Dissertations / Theses on the topic 'Réalité de synthèse'
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Le, Moulec Gwendal. "Synthèse d'applications de réalité virtuelle à partir de modèles." Thesis, Rennes, INSA, 2018. http://www.theses.fr/2018ISAR0010/document.
Development practices in Virtual Reality (VR) are not optimized. for example, each company uses its own methods. The goal of this PhD thesis is to automatize development and evaluation of VR software with the use of Model-Driven Engineering (MDE) technics. The existing approaches in VR do not take advantage of software commonalities. Those lacks of reuse and abstraction are known problems in MDE, which proposes the Soflware Product Line (SPL) concept to automatize the production of software belonging to the same family, by reusing common components. However, this approach is not adapted to software based on a scenario, like inVR.We propose two frameworks that respectively address the lacks in MDE and VR : SOSPL (scenario-oriented software product line) and VRSPL (VR SPL). SOSPL is based on a scenario model that handles a software variability model (feature model , FM). Each scenario step matches a configuration of the FM. VRSPL is based on SOSPL. The scenario manages virtual objects manipulation, the objects being generated automatically from a model. We implemented these frameworks inside tools that have been tried on exemples and evaluated by their target users. The results promote the use of these frameworks for producing scenario-based software
Verron, Charles. "Synthèse immersive de sons d'environnement." Aix-Marseille 1, 2010. http://theses.univ-amu.fr.lama.univ-amu.fr/2010AIX11009.pdf.
Most of the existing tools for producing sounds in virtual environments are based on wavetables : sounds are pre-recorded and triggered in real time according to the actions of the user in the virtual world. Spatialization techniques are usually integrated in a second stage, for simulating reverberation and spatial properties of sound sources, such as position, directivity and spatial extension. In this thesis we propose an original approach to synthesis and spatialization of environmental sounds. We design a real-time synthesizer that produces various environmental sources (like rain, wind, fire, waves, impacts. . . ), provides interactive controls based on “high-level” parameters, and allows manipulating the sources in a 3D virtual space. After reviewing the existing synthesis approaches for environmental sounds, we propose a generic model based on additive synthesis and on a set of five parametric sonic structures called “atoms”. An adequate combination of these atoms allows the creation of sources associated with the three categories of environmental sources : vibrating solids, aerodynamics and liquids. The synthesizer engine combines efficiently synthesis and spatialization modules at the prime level of sound generation. We use the efficient implementation of additive synthesis by inverse fast Fourier transform, and propose an adapted set of parameters. The 3D audio rendering is compatible with standard audio formats (multichannel, ambisonics, binaural) and can be achieved on arbitrary loudspeaker configurations or over headphones. We also present an alternative synthesis method based on a “subband” formalism for synthesizing noisy signals that contain at the same time short transients and narrow spectral components (like impacts or fire sounds). High-level controls are specified for manipulating the synthesizer intuitively, via physical properties such as “the speed of the wind” or “the intensity of the fire”. We also propose a spatial extension effect, validated by a formal listening test, for simulating efficiently naturally extended sound sources like rain or waves. Combined controls of timbre and spatial properties of sources allow creating intuitively complex and immersive sound scenes
Noël, Dominique. "La réalité virtuelle de la réalité virtuelle : éléments pour une sémiotique des environnements et créatures tridimensionnels de synthèse." Paris, EHESS, 2001. http://www.theses.fr/2001EHES0208.
Larcher, Véronique. "Techniques de spatialisation des sons pour la réalité virtuelle." Paris 6, 2001. http://www.theses.fr/2001PA066324.
Cavin, Xavier. "Simulation numérique parallèle et graphisme haute-performance pour la synthèse d'images réalistes." Vandoeuvre-les-Nancy, INPL, 2000. http://www.theses.fr/2000INPL099N.
Mérillou, Stéphane. "Rendu réaliste de défauts de surface en synthèse d'images." Limoges, 2000. http://www.theses.fr/2000LIMO0029.
Guilminot, Virginie. "La synthèse d'image animée : au-delà d'une simulation réaliste." Paris 8, 1996. http://www.theses.fr/1996PA081159.
A majority of 3d films and computer graphics respect a realistic aesthetic. On one hand, I will analyse why such totally made images initiate a film or reality and on the other hand, I will try to offer alternativity in order to create an other aesthetic, not being realistic. Softwares need numerous scientific formulas, therefore the author, while manipuling it, will be the main actor to change the situation. This is the main point. Realism exists in every 3d application, such as research, tv, cinema, fiction, school and even often in creation. A few artists managed to escape from realism, i. E. : Joan Stavely, Tamas Waliczky or Michel Bret. Each has its own way of working but they all aim at the same: not to reach realistic simulation. I agree on this point and illustrate my thinking, I made three 3d films with more sensitivity than technical challenge. It is possible to avoid the trap of realism. Indeed, by manipulating and divert the software, one can obtain different 3d computer graphics. Step by step, a new approach to handle and to develop tools apears, and thanks to this, authors can create films other than realistic.
Darles, Emmanuelle. "Représentation et rendu de l'océan en synthèse d'images réalistes." Phd thesis, Université de Limoges, 2008. http://tel.archives-ouvertes.fr/tel-00914626.
Darles, Emmanuelle. "Représentation et rendu de l’océan en synthèse d’images réalistes." Limoges, 2008. https://aurore.unilim.fr/theses/nxfile/default/2ad0d72b-74d1-4984-ba70-1e253c8bd256/blobholder:0/2008LIMO4037.pdf.
Nowadays, computer generated images are very present in our everyday life. Realism of these images is increasing, surprising and it isn’t often easy to distinguish the reality of the virtuality, this reality made by all the complexity of the natural phenomena which surround us. Water is one of these phenomena among which the variety and the dynamic comportment produce complex representation. We are interested in this thesis in its most area shape, that of the oceans, which are a part integral of our landscapes. At first, we study the methods allowing the simulation and rendering of the ocean in the physical domain and in computer graphics. In the second chapter, we propose a new rendering method unified allowing a faster visualization of ocean surface and allowing to approximate scattering and sub-scattering exchanges of light, foam and glare effects. In the chapter 3, we are interested to breaking waves by proposing a new physical based adaptive approach allowing to reproduce this phenomenon and to reduce time of calculations imposed by the resolution of equations of the fluid mechanics in 3D. In the fourth chapter, we extend this model by proposing a hierarchical approach allowing a stronger acceleration of the process of resolution and to obtain a simulation close to interactivity
Méthel, Gilles. "De la représentation en image de synthèse : une rupture épistémologique entre une tradition picturale illusionniste et la modernité des outils de création et de communication." Toulouse 2, 1994. http://www.theses.fr/1994TOU20055.
It computer graphics is analysed within a historical background of a pictorial tradition, and not exclusively under the traditional perspective view-point, it also can be thorugh other artistic evolutions, so that it sounded out as the outcome of the illusionnist representation history, whose stakes computer graphics joins and brings foreward. Beyond a possible comparison of these shapes to varied pictorial aesthetics, computer graphics creation tools are resolutely new. They sometimes materialize into a computer. But they can remaion conceptual, asd an algorithm, the nature of such a represented object comes completely transformed. By using those numerous representations of a same object, computer graphics is brought into the world of motion, and thus, through virtual realities, it can immensde as well individually people, as virtual communities socially do it. In fact, the improvement in these representation forms can lead to confusion with analogical image - a reality trace - and can supplant reality itself
Lam, Cyril. "Aspects géométriques du vieillissement du bois en synthèse d'images." Limoges, 2009. https://aurore.unilim.fr/theses/nxfile/default/bfc399d2-5719-4ec6-9701-1cb0249fc722/blobholder:0/2009LIMO4037.pdf.
Aging phenomena in computer graphics arouse more and more interest primarily due to the fact that their consideration allow to greatly improve the realism of the synthetised images. Wood is one of the main actors present in the nature, but it is also an element belonging to our daily environment. It is the reason why wood is a inescapable element in scenes representing the real-world. However despite this, the aspects of wood aging have not been studied a lot in computer graphics. So, we have chosen to focus our work on the aging's aspects specific to wood. The wood aging can express itself in many ways, so we chose to focus only on certain geometrical aspects characteristic, such as insects's and blue stain fungi's attacks, drying, the deformation, erosion or the fractures. These various aspects of aging will be treated sometimes by a phenomenological approach sometimes according to a physical approach, each of the two approaches having its advantages and these disadvantages
Maritaud, Karl. "Rendu réaliste d'arbres vus de près en images de synthèse." Limoges, 2003. http://aurore.unilim.fr/theses/nxfile/default/26d2f3b6-ee12-4232-956d-706abdfbda53/blobholder:0/2003LIMO0049.pdf.
Most of the research in the rendering of trees in Computer Graphics has focused on methods designed for viewpoints at a certain distance where the details of the bark and leaves are not perceptible. Rendering realistic trees at a short distance remains an open and difficult problem, essentially due to the visual complexity of bark textures. Here, image-based methods are proposed to extract the relief and color from a single photograph of real bark texture, without any complicated manipulations, and then to automatically synthesize realistic 3D bark textures. A method is proposed to apply these textures, with neither repetition nor discontinuities on the texture, onto branches modeled by displacement-mapped implicit surfaces, which are blended without bulge. Moreover, a technique for extracting the relief of leaf veins is proposed. Together, these methods allow us to achieve a high degree of visual realism for rendering close-up views of trees
Saldaña, Gustavo, and Gustavo Saldaña. "Image de synthèse et réalisme cinématograhique : une esthétique des effets visuels." Master's thesis, Université Laval, 2020. http://hdl.handle.net/20.500.11794/38228.
Ce mémoire de recherche explore les relations entre le réalisme cinématographique et les implications esthétiques liées à l’utilisation des diverses technologies d’imagerie de synthèse au cinéma. Notre approche est orientée dans une perspective historique ayant rapport avec certains moyens picturaux et photographiques de fabrication d’images afin d’en dégager des aspects esthétiques liés au réalisme visuel. Cette visée prend ancrage dans la critique sémiotique de l’index, soit une image-signe prédéterminée par une relation causale de contingence physique qui est mise en question par la simulation virtuelle. Alors que l’infographie s’intègre aux domaines des arts, la production traditionnelle d’effets visuels subit une transformation qui est à l’origine du cinéma hybride. Devenue la norme pour la réalisation de films voués à l’imaginaire fantastique, l’image composite amalgame la prise de vue réelle et l’image générée par ordinateur, formes de représentation hétéroclites où prolifèrent des univers et des personnages féeriques entièrement façonnés à l’aide de l’image de synthèse. En regard d’une esthétique de simulation virtuelle consacrée paradoxalement au réalisme et à l’illusionnisme, une dimension anthropologique est introduite pour aborder la création de créatures humanoïdes métissées au bestiaire lesquelles occupent un rôle marquant, voire de premier plan au sein des récits filmiques. L’acteur de synthèse se trouve désormais au coeur des techniques qui cherchent à solliciter l’expérience perceptuelle et sensorielle du spectateur. Vis-à-vis l’apparence physique et le langage corporel en tant que moyen d’expression dramatique, « le réalisme perceptuel » de Stephen Prince (1996) et « la reconnaissance d’aspects » de Dominic McIver Lopes (2014) offrent un cadre conceptuel qui sert de fondement à la logique du réalisme de synthèse, régime qui cherche continuellement à combler l’écart entre la simulation virtuelle et le réel, dans le but d’augmenter « l’impression de réalité » énoncée par Christian Metz (2003) et l’effet immersif du cinéma spectaculaire et narratif.
This research dissertation explores the relationship between cinematic realism and the aesthetic implications related to the use of various synthetic imaging technologies in cinema. Our approach is oriented towards a historical perspective relating to certain pictorial and photographic means of image making in order to identify aesthetic aspects linked to visual realism. This aim is anchored in the semiotic critique of the index, a sign-image predetermined by a causal relationship of physical contingency that is challenged by virtual simulation. While computer graphics fits into the realm of the arts, the production of visual effects, traditionally pictorial and photographic, undergoes a transformation that is at the origin of hybrid cinema. Became the standard for the production movies dedicated to the fantastic imaginary, the composite image blends shooting of live action and the computer-generated image (CGI), heteroclites forms of representation in which proliferate magical worlds and characters entirely shaped using the computer image. Next to an aesthetic of virtual simulation paradoxically devoted to realism and illusionism, an anthropological dimension is set up to address the creation of humanoid creatures mixed with bestiary which occupy a prominent role, even leading in narratives films. The synthetic actor is now at the heart of techniques that seek to solicit the perceptual and sensory experience of the viewer. In terms of physical appearance and body language as a means of dramatic expression, Stephen Prince's (1996) "perceptual realism" and Dominic McIver Lopes’ (2014) "aspects recognition" provide a conceptual framework that serves as the foundation for the logic of synthetic realism, a regime that continually seeks to bridge the gap between virtual simulation and reality, in order to increase the "impression of reality" stated by Christian Metz (2003) and the immersive effect of spectacular and narrative cinema.
This research dissertation explores the relationship between cinematic realism and the aesthetic implications related to the use of various synthetic imaging technologies in cinema. Our approach is oriented towards a historical perspective relating to certain pictorial and photographic means of image making in order to identify aesthetic aspects linked to visual realism. This aim is anchored in the semiotic critique of the index, a sign-image predetermined by a causal relationship of physical contingency that is challenged by virtual simulation. While computer graphics fits into the realm of the arts, the production of visual effects, traditionally pictorial and photographic, undergoes a transformation that is at the origin of hybrid cinema. Became the standard for the production movies dedicated to the fantastic imaginary, the composite image blends shooting of live action and the computer-generated image (CGI), heteroclites forms of representation in which proliferate magical worlds and characters entirely shaped using the computer image. Next to an aesthetic of virtual simulation paradoxically devoted to realism and illusionism, an anthropological dimension is set up to address the creation of humanoid creatures mixed with bestiary which occupy a prominent role, even leading in narratives films. The synthetic actor is now at the heart of techniques that seek to solicit the perceptual and sensory experience of the viewer. In terms of physical appearance and body language as a means of dramatic expression, Stephen Prince's (1996) "perceptual realism" and Dominic McIver Lopes’ (2014) "aspects recognition" provide a conceptual framework that serves as the foundation for the logic of synthetic realism, a regime that continually seeks to bridge the gap between virtual simulation and reality, in order to increase the "impression of reality" stated by Christian Metz (2003) and the immersive effect of spectacular and narrative cinema.
Ponsi, Nicolas. "Accélération du calcul d'animations de synthèse." Phd thesis, Ecole Nationale Supérieure des Mines de Saint-Etienne, 1997. http://tel.archives-ouvertes.fr/tel-00942854.
Chen, Jiazhou. "Structure d'une image : de la réalité augmentée à la stylisation d'images." Phd thesis, Université Sciences et Technologies - Bordeaux I, 2012. http://tel.archives-ouvertes.fr/tel-00977086.
Picard, Limpens Cécile. "Expressive sound synthesis for animation." Nice, 2009. http://www.theses.fr/2009NICE4075.
L'objectif principal de ce travail est de proposer des outils pour une synthèse en temps-réel, réaliste et expressive, des sons résultant d'interactions physiques entre objets dans une scène virtuelle. De fait, ces effets sonores, à l'exemple des bruits de collisions entre solides ou encore d'interactions continues entre surfaces, ne peuvent être prédéfinis et calculés en phase de pré-production. Dans ce cadre, nous proposons deux approches, la première basée sur une modélisation des phénomènes physiques à l'origine de l'émission sonore, la seconde basée sur le traitement d'enregistrements audio. Selon une approche physique, la source sonore est traitée comme la combinaison d'une excitation et d'un résonateur. Dans un premier temps, nous présentons une technique originale traduisant la force d'interaction entre surfaces dans le cas de contacts continus, tel que le roulement. Cette technique repose sur l'analyse des textures utilisées pour le rendu graphique des surfaces de la scène virtuelle. Dans un second temps, nous proposons une méthode d'analyse modale robuste et flexible traduisant les vibrations sonores du résonateur. Outre la possibilité de traiter une large variété de géométries et d'offrir une multi-résolution des paramètres modaux, la méthode permet de résoudre le problème de cohérence entre simulation physique et synthèse sonore, problème fréquemment rencontré en animation. Selon une approche empirique, nous proposons une technique de type granulaire, exprimant la synthèse sonore par un agencement cohérent de particules ou grains sonores. La méthode consiste tout d'abord en un prétraitement d'enregistrements destiné à constituer un matériel sonore sous forme compacte. Ce matériel est ensuite manipulé en temps réel pour, d'une part, une resynthèse complète des enregistrements originaux, et d'autre part, une utilisation flexible en fonction des données reportées par le moteur de simulation et/ou de procédures prédéfinies. Enfin, l'intérêt est porté sur les sons de fracture, au vu de leur utilisation fréquente dans les environnements virtuels, et en particulier les jeux vidéos. Si la complexité du phénomène rend l'emploi d'un modèle purement physique très coûteux, l'utilisation d'enregistrements est également inadaptée pour la grande variété de micro-événements sonores. Le travail de thèse propose ainsi un modèle hybride et des stratégies possibles afin de combiner une approche physique et une approche empirique. Le modèle ainsi conçu vise à reproduire l'événement sonore de la fracture, de son initiation à la création de micro-débris
Lambert, Philippe. "Étude de la géométrie dans la synthèse de vue." Thesis, Université Laval, 2012. http://www.theses.ulaval.ca/2012/28767/28767.pdf.
Chapoulie, Emmanuelle. "Gestes et manipulation directe pour la réalité virtuelle immersive." Phd thesis, Université Nice Sophia Antipolis, 2014. http://tel.archives-ouvertes.fr/tel-01070736.
Le, Garrec Jérémie. "Simulation interactive multimodale pour le prototypage virtuel." Paris 6, 2007. http://www.theses.fr/2007PA066346.
Moreau, Guillaume. "Représentation et construction des systèmes d'information par l'image." Habilitation à diriger des recherches, Université de Nantes, 2009. http://tel.archives-ouvertes.fr/tel-00488770.
Cabral, Marcio. "Remodelage et Re-eclairage Pour La Création et Manipulation de Contenu Interactif." Phd thesis, Université Nice Sophia Antipolis, 2011. http://tel.archives-ouvertes.fr/tel-01062521.
Billon, Ronan. "Modèle d’interaction gestuelle entre humain et acteur de synthèse dans un contexte de théâtre virtuel." Brest, 2010. http://www.theses.fr/2010BRES2026.
This work takes place in the general framework of communication and interaction in virtual reality environment. We are particularly interested in the nonverbal communication between humans and autonomous virtual actor. We position our work in the field of gesture interaction that is as natural as possible. Then, our problematic is to perceive and recognize a gesture or a sequence of gestures in realtime. In this context, we search to implement an effective model of gesture recognition. There are currently difficulties on the analysis of dynamic gestures. All studies from the state of the art described in this thesis refer all on the transcription of gestures into symbols. An effective recognition system should respond to: quick and easy learning stage; real-time recognition; automatic segmentation of the flow of movements; scalability of the database. To our knowledge, no system meet all these characteristics simultaneously. Our proposal is to base our model on gesture signature. This summerize the essence of the gesture. We show that using a compression technique based on PCA and a proper geometric adjustement we can compute a representation containing the information needed to characterize the gesture and faciitate the comparison with the observation of real-time flow. We introduce a new technique for segmenting the real-time flow based on the combination of the signature and an agent model. We applied our work, with success, on laboratory conditions evaluations and then in front of an audience in a play based on a Capoeira script in a theater
Bideran, Jessica de. "Infographie, images de synthèse et patrimoine monumental : espace de représentation, espace de médiation." Thesis, Bordeaux 3, 2012. http://www.theses.fr/2012BOR30025/document.
This thesis raises the issue of the use of infographic techniques and synthetic imagery to represent vestiges of the past, in particular archaeological and architectural heritage. Our approach is multidisciplinary. Since infographic systems belong to the category of media-related and cultural inventions that have come into existence since World War II, our study aims to be comprehensive, drawing on Art History, Archaeology, Information and Communications Technology. Our intention is to look beyond the purely technical dimension and to analyse these systems as cultural spaces of representation, within the scientific community (“specialists”) and for the general public (“neophytes”). Representation of built heritage using infographic tools has of course not sprung up spontaneously overnight, whether in the public sphere or in the more restricted sphere of the research community. Although this phenomenon is of course closely correlated with the development of the IT sector, it would be simplistic to regard it only as a consequence of this technological revolution. Indeed, changes in the media and scientific fields have gone hand in hand. The conservation of historic monuments and archaeological sites, their listing as being of public interest and management for exhibition purposes, consequently gives rise to debate and controversy in both the scientific-research and institutional spheres. More generally, these matters raise the issue of “heritage”, as much for ideological as for historical reasons. The purpose, then, of this study is to identify the social and cultural factors that have led to the emergence and development of these practices, which involve a combination of graphics, information technology and scientific research. Thus defined, the context invites us to analyse the ways in which these tools have been used and appropriated by different players in the heritage industry. Finally, we need to consider the material aspect of these images and highlight the areas of mediation which these systems create. In conclusion, it would seem that these new modes of representation exemplify a hybridisation of communication practises and codes of meaning resulting from the mixing of “scientific” and “popular” culture
Bonneau, Georges-Pierre. "Multiresolution pour la Visualisation Scientifique." Habilitation à diriger des recherches, Université de Grenoble, 2000. http://tel.archives-ouvertes.fr/tel-01064669.
Picard-Limpens, Cécile. "Expressive Sound Synthesis for Animation." Phd thesis, Université de Nice Sophia-Antipolis, 2009. http://tel.archives-ouvertes.fr/tel-00440417.
Cieutat, Jean-Marc. "Quelques applications de la réalité augmentée : Nouveaux modes de traitement de l'information et de la communication. Effets sur la perception, la cognition et l'action." Habilitation à diriger des recherches, Université Paul Sabatier - Toulouse III, 2013. http://tel.archives-ouvertes.fr/tel-00802259.
Cirio, Gabriel. "Retour Multimodal et Techniques d'Interaction pour des Environnements Virtuels Basés Physique et Larges." Phd thesis, INSA de Rennes, 2011. http://tel.archives-ouvertes.fr/tel-00652077.
Fouquet, François. "Contributions à l’acquisition, à la modélisation et à l’augmentation d’environnements complexes." Thesis, Lyon 1, 2012. http://www.theses.fr/2012LYO10288.
Today, augmented images are parts of our daily life. From movie industry to video games through architecture and object design, many applications need to display synthetic objects into a real context. However, coherently integrating objects in their environment may be a difficult task. When the environment is vast or includes complex geometry or lighting, its modelling is tedious and using its model to render augmented images is resource-consuming. Moreover, applications like augmented reality need efficient real-time rendering. They also have to automatically adapt to unmodelled environments, while progressively acquiring data from incoming images. In this thesis, we based our work on computer vision, image-based modelling and rendering methods to propose a global approach to the problem of progressively discovered and complex environment coherent augmentation. We first develop new acquisition methods to get high dynamic range RGB+Z registered images of the environment. Then we explain how to use these informations to incrementally build models of scene geometry and lighting. Finally, we provide new rendering approaches using these models and suitable for an efficient and photometrically coherent image augmentation
Aveneau, Lilian. "Modèle, calculs et applications de la visibilité en dimension $n$." Habilitation à diriger des recherches, Université de Poitiers, 2013. http://tel.archives-ouvertes.fr/tel-00979543.
Baugé, Florie-Anne. "Approche géométrique multi-symplectique pour la synthèse sonore par modèles physiques dans les environnements virtuels 3D interactifs." Electronic Thesis or Diss., Paris 6, 2015. http://www.theses.fr/2015PA066759.
Pas de résumé en anglais
Bourgoin, Véronique. "Synthèse en trois dimensions : analyse et recherche de modèles de projection, inspirés des concepts développés au cours de l'histoire de l'art." Phd thesis, Université Paris VIII Vincennes-Saint Denis, 1994. http://tel.archives-ouvertes.fr/tel-00838648.
Guillou, Goulven. "Architecture multi-agents pour le pilotage automatique des voiliers de compétition et Extensions algébriques des réseaux de Petri." Phd thesis, Université de Bretagne occidentale - Brest, 2010. http://tel.archives-ouvertes.fr/tel-00559442.
Larive, Mathieu. "Modélisation automatique de zones urbaines." Toulouse 3, 2008. http://thesesups.ups-tlse.fr/566/.
The precise modelling of vast urban zones represents a challenge in graphic computing. A real city satisfies construction rules (implicit or explicit) and often depends on multiple influences (historical, cultural and social) throughout the time. Modeling of realistic towns is a real challenge for computer graphics. Modeling a virtual city which is detailed enough to be credible for a visitor is a huge task that requires thousands of hours of work. Recent applications in virtual reality, video games and simulation of city expansion as well as the emergence of new problems due to the urbanization, such as the influence of electromagnetic radiations, the preparation of evacuation policy and the forecast of the urban transportation network, creates increasing needs in term of digital mock-ups studies and forecasting. The capacity to quickly generate credible digital city models helps the user to fulfill these needs. First of all we present a synthesis of the researches in this domain. This synthesis is decomposed according to six generation stages, the results of each stage represents a logical level of detail of the urban zone. Our works concern mainly two distinct stages from the process of generation of a virtual urban zone. The first studied stage deals with the automatic layout of the furniture in a room. We present a study of the application of methods stemming from the local search to resolve the layout of objects within a problem defined by constraints. The handled objects are defined by their bounding box, and can take some orientation (not isothetic). .
Ferland, François. "Interfaces graphiques tridimentionnelles de téléopération de plateformes robotiques mobiles." Mémoire, Université de Sherbrooke, 2009. http://savoirs.usherbrooke.ca/handle/11143/1475.
Zammar, Chadi. "Interactions coopératives 3D distantes en environnements virtuels : gestion des problèmes réseau." Phd thesis, INSA de Rennes, 2005. http://tel.archives-ouvertes.fr/tel-00908525.
Porral, Philippe. "Environnements lumineux naturels en mode : Spectral et Polarisé. Modélisation, Acquisition, Simulation." Thesis, Paris Sciences et Lettres (ComUE), 2016. http://www.theses.fr/2016PSLEM067/document.
In the field of computer graphics, the simulation of the visual appearance of materials requires, a rigorous solving of the light transport equation. This implies to incorporate into models all elements that can influence the spectral received by human eyes. The characterization of the reflectance properties of materials, still subject to many researches is very advanced. However, the uses of environment maps, to simulate their visual behaviors remain essentially trichromaticity. Characterize the natural light with precision, is an old question. Today, there are no environment maps, including both spectral radiance and polarization informations, corresponding to a real sky. It was therefore necessary for us to design and propose to the computer graphics community a full of bright environments exploitable in a rendering engine adapted accordingly. In this work, we use the results of other scientific fields as meteorology, climatology..., to propose a new model of clear sky. As all actual situations are not addressed by this method, we develop and characterize an environment capturing device both incorporating the light dynamic range, the spectral distribution and the polarization states
Loisel-Fleuriot, Louise. "Habiletés de prévision affective et expérience émotionnelle dans le trouble de stress post-traumatique." Electronic Thesis or Diss., Université de Lille (2022-....), 2023. https://pepite-depot.univ-lille.fr/ToutIDP/EDBSL/2023/2023ULILS082.pdf.
Post-Traumatic Stress Disorder (PTSD) is a psychiatric disorder that can occur after exposure to a traumatic event involving the risk of death, severe injuries, or sexual violence. Individuals with PTSD experience uncontrollable reminders of the traumatic event, such as flashbacks or nightmares, leading to psychological distress and actively avoiding any reminders of the event. Neurocognitive models of PTSD and the most commonly used therapeutic approaches primarily focus on these symptoms. However, beyond the emotional impact associated with the traumatic experience, the emotional experience of individuals with PTSD is profoundly altered. They endure persistent negative emotions and have difficulty experiencing positive emotions, along with pessimistic anticipations about the future. Yet, our understanding of these emotional challenges, whether in the present or in future projections, remains extremely limited, impeding our ability to comprehend PTSD as a whole and provide appropriate care.This thesis aimed to explore the abilities of individuals with PTSD to experience emotional situations in the present and predict their emotions in the future. It had three main aims: (i) to synthesize current knowledge about emotional experiences in PTSD in response to affective stimuli, (ii) to develop a new experimental paradigm that examines both affective forecasting and emotional experience, and (iii) to apply this paradigm to individuals with PTSD.To address the first goal, we conducted a systematic review following PRISMA criteria. We identified 33 articles that examined the brain, physiological, behavioral, and/or subjective correlates associated with the processing of affective stimuli in PTSD. Although the data showed some heterogeneity, the results of this review indicated that individuals with PTSD exhibit changes in brain activity, particularly in sensory networks and anterior regions associated with affective evaluation. Furthermore, subjective data revealed a pronounced tendency to evaluate stimuli more negatively, including those unrelated to the trauma.To address our second goal, we employed an experimental paradigm involving 30 healthy subjects to assess affective forecasting abilities and emotional experiences while measuring associated physiological reactivity (heart rate and electrodermal activity). Our results confirm the tendency of individuals to anticipate more extreme emotional responses to emotional scenarios compared to what they actually experience when exposed to them.For our final goal, we used the same paradigm to compare patients with PTSD (n=30) to healthy individuals exposed (n=28) or unexposed (n=28) to a traumatic event. Our findings indicate heightened negative anticipation and experience in emotional situations, and more arousal in neutral situations among individuals with PTSD.This work provides novel data regarding PTSD by suggesting the presence of a negative filter during the processing of affective information, even if unrelated to the trauma, which affects both the present experience and future projections of the patients. The experimental paradigm developed offers many research perspectives, including the study of neurocognitive mechanisms, both in PTSD and in the general population. Identification of the factors that influence changes in affective functioning in this disorder will optimize therapeutic interventions
Emmanuel, Desmontils. "Le projet CordiFormes : une plate-forme pour la construction de modeleurs déclaratifs." Phd thesis, Université de Nantes, 1998. http://tel.archives-ouvertes.fr/tel-00816786.
Chaurasia, Gaurav. "Algorithmes et analyses perceptuelles pour la navigation interactive basé image." Phd thesis, Université Nice Sophia Antipolis, 2014. http://tel.archives-ouvertes.fr/tel-00979913.
Vatant, Gautier. "Modélisation d'objets 3D à l'aide de cônes généralisés profilés et ramifiés et problèmes de raccord de surfaces soulevés par ces cônes." Phd thesis, Ecole Nationale Supérieure des Mines de Saint-Etienne, 1997. http://tel.archives-ouvertes.fr/tel-00940235.
Avril, Quentin. "Détection de Collision pour Environnements Large Échelle : Modèle Unifié et Adaptatif pour Architectures Multi-coeur et Multi-GPU." Phd thesis, INSA de Rennes, 2011. http://tel.archives-ouvertes.fr/tel-00642067.
Clément, Olivier. "Synthèse d'effets de détérioration pour un rendu réaliste." Mémoire, École de technologie supérieure, 2011. http://espace.etsmtl.ca/624/1/CLEMENT_Olivier.pdf.
Boschet, Christophe. "Laparoscopie Répartie." Phd thesis, Université de Grenoble, 2010. http://tel.archives-ouvertes.fr/tel-00689725.
Ystad, Solvi. "Vers le sens des sons: Modélisation sonore et contrôle haut niveau." Habilitation à diriger des recherches, Université de la Méditerranée - Aix-Marseille II, 2010. http://tel.archives-ouvertes.fr/tel-00537631.
Mellado, Nicolas. "Analyse des objets 3D a plusieurs échelles: application à l'assemblage de formes." Phd thesis, Université Sciences et Technologies - Bordeaux I, 2012. http://tel.archives-ouvertes.fr/tel-00767352.
Thobie, Sophie-Anne. "Algorithmes d'interpolation pour la synthèse réaliste de séquences d'images." Paris 11, 2000. http://www.theses.fr/2000PA112347.
Bouville, Rozenn. "Interopérabilité des environnements virtuels 3D : modèle de réconciliation des contenus et des composants logiciels." Phd thesis, INSA de Rennes, 2012. http://tel.archives-ouvertes.fr/tel-00909107.
Ringard, Jeremy. "Un modèle de conception dédié à l'interaction collaborative colocalisée." Phd thesis, Université des Sciences et Technologie de Lille - Lille I, 2011. http://tel.archives-ouvertes.fr/tel-00645026.
Subileau, Thomas. "Contrôle artistique du rendu en synthèse d'images." Thesis, Toulouse 3, 2016. http://www.theses.fr/2016TOU30068/document.
Nowadays, computer-generated imagery (CGI) is a standard in digital content creation, as in the context of film production. Visual artists design a model of the virtual scene. The renderer, a specific software, then produces the resulting image, called rendering. Both the 3D model and the renderer rely on physical laws in order to give photorealism. However, for artistic purposes, the visual artist does not necessarily seeks photorealism but is more inclined to care about artistic goals, mostly based on the related work of art. These artistic goals may be in opposition to physically-based rendering, in a similar way to techniques such as chiaroscuro in painting which do not yield a photorealistic result but rather aim at a precise artistic goal. In this PhD thesis, we first define the question of artistic control in rendering and specify three criteria to evaluate editing techniques. We propose a taxonomy to characterise the suitable paradigms to edit rendering. In our work, we focus on behavioural approaches, which properly suit all the evaluation criteria we defined. These methods act on the behaviour of light transport. Following this approach, we propose a theoretical formalism to edit rendering through the teleportation of light transport. We integrate this formalism in the underlying concept of rendering techniques, the rendering equation. We propose a practical tool we call \emph{RayPortals}. Using RayPortals, the rendering is edited using a pair of surfaces, input and output, defining the teleportation in 3D space of ligth transport. We integrate RayPortals in usual rendering techniques. We compare to previous work and also show some novel results. Ultimately, we propose a preliminary analysis of the path-space structure and summarize the future works
Roman-Alonso, Graciela. "Contribution à l'étude du placement dynamique sur machines parallèles de type MIMD." Phd thesis, Université de Technologie de Compiègne, 1997. http://tel.archives-ouvertes.fr/tel-00944934.