2017

We compare our method to conventional and gradient-domain path tracing in an equal-time comparison. Gradient-domain path reusing produces visually pleasant images with much less noise than path tracing and significantly lower artifacts than gradient-domain path tracing given the same time.
Pablo Bauszat, Victor Petitjean, and Elmar Eisemann
ACM Transactions on Graphics, 2017
: Three dODF-based glyphs for (a) an ensemble with gradually varying shape and orientation and two ensembles of linear tensors with crossing angle of (b) 60 ° and (c) 45 °, respectively. The variation threshold is set to 60% of the maximum variation. The ensembles are illustrated by the small black icons on top.
Changgong Zhang, Matthan Caan, Thomas Höllt, Elmar Eisemann, and Anna Vilanova
Computer Graphics Forum, 2017

2016

Leonardo Scandolo, Pablo Bauszat, and Elmar Eisemann
Computer Graphics Forum, 2016
Jean-Marc Thiery, Emilie Guy, Tamy Boubekeur, and Elmar Eisemann
ACM Transactions on Graphics, 2016
Gerard Simons, Marco Ament, Sebastian Herholz, Carsten Dachsbacher, Martin Eisemann, and Elmar Eisemann
In Proceedings of Vision, Modeling, and Visualization, 2016
Leonardo Scandolo, Pablo Bauszat, and Elmar Eisemann
Computer Graphics Forum, 2016
Thomas Höllt, Nicola Pezzotti, Vincent van Unen, Frits Koning, Elmar Eisemann, et al.
Computer Graphics Forum, 2016
Hyuntae Joo, Soonhyeon Kwon, Sangmin Lee, Elmar Eisemann, and Sungkil Lee
Computer Graphics Forum, 2016
Bas Dado, Timothy R. Kol, Pablo Bauszat, Jean-Marc Thiery, and Elmar Eisemann
Computer Graphics Forum, 2016
Tamy Boubekeur, Paolo Cignoni, Elmar Eisemann, Michael Goesele, Reinhard Klein, et al.
In Proceedings of GCH, 2016
Nicola Pezzotti, Thomas Höllt, Boudewijn P. F. Lelieveldt, Elmar Eisemann, and Anna Vilanova
Computer Graphics Forum, 2016
The application of the Tender glyphs to compare two DTI datasets acquired with different b-values.
Changgong Zhang, Thomas Schultz, Kai Lawonn, Elmar Eisemann, and Anna Vilanova
IEEE Transactions on Visualization and Computer Graphics, 2016
The proposed OPCPs (red), applied to the Venus dataset [2]: (a) Visual enhancement of small patterns between the first two dimensions of the data, i.e., small structures obstructed by a strong pattern. - (b) Facilitated identification of distinct patterns between the second and third data dimension. - (c) Improved readability of outliers, i.e., low density information areas, in the representation. - (d) Efficient and accurate selection (blue) of a specific data structure, using the proposed O-Brushing (dark blue line).
Renata Georgia Raidou, Martin Eisemann, Marcel Breeuwer, Elmar Eisemann, and Anna Vilanova
IEEE Transactions on Visualization and Computer Graphics, 2016
Philipp von Radziewsky, Elmar Eisemann, Hans-Peter Seidel, and Klaus Hildebrandt
Computers & Graphics, 2016
Noeska Natasja Smit, Cees-Willem Hofstede, Anne C. Kraima, Daniel Jansma, Marco C. Deruiter, et al.
In Proceedings of Eurographics (Education Papers), 2016
Noeska Natasja Smit, Anne C. Kraima, Daniel Jansma, Marco C. Deruiter, Elmar Eisemann, and Anna Vilanova
In Proceedings of EuroVis (Short Papers), 2016
Niels de Hoon, A.C. Jalba, Elmar Eisemann, and Anna Vilanova
In Proceedings of Visual Computing in Biology and Medicine, 2016

2015

Anne C. Kraima, Noeska Natasja Smit, Daniel Jansma, Elmar Eisemann, H.S. Park, et al.
In Proceedings of European Journal of Surgical Oncology, 2015
Left: single scattering using the original geometry of the scene. The leaves of the tree block most of the light, causing only a subtle scattering effect. Right: scattering created by occluder manipulation. Using our system, an artist can easily add holes into the shadow map of the tree, causing an increased amount of and more interesting scattering effects. While physically incorrect, it is not visible to the viewer that the right image uses fake occlusion information. Insets show the scattering only. Surface shadows are created from the unmodified shadow map.
Oliver Klehm, Timothy R. Kol, Hans-Peter Seidel, and Elmar Eisemann
In Proceedings of Graphics Interface, 2015