CS
651: Modern Research in Computer Graphics
List
of Papers
Here is a preliminary list of papers you may
choose to present. We will add papers to this list as the semester goes on and
the interests of the class become clear, and check off papers that we’ve
already covered. If a particular paper not on the list interests you (perhaps
from one of the videos we've seen), come talk to me and I will consider
assigning it or covering it myself.
There is another list of papers (with some
overlap) focusing on animation from Dave Brogan’s animation class at http://www.cs.virginia.edu/~dbrogan/CS551.851.animation.sp.2000/justPapers.html.
Mail us a list of your first, second, and
third choices for papers you would like to present.
- Evolving Virtual Creatures
by Karl Sims (S94, p 15). Not exactly mainstream computer graphics, more
the field of "artificial life". Extremely cool anyway. A genetic
algorithm is used to evolve virtual critters, both their physical shapes
and the neural networks controlling their behavior. Physically-based
simulation is used to evaluate the creatures' fitness to do some
task: run, jump, swim, etc. Could make a great project.
- Surface Simplification Using Quadric Error Metrics by Michael Garland and Paul Heckbert (S 97,
209). Polygonal simplification is the field in which I did my doctorate
and this in my opinion is one of the best simplification
algorithms. Simple, fast, and easy to implement, and typically producing
high-fidelity results. Implementing this algorithm should make a
relatively easy project.
- Rendering Complex Scenes with Memory-Coherent Ray Tracing by Matt Pharr et all (S 97, p 101). Another
paper at the frontier of ray-tracing, this work describes strategies to
preserve memory coherence (and thus reasonable performace) when ray-tracing
massively complex scenes.
- Hierarchical Z-Buffer Visibility by Ned Green, Michael Kass, and Gavin Miller (S93, p 231). This paper
presents a really elegant approach to the problem of quickly determining
which objects in a scene are visible. One of those "why didn't I
think of that?" papers. Someday all interactive graphics may use this
technique.
- Hierarchical Image Caching for Accelerated Walkthroughs of Complex
Environments by Jonathan Shade,
Dani Lischinski, David Salesin, Tony DeRose, and John Snyder (S96, p 75).
A nice acceleration technique that performs a spatial subdivision
of a scene to be rendered. As the user walks through the scene, nodes at
various levels in the spatial hierarchy are rendered and the resulting
image is "cached" with that node. The node can then be rendered
as a single rectangle texture-mapped with the cached image. The authors
also describe an error metric regulating how far the user can move before
the original geometry must be re-rendered.
- Computer-Generated Pen-and-Ink Illustration by Georges Winkenbach and David Salesin (S94, p
91). One of the seminal papers in non-photorealistic rendering. The title
says it all.
- Reflection from Layered Surfaces due to Subsurface Scattering by Pat Hanrahan and Wolfgang Krueger (S93, p
165). Recognizing the multi-layered nature of surfaces such as skin and
leaves enables more realistic modeling. For example, skin can be modeled
with three layers: the dermis, the epidermis, and a thin coating of oil.
- Modeling and Rendering Architecture from Photographs: A hybrid
geometry- and image-based approach
by Paul Debevec, Camillo Taylor, and Jitendra Malik (S96, p 11).
Reconstructing a 3-D model from a few photographs is the Holy Grail for
much computer vision research. This paper focuses on architectural models,
which often have symmetries that simplify the problem, and uses
image-based techniques to realistically render interesting scenes without
having to build extremely detailed geometric models. The system described
in this paper was used to create the film we saw of the Campanile,
Berkeley's clock tower.
- The Lumigraph by Steven
Gortler, Radek Grzeszczuk, Richard Szeliski, and Michael Cohen (S96, p
43). One of a pair of important and similar papers in the field of
image-based rendering (the other is Light Field Rendering, also
presented at SIGGRAPH 96). The lumigraph is a new method of capturing the
complete appearance of an object, even objects traditionally very hard to
model and render using traditional computer graphics. This paper is
somewhat difficult but is an important advance in a very hot new field.
- Painterly Rendering with Curved Brush Strokes of Multiple Sizes by Aaron Hertzmann (S98, p 453). Photoshop and
similar programs have long had "oil painting" filters that make
an image look like a painting. This paper makes more realistic paintings
by more closely mimicing the kinds of brush strokes painters actually use.
- Painterly Rendering For Animation by Barbara Meier (S96, p 477). A new way of
rendering 3-D environments with a painted feel. Standard "oil
painting" filters take an imput image and make it look painted, but
applying the algorithm to (say) a video sequence looks very busy because
of the lack of temporal coherence among the brush strokes. In this paper
the brush strokes are attached to 3-D objects via a particle system, and
thus appear consistent from frame-to-frame. This is the source of the very
short "haystack" animation I showed on the first day of class.
Could make a really nice project.
- Realistic Modeling and Rendering of Plant Ecosystems by Oliver Deussen et al (S98, p 275). The
natural scenes presented in this paper may be the most complex and
realistic I have ever seen in computer graphics. The source of the
trees-in-a-meadow image I showed on the first day of class. In addition to
the modeling and creation of plant ecosystems, this paper presents an
interesting approach to managing the incredible complexity of the
resulting scenes.
- Interactive Update of Global Illumination Using a Line-Space
Hierarchy by George Drettakis
and Francois Sillion (S97, p 57). A really elegant hierarchical approach
to the radiosity problem that allows truly interactive radiosity - open a
door and watch the light stream into the room, bounce around, and
correctly illuminate surfaces and shadows. Presenting this paper should
probably involve a quick overview of previous radiosity work.
- Metropolis Light Transport
by Eric Veach and Leonidas Guibas (S 97, p 65). A nice paper that vastly
improves standard Monte Carlo path-tracing (an extension of ray-tracing)
quality and time complexity, especially on scenes that are notoriously
difficult to render using previous techniques. A good state-of-the-art
paper in the field of realistic rendering.
- Modeling and Rendering of Metallic Patinas by Julie Dorsey and Pat Hanrahan (S 96, p 387).
A nice treatment of the realistic rendering of aged metallic surfaces.
- Synthetic Topiary by
Przemyslaw Prusinkiewicz, Mark James, and Radomir Mech (S94, p 351).
Realistic plants, pruned to various shapes, are modeled by environmentally
sensitive L-systems, a sort of stochastic grammar for growing branches and
leaves. A good example of modeling natural phenomena by simplified
simulation—in this case, simulation of plant growing and branching
behavior. This paper is a precursor to Realistic Modeling and Rendering
of Plant Ecosystems, above.
- The RADIANCE Lighting Simulation and Rendering System by Greg Ward (S94, 459). RADIANCE is UNIX
freeware for rendering using Monte Carlo path-tracing methods. This paper
provides a good introduction to and overview of modern methods for
realistic rendering. It also describes a real system with a large user
base, available in source or binary form at http://radsite.lbl.gov/radiance.
- Priority Rendering with a Virtual Reality Address Recalculation
Pipeline by Matthew Regan and
Ronald Pose (S94, p155). A fascinating paper on how to design your own
graphics hardware for virtual reality on a shoestring budget. Two very
clever optimizations that foreshadow the image-based rendering watershed.
- IRIS Performer: A High Performance Multiprocessing Toolkit for
Real-Time 3D Graphics, by John
Rolhf and James Helman (S 94, p 381). Performer is a high-level API for
squeezing maximum performance out of high-end SGI systems. We have
Performer and we have a high-end SGI, and you might want to use them for
your project. This paper also serves as a good overview of the issues,
difficulties, and strategies of high-performance rendering.
- Polygon-Assisted JPEG and MPEG Compression of Synthetic Images, by Marc Levoy (S95, p 21). A nice idea for
compressing synthetic images for transmission by having a low quality
rendering (on the client) and a high quality rendering (on the server).
The server transmits the difference between the low- and high-quality
renderings. This differential image compresses better than the original
high-quality image.
- Motion Warping, by
Andrew Witkin and Zoran Popovic (S 95, p 105). How to reuse motion capture
data for animation. For example, motion capture of a person walking is
warped to include the constraint that they have to step over a block, or
duck under a doorway. Or motion capture of a tennis swing could be warped
to have the racquet contact the ball at different heights. A different
(and simpler) approach to motion capture reuse than the "Spacetime
Swing" work we’ve seen by Gleisher.
- Cellular Texture Generation,
by Kurt Fleischer et al. (S95, p 239). Textures are "grown"
across a surface using a biologically inspired cellular development
algorithm. Related to the particle-on-a-surface algorithms we’ve
discussed. May have the coolest, strangest SIGGRAPH images ever.
- Hierarchical Polygon Tiling with Coverage Masks, by Ned Greene (S 96, p 65). A follow-up, in
some ways, to the Hierarchical Z-Buffer Visibility paper presented
by Derek. As before, modifies the standard rendering pipeline in a
gee-whiz-why-didn’t-I-think-of-that way.
- Hierarchical View-dependent Structures for Interactive Scene
Manipulation, by Normand Briere
and Pierre Poulin (S96, p 83). One of the first papers to address
interactive ray tracing. Clever data structures, the ray tree and color
tree, allow incremental changes to a ray-traced scene viewed by a
fixed camera.
- A Perceptually Based Physical Error Metric for Realistic Image
Synthesis, by Mahesh
Ramasubramanian, Sumanta Pattanaik, and Donald P. Greenberg (S99,
73). A state-of-the-art perceptual
rendering technique that uses a detailed model of human visual acuity to
avoid wasting computation in a global illumination framework when the
result will ultimately be imperceptible.
- LCIS: A Boundary Hierarchy for Detail-Preserving Contrast
Reduction, by Jack Tumblin and
Greg Turk (S99, 101). Real scenes
have luminance levels varying over many orders of magnitude, but our computer
screens can only display a couple orders of magnitude. Then again, our eyes can only perceive
a couple orders of magnitude at a given time. How can we display high-contrast scenes so as to convey information
while accurately representing contrast?
Note: Jack Tumblin is a
faculty candidate and will be speaking on related work later. This is an excellent chance to evaluate
the work of a potential faculty member.
- Modeling and Rendering of Weathered Stone, by Julie Dorsey et al (S99). The title says it all. The application: realistic looking
architectural models.
- Fast Computation of Generalized Voronoi Diagrams Using Graphics
Hardware, by Kenneth Hoff III et
al (S99, 277). A much, much cooler
paper than the title would imply. Bouncing
pianos and moving face mosaics are only a couple of the cool applications
of this very clever computational geometry technique.
- Automatic Image Placement to Provide a Guaranteed Frame Rate, by Daniel G. Aliaga and Anselmo Lastra (S99, p
307). Replace distant objects with
textured “backdrops”…good idea.
How many backdrop images do we need to precompute and where do they
go?
- Teddy: A Sketching Interface for 3D Freeform Design, by Takeo Igarashi (S99, p 409). We’ve all seen Teddy, that cool Java
applet for quickly sketching cute rotund genus-0 3-D models. How the hell does it work?
- Art-based Rendering of Fur, Grass, and Trees, by Michael A. Kowalski et al (S99, p 433). The Dr. Seuss paper.
- View-Dependent Geometry,
by Paul Rademacher (S99, p 439). Mickey
Mouse’s ears are always circular, never elliptical, even under
perspective projection. This
is physically impossible and downright creepy. How can we make a 3-D model of Mickey?