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Section: Partnerships and Cooperations
European Initiatives
FP7 & H2020 Projects
ERC D3
Participants : Yulia Gryaditskaya, Tibor Stanko, Bastien Wailly, David Jourdan, Adrien Bousseau.
Designers draw extensively to externalize their ideas and communicate with others. However, drawings are currently not directly interpretable by computers. To test their ideas against physical reality, designers have to create 3D models suitable for simulation and 3D printing. However, the visceral and approximate nature of drawing clashes with the tediousness and rigidity of 3D modeling. As a result, designers only model finalized concepts, and have no feedback on feasibility during creative exploration. Our ambition is to bring the power of 3D engineering tools to the creative phase of design by automatically estimating 3D models from drawings. However, this problem is ill-posed: a point in the drawing can lie anywhere in depth. Existing solutions are limited to simple shapes, or require user input to ”explain” to the computer how to interpret the drawing. Our originality is to exploit professional drawing techniques that designers developed to communicate shape most efficiently. Each technique provides geometric constraints that help viewers understand drawings, and that we shall leverage for 3D reconstruction.
Our first challenge is to formalize common drawing techniques and derive how they constrain 3D shape. Our second challenge is to identify which techniques are used in a drawing. We cast this problem as the joint optimization of discrete variables indicating which constraints apply, and continuous variables representing the 3D model that best satisfies these constraints. But evaluating all constraint configurations is impractical. To solve this inverse problem, we will first develop forward algorithms that synthesize drawings from 3D models. Our idea is to use this synthetic data to train machine learning algorithms that predict the likelihood that constraints apply in a given drawing. In addition to tackling the long-standing problem of single-image 3D reconstruction, our research will significantly tighten design and engineering for rapid prototyping.
ERC FunGraph
Participants : Sébastien Morgenthaler, George Drettakis, Rada Deeb, Diolatzis Stavros.
The ERC Advanced Grant FunGraph proposes a new methodology by introducing the concepts of rendering and input uncertainty. We define output or rendering uncertainty as the expected error of a rendering solution over the parameters and algorithmic components used with respect to an ideal image, and input uncertainty as the expected error of the content over the different parameters involved in its generation, compared to an ideal scene being represented. Here the ideal scene is a perfectly accurate model of the real world, i.e., its geometry, materials and lights; the ideal image is an infinite resolution, high-dynamic range image of this scene.
By introducing methods to estimate rendering uncertainty we will quantify the expected error of previously incompatible rendering components with a unique methodology for accurate, approximate and image-based renderers. This will allow FunGraph to define unified rendering algorithms that can exploit the advantages of these very different approaches in a single algorithmic framework, providing a fundamentally different approach to rendering. A key component of these solutions is the use of captured content: we will develop methods to estimate input uncertainty and to propagate it to the unified rendering algorithms, allowing this content to be exploited by all rendering approaches.
The goal of FunGraph is to fundamentally transform computer graphics rendering, by providing a solid theoretical framework based on uncertainty to develop a new generation of rendering algorithms. These algorithms will fully exploit the spectacular – but previously disparate and disjoint – advances in rendering, and benefit from the enormous wealth offered by constantly improving captured input content.
Emotive
Participants : Julien Philip, Sebastiàn Vizcay, George Drettakis.
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Partner: Diginext (FR), ATHENA (GR), Noho (IRL), U Glasgow (UK), U York (UK)
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Abstract: Storytelling applies to nearly everything we do. Everybody uses stories, from educators to marketers and from politicians to journalists to inform, persuade, entertain, motivate or inspire. In the cultural heritage sector, however, narrative tends to be used narrowly, as a method to communicate to the public the findings and research conducted by the domain experts of a cultural site or collection. The principal objective of the EMOTIVE project is to research, design, develop and evaluate methods and tools that can support the cultural and creative industries in creating Virtual Museums which draw on the power of 'emotive storytelling'. This means storytelling that can engage visitors, trigger their emotions, connect them to other people around the world, and enhance their understanding, imagination and, ultimately, their experience of cultural sites and content. EMOTIVE will do this by providing the means to authors of cultural products to create high-quality, interactive, personalized digital stories.
GRAPHDECO contributes by developing novel image-based rendering techniques to help museum curators and archeologists provide more engaging experiences. In 2018, we developed a mixed reality plugin for Unity that allows the use of IBR in a VR experience used in one of the EMOTIVE user experiences using a VIVE HMD.