2010

Piotr Didyk, Elmar Eisemann, Tobias Ritschel, Karol Myszkowski, and Hans-Peter Seidel
Computer Graphics Forum, 2010
Martin Eisemann, Elmar Eisemann, Hans-Peter Seidel, and Marcus Magnor
In Proceedings of Graphics Interface, 2010
Sungkil Lee, Elmar Eisemann, and Hans-Peter Seidel
ACM Transactions on Graphics, 2010
Piotr Didyk, Tobias Ritschel, Elmar Eisemann, Karol Myszkowski, and Hans-Peter Seidel
In Proceedings of Vision, Modeling, and Visualization, 2010
Piotr Didyk, Elmar Eisemann, Karol Myszkowski, and Hans-Peter Seidel
ACM Transactions on Graphics, 2010
Hedlena Bezerra, Elmar Eisemann, Doug DeCarlo, and Joelle Thollot
In Proceedings of INRIA Technical Report, 2010
Hedlena Bezerra, Elmar Eisemann, Doug DeCarlo, and Joelle Thollot
In Proceedings of NPAR, 2010
Robert Herzog, Elmar Eisemann, Karol Myszkowski, and Hans-Peter Seidel
In Proceedings of SI3D, 2010
C. Kurz, Tobias Ritschel, Elmar Eisemann, T. Thormaehlen, and Hans-Peter Seidel
In Proceedings of CVMP, 2010

2009

Our technique renders complex scenes consisting of billions of voxels in real time and supports soft shadows, instancing, high-quality filtering, and depth-of-field effects
Cyril Crassin, Fabrice Neyret, Sylvain Lefebvre, Miguel Sainz, and Elmar Eisemann
In Proceedings of SIGGRAPH Posters, 2009
Images show volume data that consist of billions of voxels rendered with our dynamic sparse octree approach. Our algorithm achieves real-time to interactive rates on volumes exceeding GPU memory capacity by far, tanks to efficient streaming and ray-casting solutions. Basically, the volume is only used at the resolution that is needed to produce the final image. Besides the gain in memory and speed, our rendering provides is inherently anti-aliased
Cyril Crassin, Fabrice Neyret, Sylvain Lefebvre, and Elmar Eisemann
In Proceedings of SI3D, 2009
Example of the out-of-focus effect with our approximate algorithm.
Cyril Crassin, Fabrice Neyret, and Elmar Eisemann
In Proceedings of Intel Visual Computing Research Conference, 2009
Generating stereo frames using our upsampling
Piotr Didyk, Elmar Eisemann, Tobias Ritschel, Karol Myszkowski, and Hans-Peter Seidel
In Proceedings of Intel Visual Computing Research Conference, 2009
Notations for the derivation (Inlay). A point is either lit (a) or shadowed (b, c). In the latter case, we further distinguish between penumbra (b) and umbra (c), depending on whether the light source is only partially or completely hidden.
Elmar Eisemann, Ulf Assarsson, Michael Schwarz, and Michael Wimmer
In Proceedings of ACM SIGGRAPH ASIA 2009 Courses, 2009
Bitmap to vector conversion techniques such as LiveTrace (in Illustrator) lack accuracy and lack a layering structure.
Elmar Eisemann, Sylvain Paris, and Fredo Durand
ACM Transactions on Graphics, 2009
Our method achieves DOF blur effects comparable to accurate solutions in real time and avoids postprocessing artifacts
Sungkil Lee, Elmar Eisemann, and Hans-Peter Seidel
ACM Transactions on Graphics, 2009

2008

Hedlena Bezerra, Elmar Eisemann, Xavier Decoret, and Joelle Thollot
In Proceedings of NPAR, 2008
Elmar Eisemann and Xavier Decoret
Computer Graphics Forum, 2008
Elmar Eisemann, Holger Winnemoeller, John C. Hart, and David Salesin
Computer Graphics Forum, 2008
Erik Sintorn, Elmar Eisemann, and Ulf Assarsson
Computer Graphics Forum, 2008