceramic tea set design and application of computer modeling technology in ceramic tea set design. Then it analyzes the application of basic computer modeling methods in ceramic tea set design, including lofting modeling, extrusion modeling and turning modeling; Then, it expounds the application of advanced computer modeling in the design of ceramic tea set; Finally, it analyzes the commonly used auxiliary instructions of computer modeling technology in ceramic tea set design, including bump mapping and Boolean algebra. Through this paper, we hope that relevant people will have more understanding of the application of computer 3D modeling technology in ceramic tea set design, and pay more attention to the use of computer 3D modeling technology to assist ceramic tea set design.

The Kuwahara filter can generate local smoothed color regions similar to hand-painted strokes, and therefore it can be used to image artistic rendering. However, the existing Kuwahara filtering methods often adopt a fixed-sized filter kernel, which leads to a homogeneous size of strokes. In view of this problem, a multi-scale anisotropic Kuwahara filtering method is proposed in this paper. By using image saliency as control information to adjust the size of filter kernel, strokes with abundant varied geometric scales are generated. This paper also presents an automatic rendering framework based on the proposed algorithm that automatically transforms images into an oil painting style. Using the image's orientation field of edge, edge gradient magnitude and image saliency to control the bump mapping, the senses of thickness and layers of oil painting's strokes are generated. By adopting this framework, an artistic oil painting style similar to the “impasto technique” can be simulated well.

Per-pixel Revolution Mapping is an image-based modeling and rendering technique or IBMR (Image-Based Modeling and Rendering). It consists of creating a virtual 3D objects without polygonal meshes. This technique uses a single RGBA texture that stores the needed data to generate the revolved surface. The main problem with this technique is that the 3D revolved models are rendered without realistic surface wrinkles. In this paper, we presented an improvement to enhance the realism of the 3D revolved models by combining the revolution mapping and the bump mapping. In order to synchronize between real-time depth scaling of the microrelief and the resulting shading, we have added a scaling factor that makes it possible to have a realistic depth animation. This new technique creates very convincing 3D models with realistic looking surface wrinkles and allows rendering at interactive frame rates.

Water surface visualization is an important research topic in computer graphics. This paper presents a novel method of water surface simulation by Secondary Distorted Textures (SDT), which realistically simulates and visualizes the reflection and refraction of calm water in real-time using current consumer-level hardware. The proposed method renders water surface using two stages of texture maps. 1. The first texture map stores the 3D geometries’ perspective reflection with respect to 3D perspective view; 2. The second texture map stores the distortion results of the first reflection map with lighting effects. Perlin noise is used to generate random height map. Reflection and refraction are obtained and stored in the secondary distorted texture map with Fresnel effects for each frame. At rendering pass, the SDT is directly tiled on water surface. This paper also discussed the rendering of transparent geometry, which have view-dependent of lighting effects features. Experimental results demonstrated that our method can render realistic geometry nearby dynamic water surface at the frame rates of 70-100 FPS by NVIDIA Quadro k5000 graphic card. The existing texture mapping and bump mapping methods were compared for illustrating that our method produced high realistic water surface without aliasing reflection.

Bijective maps are commonly used in many computer graphics and scientific computing applications, including texture, displacement, and bump mapping. However, their computation is numerically challenging due to the global nature of the problem, which makes standard smooth optimization techniques prohibitively expensive. We propose to use a scaffold structure to reduce this challenging and global problem to a local injectivity condition. This construction allows us to benefit from the recent advancements in locally injective maps optimization to efficiently compute large scale bijective maps (both in 2D and 3D), sidestepping the need to explicitly detect and avoid collisions. Our algorithm is guaranteed to robustly compute a globally bijective map, both in 2D and 3D. To demonstrate the practical applicability, we use it to compute globally bijective single patch parametrizations, to pack multiple charts into a single UV domain, to remove self-intersections from existing models, and to deform 3D objects while preventing self-intersections. Our approach is simple to implement, efficient (two orders of magnitude faster than competing methods), and robust, as we demonstrate in a stress test on a parametrization dataset with over a hundred meshes.

Procedural texture has been used to generate a pattern on the 3D realistic surface for several years and became more important in the physically based rendering (PBR) [1]. Procedural technologies relating to procedural shading have been used successfully for the simulations of natural material and phenomena such as marble, wood, stone, and clouds. In this paper, we demonstrate an imitation of realistic texture which has been developed in procedural pattern generator by the noise texturing algorithm. We try to standardize a workflow that can represent the surface characteristics of the realistic procedural texture by using the physically-based shader. This procedural method could generate complex and realistic textures by using a combination of several component functions. To realize the relation between texture features and basic primitive functions (Noise, Turbulence, Clamp, Histogram, Smoothstep, etc), we propose a useful and practical guideline for designer to build procedural textures by selecting the parameter values. These procedural textures have been summarized in a table that could explain in terms of the classifications of the procedural pattern definitions. Our system uses the 3ds Max software with the Substance plugin in order to offer the flexible editing of request parameters. This paper referred to the multi-pass rendering of texture mapping which is classified into different texture channels (albedo map, roughness map, metallic map, normal map, height map)in PBR. We introduced the process of the texture synthesis between noise functions and texture highlights, such as fractal noise functions, color mapping methods, and bump mapping definitions. This framework can help both programmer and art designer to customize their own shaders with the design routines of procedural textures.

This paper shows the process undertaken to publish and disseminate in WebGL format 3D models that recreate the operation of historical inventions designed by Agustin de Betancourt. The main objective is the creation of a website with different inventions, on which the user can interact through the mouse or keyboard, being able to observe them animated and from different points of view and better understand their operation. The methodology allows 3D models created with Autodesk Inventor Professional (in.ipt single piece format) to be exported to Unreal Engine to be assembled correctly by applying materials and textures with topological mapping (Bump Mapping), and where the scenes for each historical invention have been created, including an animated 3D model. In a similar manner, in order to establish the user’s interaction with the 3D model from HTML5, a program has been developed using the Visual Blueprint script system, which makes possible to rotate the model when the left mouse button is pressed, to move the pointer across the screen, zooming in and out the camera using the central mouse’s wheel or use a series of keys that allow to move, rotate or zoom on the model. The results obtained have been very good according to the user experience, since from the educational point of view interaction with the model has allowed an optimal understanding of its operation, improving the teaching-learning process.

The virtual mining of cultural relics is an important part of the simulation of interactive cultural relics. This paper proposes a virtual mining simulation of cultural relics based on virtual reality technology. In order to efficiently perform real-time simulation of virtual mining, the entire regular model is used to replace the discrete pit-based model composed of a large number of clay particles, and the dynamic cutting clay pit-based model using a limited number of archaeological shovel sets and the particle system are used for real-time rendering. Firstly, the mesh model and the bump map are used to construct the clay pit-based model. The calculation process is completed by the GPU, and the real-time performance is obviously improved. Then, the posture and inclination of the shovel are continuously adjusted, and obtain a set of different three-dimensional modules that intersect the shovel and pit-based models to determine the mining area. Secondly, combined with the blanking algorithm, the set of intersecting modules is eliminated, and a series of visual effects excavated are displayed to improve the three-dimensional display effect. Finally, the particle system is used for modeling to realize the special effect of soil dust around the excavation. The effectiveness of the system is proved in the experimental simulation.

Texture compression is widely used in real-time rendering to reduce storage and bandwidth requirements. Recent research in compression algorithms has explored both reduced fixed bit rate and variable bit rate algorithms. The results are evaluated at the individual texture level using mean square error, peak signal-to-noise ratio, or visual image inspection. We argue this is the wrong evaluation approach. Compression artifacts in individual textures are likely visually masked in final rendered images and this masking is not accounted for when evaluating individual textures. This masking comes from both geometric mapping of textures onto models and the effects of combining different textures on the same model such as diffuse, gloss, and bump maps. We evaluate final rendered images using rigorous perceptual error metrics. Our method samples the space of viewpoints in a scene, renders the scene from each viewpoint using variations of compressed textures, and then compares each to a ground truth using uncompressed textures from the same viewpoint. We show that masking has a significant effect on final rendered image quality, masking effects and perceptual sensitivity to masking varies by the type of texture, graphics hardware compression algorithms are too conservative, and reduced bit rates are possible while maintaining final rendered image quality.

Designing maps involves numerous decisions on the part of the cartographer, while designing terrain maps adds unique complexities. Terrain is often conceptualized as varying in a smooth and continuous manner, leading to data being stored with field-based models, often using raster datasets. The focus of many map design books and other literature, however, is on symbolizing object-based models. Vector layers such as contours and hachures can be derived from grids, but are conceptually abstract and require special consideration for three-dimensional display. We propose a classification scheme for terrain maps based on four principal elements of design: layer tinting, shading, texturing and form lines. We also propose a new method for automating horizontal hachures that illustrates how the latter three elements meet at a critical design juncture where location, orientation, derived attributes and the use of visual variables to symbolize the terrain intersect. Horizontal hachures combine multiple desi...

3d modelling of Architectural Heritage does not follow a very well-defined way, but it goes through different algorithms and digital form according to the shape complexity of the object, to the main goal of the representation and to the starting data. Even if the process starts from the same data, such as a pointcloud acquired by laser scanner, there are different possibilities to realize a digital model. In particular we can choose between two different attitudes: the mesh and the solid model. In the first case the complexity of architecture is represented by a dense net of triangular surfaces which approximates the real surface of the object. In the other -opposite- case the 3d digital model can be realized by the use of simple geometrical shapes, by the use of sweeping algorithm and the Boolean operations. Obviously these two models are not the same and each one is characterized by some peculiarities concerning the way of modelling (the choice of a particular triangulation algorithm or the quasi-automatic modelling by known shapes) and the final results (a more detailed and complex mesh versus an approximate and more simple solid model). Usually the expected final representation and the possibility of publishing lead to one way or the other. In this paper we want to suggest a semiautomatic process to build 3d digital models of the facades of complex architecture to be used for example in city models or in other large scale representations. This way of modelling guarantees also to obtain small files to be published on the web or to be transmitted. The modelling procedure starts from laser scanner data which can be processed in the well known way. Usually more than one scan is necessary to describe a complex architecture and to avoid some shadows on the facades. These have to be registered in a single reference system by the use of targets which are surveyed by topography and then to be filtered in order to obtain a well controlled and homogeneous point cloud of the complex architecture. From the point cloud we can extract a false colour map depending on the distance of each point from the average plane. In this way we can represent each point of the facades by a height map in grayscale. In this operation it is important to define the scale of the final result in order to set the correct pixel size in the map. The following step is concerning the use of a modifier which is well-known in computer graphics. In fact the modifier Displacement allows to simulate on a planar surface the original roughness of the object according to a grayscale map. The value of gray is read by the modifier as the distance from the reference plane and it represents the displacement of the corresponding element of the virtual plane. Similar to the bump map, the displacement modifier does not only simulate the effect, but it really deforms the planar surface. In this way the 3d model can be use not only in a static representation, but also in dynamic animation or interactive application. The setting of the plane to be deformed is the most important step in this process. In 3d Max the planar surface has to be characterized by the real dimension of the façade and also by a correct number of quadrangular faces which are the smallest part of the whole surface. In this way we can consider the modified surface as a 3d raster representation where each quadrangular face (corresponding to traditional pixel) is displaced according the value of gray (= distance from the plane). This method can be applied in different context, above all when the object to be represented can be considered as a 2,5 dimension such as facades of architecture in city model or large scale representation. But also it can be used to represent particular effect such as deformation of walls in a complete 3d way.

Many research works has done on security surveillance camera system. Most of the experiment result shows good result in lab environment but the performance is not good enough when it apply to real life application. The experiment environment of research lab is different from outside world; therefore illumination condition is also different. Although false alarm works well in research environment but it has many problems in real world or dynamic background. False alarm is caused by shadow, smoke and light illumination condition and different type of noises these are major concern for effective surveillance camera system. So how to remove shadow effectively is more important than error detection and accurate result. Which is the main objective in surveillance system? The focus of our work is to remove the shadow efficiently. The computer vision researchers always give importance to the experimental issues such as image input color, morphological algorithms or moving object detection not to the real environmental issues. If the input image and shadow is similar with human then other algorithm not performs well while our proposed algorithm works very accurately. Experimental result shows our proposed algorithm can find out human and shadow from the input image. We have used different simulated illumination condition to find out the noise and successfully subtracted shadow. For our simulation environment we used unity 3D and Direct 10, tessellation (bump mapping).

This work presents a new representation used as a rendering primitive of surfaces. Our representation is defined by an arbitrary cubic cell complex: a projection-based parameterization domain for surfaces where geometry and appearance information are stored as tile textures. This representation is used by our ray casting rendering algorithm called projection mapping, which can be used for rendering geometry and appearance details of surfaces from arbitrary viewpoints. The projection mapping algorithm uses a fragment shader based on linear and binary searches of the relief mapping algorithm. Instead of traditionally rendering the surface, only front faces of our rendering primitive our arbitrary cubic cell complex are drawn, and geometry and appearance details of the surface are rendered back by using projection mapping. Alternatively, another method is proposed for mapping appearance information on complex surfaces using our arbitrary cubic cell complexes. In this case, instead of reconstructing the geometry as in projection mapping, the original mesh of a surface is directly passed to the rendering algorithm. This algorithm is applied in the texture mapping of cultural heritage sculptures.

Existing single view, 3D face reconstruction methods can produce beautifully detailed 3D results, but typically only for near frontal, unobstructed viewpoints. We describe a system designed to provide detailed 3D reconstructions of faces viewed under extreme conditions, out of plane rotations, and occlusions. Motivated by the concept of bump mapping, we propose a layered approach which decouples estimation of a global shape from its mid-level details (e.g., wrinkles). We estimate a coarse 3D face shape which acts as a foundation and then separately layer this foundation with details represented by a bump map. We show how a deep convolutional encoder-decoder can be used to estimate such bump maps. We further show how this approach naturally extends to generate plausible details for occluded facial regions. We test our approach and its components extensively, quantitatively demonstrating the invariance of our estimated facial details. We further provide numerous qualitative examples showing that our method produces detailed 3D face shapes in viewing conditions where existing state of the art often break down., Comment: Accepted to CVPR'18. Previously titled: "Extreme 3D Face Reconstruction: Looking Past Occlusions"

3D printers can easily create products with desired design and functionality by using various materials. Generally the 3D printing process is a time consuming and the materials are costly. Moreover, it is hard to find the optimal materials and 3D printers with the desired feature, because there are so many materials and printing methods. In order to solve those problems, the realistic pre-visualization method for 3D printing is proposed. Conventional visualization methods do not consider color characteristics of both 3D printers and displays. Also they have a limitation to reproduce the surface texture of the 3D printed output based on an additive manufacturing. The visualized colors and surface textures on displays are significantly different from those of the 3D printed output. In this paper, color characteristics of 3D printer and display are analyzed using measurement data. And then the color conversion process is proposed in order to reproduce the real color based on those characteristics. In addition, the spectral lighting model and bump map are used for real 3D rendering of the 3D printed output.

In this paper we show how surface orientation information inferred using shape-from-shading can be used to aid the process of fitting a 3D morphable model to an image of a face. We consider the problem of model dominance and show how shading constraints can be used to refine morphable model shape estimates, offering the possibility of exceeding the maximum possible accuracy of the model. We use this observation to motivate an optimisation scheme based on surface normal error. This ensures the fullest possible use of the information conveyed by the shading in an image. Moreover, our framework allows estimation of per-vertex albedo and bump maps which are not constrained to lie within the span of the model. This means the recovered model is capable of describing shape and reflectance phenomena not present in the training set. We show reconstruction and synthesis results and demonstrate that the shape and albedo estimates can be used for illumination insensitive recognition using only a single gallery image.

Displacement mapping reconstructs a high-frequency surface by adding geometric details encoded in the displacement map to the coarse base surface. In the context of hardware tessellation supported by GPUs, this paper aims at feature-preserving surface reconstruction, and proposes the generation of a displacement map that displaces more vertices towards the higher-frequency feature parts of the target mesh. In order to generate the feature-preserving displacement map, surface features of the target mesh are estimated, and then the target mesh is parametrized and sampled using the features. At run time, the base surface is semi-uniformly tessellated by hardware, and then the vertices of the tessellated mesh are displaced non-uniformly along the 3-D vectors stored in the displacement map. The experimental results show that the surfaces reconstructed by the proposed method are of a higher quality than those reconstructed by other methods. © 2012 Wiley Periodicals, Inc.

We describe PSurface, a C $$++$$ library that allows to store and access piecewise linear maps between simplicial surfaces in $$\mathbb{R }^2$$ and $$\mathbb{R }^3$$ . Piecewise linear maps can be used, e.g., to construct boundary approximations for finite element grids, and grid intersections for domain decomposition methods. In computer graphics the maps allow to build level-of-detail representations as well as texture- and bump maps. The PSurface library can be used as the basis for the implementation of a wide range of algorithms that use piecewise linear maps between triangulated surfaces. A few simple examples are given in this work. We document the data structures and algorithms and show how PSurface is used in the numerical analysis framework Dune and the visualization software Amira.

The advancement of technology enables smart phones or handheld devices to render complex 3D graphics. However, the processing power and memory of smart phones remain very limited to render high polygon and details 3D models especially on games which requires animation, physic engine, or augmented reality. In this paper, several techniques will be introduced to speed up the computation and reducing the number of vertices of the 3D meshes without losing much detail.

The visual effects of synthetic objects and environments from modern video games and movies require an impressive amount of detail to properly duplicate their real world equivalents. Among these details, effects produced by aging are particularly hard to handle, and adding them is significantly time-consuming. Existing methods such as physically based and empirical simulations are not suitable for artists since they require the manipulation of complex physical parameters, and their results are difficult to control. Our approach offers a framework for quickly adding aging effects based on a simple example. By defining an aging recipe based on local properties, an artist can easily apply similar effects to different objects or to multiple occurrences of the same object. Also, when aging patterns consist of simple color variations, we propose a color-independent process capable of producing various colorations of the same effect from a single example. Graphical AbstractDisplay Omitted Research Highlights? A user-friendly semi-automatic framework for quickly adding aging effects based on a simple example. ? A property-based method to intuitively define aging patterns. It can also be used to similarly age objects of different shapes or to easily produce multiple aged occurrences of the same object. ? A color-independent synthesis process used to produce multiple colorations of aging effects from a single example. The process also takes advantage of bump mapping to increase realism without capturing complex BRDFs.

Texture mapping is an efficient and effective tool in computer graphics and animation. While computationally very cost-effective, texture mapping may produce non-realistic appearances of shapes in 3D environment, especially when viewing closely. To improve the realism of 3D modeling, bump mapping technique is developed to add details with the 3D models on top of texture mapping. Bump mapping, however, offers only simple and visual enhancement. Displacement mapping technique can further improve the localized detail of geometry. In this paper, Monge mapping technique is developed for detail and local shape modification of NURBS represented geometry in a 3D environment. Based on multiresolution and refinement schemes, Hierarchical NURBS (H-NURBS) is first investigated to design a mechanism for the purpose of carrying localized geometric information. Monge mapping on H-NURBS patch can be easily performed via simple cut-and-paste operation. Parametric control of the local shapes is developed to facilitate easier and better 3D local modeling.

We propose a novel method for 3d modeling using a fusion of a laser range sensor, a camera, and a flashlight. This combination provides dense normals and surface colors that can be mapped on a 3d model, whereas conventional sensors only output point clouds of the 3d geometry. Furthermore, the fusion enables formulations to be made simply and practically. Multi-view photometric stereo is used for estimating the fine normal distribution with a basic shape measured by the laser range sensor. Our photometric stereo can easily handle near-light formulation and specularity. Detailed surfaces can be shown by applying the normal map as bump mapping to the basic shape. Robust estimation and clustering are used for estimating reflection parameters. Results demonstrate that our method can estimate highly accurate reflection parameters and provide fine surface appearances using only a small amount of data. The effectiveness of our method is shown with an application of 3d content.

Original bump mapping is only defined for surfaces with a known surface parametrization. In this paper a new method, for the GPU, is presented which does not use such a given parametrization. To compute the perturbed normal, the only inputs used are the surface position, the height value and the original normal. The method decouples bump mapping from the primitive type, thus allowing for a higher degree of proceduralism in generation of both the height value and the surface.

Bump mapping is a texture-based rendering approach for simulating surface details to make its illumination results have three-dimensional effects. The bumpy properties of an object are determined by height maps. But in the process of generating height maps, a problem arises, i.e. to get a correct value of the pixel height, empirical data should be calculated repeatedly, which proves very complicated, and meanwhile the realistic rendering effect is reduced, because the bumpy property is exaggerated in the height map. Therefore, in this paper, we present a method for describing the details of the bumpy texture, where a new concept “bumpy map” is introduced to replace the height map. Experimental results demonstrate that the bumpy details produced by the “bumpy map” are more consistent with the original bumpy texture than by the method of height map.