High Pixel Studios

[Reuquen Boyett]

I try to render inside of industrial hall. Unfortunately, in some regions I get white pixels/grain like you can see below. I noticed that it gets worse with increasing rendering resolution. Waiting longer or increasing exposure didn't help. Any ideas how to get rid of white pixels?

3. Just as an observation - when accuracy is set to High - number of white pixels increases with increasing Iteration, at some point it goes down significantly, then increases again and from a certain Iteration remains stable.

Industrial hall is only the object I am working on. I mentioned it just to emphasise I am working with "a closed space of big size". Because it is roofed, I made my own lighting style and used "Plain Room" as a base for it (otherwise lights had no effect, even though set as Enabled).

If you're rendering a specific section inside your building, try removing walls behind and above your camera in order to get the IBL light in (if you're not doing this already) so you don't have a "closed space".

Niels is absolutely right. Please feel free to share the files with me directly johnso...@autodesk.com. I can sign NDA if need be. Or, if you have already signed up Inventor Feedback Community, we are already covered by mutual NDA.

I spent some time perforimng trials according to Niels's valuable tips and have the following observations:
1. After rendering a test scene using the same PC, very similar model and setup (closed hall of similar size, similar materials and geometry) I lean towards the conclusion there is a bug/problem inside my model.
I even tried "the worst case" with highly underlit test scene (closed big space, only one light bulb, reflective and transparent materials) and at the end I got a nice, sharp image with cool-looking shadows.
2. As I mentioned before - "quick and dirty" solution is to use "Low" setting for "Lighting and Material Accuracy".

In this article, you learn how to address rendering issues due to scaling limitations of the Windows Forms Designer on HDPI monitors by running Visual Studio as a DPI-unaware process. HDPI stands for high dots per inch, with each dot representing a physical device pixel.

Higher pixel density creates sharper images, and display scaling sizes elements properly. Without proper scaling, user interface (UI) elements and text are too tiny to use effectively and can overlap. To help remedy this issue, Windows automatically scales the UI percentile to match the DPI setting. For example, a DPI setting of 100% represents 96 DPI and 125% is 120 DPI. Monitors used to ship with 96 pixels per inch, which Windows used as the baseline for 100% bitmap drawing. However, as display technology advanced, monitors now ship with panels of 300 DPI or higher.

When an application declares itself to be DPI-aware, it's a statement specifying that the app behaves well at higher DPI settings, and so Windows can apply autoscaling. Conversely, DPI-unaware applications render at a fixed DPI value of 96 pixels per inch, or 100%, and so autoscaling isn't applied.

In Visual Studio 2022 version 17.8 or later, you can avoid the issues described in this article. Visual Studio 2022 version 17.8 provides support for DPI-unaware tabs within a DPI-aware application. See Visual Studio DPI improvements. This lets you design Windows Forms for DPI-unaware contexts, without requiring you to run Visual Studio in DPI-unaware mode. To use this setting in a Windows Forms project, set the property ForceDesignerDPIUnaware to true in your project file:

By default, Visual Studio is a dots per inch (DPI)-aware application, which means the display scales automatically. However, Windows Forms Designer is a DPI-unaware app, so it appears as a bitmap at 96 DPI. Without autoscaling support, issues and overlapping arises when opening forms on HDPI monitors, like in this image:

When you open a form in Windows Forms Designer on an HDPI monitor, Visual Studio displays an info bar that displays the monitor's current scaling percentage (for example, 150%/144 DPI), an option to restart Visual Studio at 100% scaling to match Windows Forms Designer, and further information. Restarting at 100% scaling makes VS DPI-unaware, allowing for proper rendering without overlap.

When Visual Studio runs as DPI-unaware, the designer layout issues are resolved, however fonts might appear blurry and issues can appear in other designers such as the XAML Designer. Visual Studio displays a different informational message when DPI-unaware that says "Visual Studio is running as a DPI-unaware process. WPF and XAML designers might not display correctly."

To manage your display settings by using command-line tools rather than the UI (user interface) tools, use DevEnv.exe. The devenv.exe command takes /noscale as a command-line parameter to run in 100% scaling mode. Here's how to use it:

If the DPI-awareness transition doesn't work in Visual Studio, ensure the dpiAwareness value is NOT present in the HKEY_LOCAL_MACHINE\SOFTWARE\Microsoft\Windows NT\CurrentVersion\Image File Execution Options\devenv.exe subkey in Registry Editor. Delete the value if it is present.

In this paper, we propose an algorithm for fully automatic neural face swapping in images and videos. To the best of our knowledge, this is the first method capable of rendering photo-realistic and temporally coherent results at megapixel resolution. To this end, we introduce a progressively trained multi-way comb network and a light- and contrast-preserving blending method. We also show that while progressive training enables generation of high-resolution images, extending the architecture and training data beyond two people allows us to achieve higher fidelity in generated expressions. When compositing the generated expression onto the target face, we show how to adapt the blending strategy to preserve contrast and low-frequency lighting. Finally, we incorporate a refinement strategy into the face landmark stabilization algorithm to achieve temporal stability, which is crucial for working with high-resolution videos. We conduct an extensive ablation study to show the influence of our design choices on the quality of the swap and compare our work with popular state-of-the-art methods.

Titan Tube is the ultimate LED tube for filmmakers, studios, event technicians and any creative person. It emits powerful, tunable whites with ultra-high color rendering as well as colored light which can be applied to individual pixels or the whole tube. The tube offers unlimited range of usage; indoor or outdoor, AC-powered or on battery, on the go with the AsteraApp, with wired or wireless DMX.

All Astera lights contain a wireless DMX module by LumenRadio, enabling them to be controlled by CRMX and W-DMX transmitters alongside other wireless fixtures. The AsteraBox has built-in CRMX and can be used to transmit DMX data to your lights.

A data injector used to establish a wired DMX connection if no Titan PowerBox is available or to add another DMX universe to a PowerBox. DataLink does not have a built-in power supply, so it requires a PowerBox or single tube PSU to work.

AC to DC power converter to charge 1 Titan Tube or Helios Tube or to wire it for a longer installation. Usable in most countries since it comes with EU, US, UK adapters and accepts 110-240VDC. 1 m cable length and 24VDC, 2A output.

With this innovative feature, the lights can double as a battery-powered emergency light. When activated, the fixture can detect power loss and instantly switches to bright white light to illuminate the venue.

Most recently, Hanson and Downing worked with Sloan to produce an incredibly high-resolution image of El Capitan, that includes a shot by shot sequence of Sloan and Roger Putman climbing the Nose in a day. Prints of the 228,000 pixel wide image are available at Yosemitebigwall.com. Climbing spoke to Hanson to learn more about the process of creating a gigapixel image as well as the inspiration and technique used in the creation of the El Cap photo.

Eric Hanson: I am one of the early adopters and developers of gigapixel photography. I began to utilize it in 2006 as a method of producing high-resolution backgrounds for feature film visual effects, which has been my career focus. My first company xRez Studio was formed around that time with Greg Downing, and we forged the company on these early techniques.

An early spherical gigapixel image we produced of Half Dome from the Diving Board went viral on the net around that time. Yosemite NPS geologist Greg Stock saw it and asked us to shoot the entirety of the valley walls to assist him in his rockfall research. In 2008 we raised funding and organized 20 teams of photographers to shoot into the valley from major lookouts with 10,000 total images shot over 45 minutes. This online collection of zoomable gigapixel images of most major routes in The Valley became useful to the climbing community and Yosemite Search and Rescue (YOSAR).

We have always used Yosemite as home base for developing our techniques. We began to work with Erik Sloan of Yosemite Bigwall, helping populate his climbing guidebooks with our images. We soon discussed what it would take to create a massive El Cap image and came up with the idea to shoot him and Roger Putnam doing the Nose in a day. This allowed us to shoot them at every point along the route, then incorporate them into the final image.

The first day we shot 2,200 images of them manually with a gimballed 800mm prime lens and 50-megapixel back, then the following day we shot a 2,000 image panorama of the entire face with a robotic head, yielding a 228,000 pixel image of just El Cap. Due to this being a side project, it took two years to complete all the post-production of the image.

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