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Example-Based Texture Synthesis On Disney's Tangled

Authors: Christian Eisenacher - Chuck Tappan - Brent Burley - Daniel Teece - Arthur Shek - 07/2010 "Look development on Walt Disney's Tangled called for artists to paint hundreds of organic elements with high resolution textures on a tight schedule. We [Disney] found that example-based texture synthesis, where an artist paints a small exemplar texture, indicating the desired pattern that the system synthesizes over arbitrary surfaces, would alleviate some of the burden. In this talk we describe how we adapted existing synthesis methods to our Ptex-based workflow, scaled them to production sized methods and expose it to artists using a one click interface." I, bemusingjobingo, did NOT write this but obtained this pdf from the official disneyanimation site - http://www.disneyanimation.com/library/TexSynProd.pdf - from their publications page: http://www.disneyanimation.com/library/list.html - I uploaded it here purely so I could embed it in a more reader-friendly format.

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[Jo Bingo]
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613 views

Example-Based Texture Synthesis On Disney's Tangled

Authors: Christian Eisenacher - Chuck Tappan - Brent Burley - Daniel Teece - Arthur Shek - 07/2010 "Look development on Walt Disney's Tangled called for artists to paint hundreds of organic elements with high resolution textures on a tight schedule. We [Disney] found that example-based texture synthesis, where an artist paints a small exemplar texture, indicating the desired pattern that the system synthesizes over arbitrary surfaces, would alleviate some of the burden. In this talk we describe how we adapted existing synthesis methods to our Ptex-based workflow, scaled them to production sized methods and expose it to artists using a one click interface." I, bemusingjobingo, did NOT write this but obtained this pdf from the official disneyanimation site - http://www.disneyanimation.com/library/TexSynProd.pdf - from their publications page: http://www.disneyanimation.com/library/list.html - I uploaded it here purely so I could embed it in a more reader-friendly format.

Uploaded by

[Jo Bingo]
Copyright
© Attribution Non-Commercial No-Derivs (BY-NC-ND)
Available Formats
Download as PDF, TXT or read online on Scribd
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Example-based Texture Synthesis on Disney’s Tangled

Christian Eisenacher1 Chuck Tappan2 Brent Burley2 Daniel Teece2 Arthur Shek2
1
University of Erlangen-Nuremberg 2
Walt Disney Animation Studios

Figure 1: Left, displacement for scales, synthesized onto a chameleon with varying size. Middle, displacement for stones on a road, synthesis
oriented by a vector flow field. Right, a texture to specify instancing sites for tile geometry, synthesized to arrange tiles organically on a roof.

1 Overview tage of Ptex’s per-face granularity. We create the texture hierarchi-


cally from coarse to fine. For each level, we request each face and
Look development on Walt Disney’s animated feature Tangled
its adjacent faces from disk, perform a correction pass with proper
called for artists to paint hundreds of organic elements with high-
filtering, and send the result back to disk. Synthesizing 600 million
resolution textures on a tight schedule. With our Ptex format [Bur-
color texels requires 14 GB of temporary data and 30 min on an 8-
ley and Lacewell 2008], we had the infrastructure to handle massive
core machine. We are I/O bandwidth bound, as the complete texture
textures within our pipeline, but the task of manually painting the
needs to be streamed to/from disk for each iteration, but manage an
patterned textures would still involve tedious effort.
average 7x multithreaded speedup with a two disk RAID 0.
We found that example-based texture synthesis, where an artist
paints a small exemplar texture indicating a desired pattern that the 3 Workflow Integration
system synthesizes over arbitrary surfaces, would alleviate some of Texture synthesis integrates nicely into our proprietary digital paint-
the burden. In this talk we describe how we adapted existing synthe- ing tool. Exposing it there complements existing methods for pro-
sis methods to our Ptex-based workflow, scaled them to production- cedural texture generation via a custom shader expression language.
sized textures, and addressed other engineering challenges. Artists can conveniently browse from a shared library or paint an
exemplar, and synthesize a texture across a surface with one click.
2 Synthesis Details The texture is immediately available for manual correction of prob-
Our typical models use up to one giga-texel per surface, and com- lem areas.
plex models easily exceed that. However, few algorithms are even Our system allows artists to have fine control over varying feature
capable of synthesizing more than one mega-texel on a continuous size by either painting or procedurally generating a scale map, as
surface. Our system is based on neighborhood matching, inspired done for the chameleon body in Fig. 1. Artists can also specify the
by Lefebvre and Hoppe [2006], but addresses a number of chal- orientation of the synthesized texture locally, using an interactively
lenges, including support for the texture sizes we require. We chose brushed vector flow field. It is represented as an oriented point
their method because it is inherently parallel, trades pre-processing cloud for easy interaction with external generators. Note the subtle
for very fast synthesis, and has shown excellent synthesis quality interweaved curve-pattern of the stones on the road in Fig. 1.
over a wide range of inputs.
Exemplar Analysis: Like Lefebvre and Hoppe, we pre-process the 4 Conclusion and Future Work
exemplar to speed up runtime synthesis. We create a set of box- We have had great success synthesizing many organic and semi-
filtered images, extract neighborhoods, perform dimensionality re- regular textures for Tangled. Artists enjoy the increased texture
duction using PCA, and prune the search space using k-coherence. painting efficiency and high level of art-directability. Next, we
However, instead of determining the k most similar candidates for would like to explore ways to improve synthesis quality for very
each neighborhood using a kd-tree, we pseudo-randomly sample regular patterns like stone courses on irregular geometry, better in-
the exemplar several times and keep the most similar neighborhood tegrate coarse and fine detail when using higher-res exemplars, and
of 64, 16, and 4 samples. That way, we obtain k=3 sufficiently sim- provide more intuitive tools for generating effective exemplars.
ilar candidates with increasing randomness. This is considerably
faster and allows significantly larger exemplars: up to 4096x4096
compared to the typical 64x64 or 128x128. The added variation References
turns out to be beneficial for synthesis quality with the hand painted
exemplars we use. Our analysis is multi-threaded and a 1024x1024 B URLEY, B., AND L ACEWELL , D. 2008. Ptex: Per-face texture
exemplar is analyzed in about one minute on an 8-core machine. mapping for production rendering. Computer Graphics Forum
27, 4 (June), 1155–1164.
Synthesis: We cannot fit all temporary data required to synthesize
L EFEBVRE , S., AND H OPPE , H. 2006. Appearance-space texture
such large textures into main memory. Therefore, we directly op-
synthesis. ACM Transactions on Graphics 25, 3, pp. 541–548.
erate on Ptex data and perform synthesis out-of-core, taking advan-

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