Each year, X3DMedia holds its one-day Develop3D Live conference in Warwick England. The conference last year boasted the official launch ofOnShape, and this year's event featured a keynote speaker from IKEA, Martin Enthed. (See figure 1.) Mr Enthed has been working with computer graphics for 26 years, and nine years ago IKEA hired him as part of the team that moved the company from photography to rendered images. This talk was Webcast on March 31 2016.
 Figure 1 Martin Enthed is development and operations IT manager at IKEA Communications
The IKEA Communications division has 250 employees in Sweden creating the content used by the company for the 49 countries in which it operates. (Interestingly enough, not in India.) They used to have a huge photo studio where they created sets for the catalogs, ads, and Web sites.
Why Start in 3D?
In 2005, IKEA had a problem: how to create lots of images in a lot of combinations for their Web site. (The catalog usually has just one image of a product, which can be taken by camera; Web sites usually show the same product from several angles.) Then they got the idea, "How if we use the CAD information we have to create the images?"
The problem was that there were many products, multiplied by numerous color combinations, resulting in 18,000 images just for the kitchen products sold in Europe. Plus more images for kitchen products sold in North America, other lines of household items, other countries, and so on.
The first rendered image from a CAD drawing was of one chair, which made its appearance in the catalog in 2006. But most images still came by photography through to 2009.
Having proved renderings could work, the communications department got approval to create a library of all IKEA products: 9,500 products per country, times the number of countries, although some are the same in multiple countries. It took three years, so that by 2012 all products could be illustrated digitally.
But they hit a roadblock. Their initial library of 2,300 rendered models did not work well and so had to be abandoned. The problem was that staff had saved rendering assets in each model, so that updating them "was not a nice job." The lesson learned was to separate the files -- models, textures, and materials.
Hi-Res Textures and Materials
To create textures, they photograph materials in a large studio with black-painted walls and four lights. A high-end digital Hasselblad camera mounted in the ceiling takes pictures of wood, fabric, etc. Four pictures are taken, one with each light turned on. Software takes away the effects of the lights, and then later any lighting needed is added digitally, such as from a lamp or a window. "Without this, it doesn't really work to go photoreal," said Mr Enthed.
To create materials, they get their normal maps from the same digital photograph. [Because images have just one side, the normal determines which way the image faces.] To make the digital images realistic, they take the biggest possible photograph of non-repeating textures, such as wood and cowhide. They determined the biggest size they would need for all non-repeating textures. For wood, for example, they photograph a physical piece sized about 1.5x2.5m (5x8 feet). In this way they can reuse the same texture for all products made of the same material; they just adjust the u,v-coordinates as needed. [U,v-coordinates refer to the local x,y coordinates of the material's image placed on a 3D surface; by adjusting the u,v coordinates, the image can be rotated and moved independently of the surface.] IKEA now has a library of 10,000 textures. See figure 2.
 Figure 2 The IKEA materials library standards
IKEA began using V-Ray in 2005 for their material library, and continue to do so today. To establish the materials library standards, they decided on a scene that they liked, and then set every material with the same lighting setup. This ensures that materials have a consistent look when they are moved into scenes.
When IKEA began developing their 3D model library, they realized early on that they needed different LOD (levels of detail). [Levels of Detail determine the quality of complex 3D models: more details (higher LOD) can result in huge file sizes.] They had to develop their own LOD standard, as they could not find one that took into consideration the sizes of objects. IKEA's LODs range from low for planning purposes (LOD = 10cm or 4", the size of the smallest detail) to high for photorealistic images (LOD = 0.2mm or 0.008"). At the 0.2mm LOD, cloth threads in a sofa are actual polygons. They now have 30,000 3D models. The digital work is done in Bulgaria.
Photographers vs 3D Artists
IKEA ran into another problem. On the one hand, they had a group of photographers who did excellent work creating the images needed by the company. On the other hand, they had 3D artists who were very good technically, but not artistically. How to get these two groups together? Their manager came up with the solution: make each a junior in the other's field.
So IKEA implemented a half-year program where every photographer becomes a junior 3D artist, and every 3D artist a junior photographer. They become each other's mentor. "This is the one of the reasons we are able to produce the photoreal quality," said Mr Enthed. "Of course, the technical side is important, but without the mentoring, the quality would never have happened."
So now everything is fully rendered, such as a kitchen complete with morning sunlight streaming through. (See figure 3.) The next problem was how to deal with kitchens for different countries. Germans have small ones typically [in my experience], while Americans have big ones; the look and size of typical appliances differs with each market, too. [As compensation, Germans have big bathrooms, and Americans small ones.] A single room may need nine variations to allow for country differences.
 Figure 3The cramped German kitchen
Before going digital, IKEA shipped appliances from other markets to be photographed in the Swedish studio. Not just the waiting time for transport was a problem. If from Japan, for instance, then the Japanese goods couldn't be afterwards used in Sweden. "So what do we do with them then?" [We didn't learn what happened to them then.]
(The exception for no-photography is television ads, which use green screen rooms to mix people, digital models, lighting effects, and static backgrounds like cityscapes.)
The staff works at making the images look as if someone is living in the scenes by filling up drawers with items, put cooking pots on stove tops, and so on. (More on this later.) The next step in realism is adding steam coming out of cooking pots, water coming out of taps over randomized produce in an IKEA strainer.
Every day the IKEA Communications staff create about 15 new CAD models, 180 final product images at 4.5K resolution, and 40 scenes. Multiple this daily output by 250 for their annual output. Ironically, they are now taking more photographs than ever before: "the studio is as packed as ever, because the total number of images is more than 5x than five years ago."
Development Issues
When IKEA sent their photographers away to learn digital rendering, the company thought the biggest problem for them would be learning the user interface of the 3D Studio software. But no; the photographers found the software easy to use; the difficult aspect was locating assets in libraries and then placing them in scenes. To solve the first problem, IKEA added a Web-based interface for finding 3D models stored on central servers.
The problem of placing assets in scenes came from the difficulty in using the move, rotate, and scale functions in 3D Studio; they were not intuitive. [Assetsare what we call objects in libraries.] It was like working with holograms in 3D, where objects don't collide (can't place a dish on a shelf, it will happily sit inside the shelf) and there is no gravity (things don't land on surfaces). To solve this problem, IKEA added a new mode called "pick and place" that adds the missing collision detection and gravity -- as well as links assets. Place a bowl on a table, and it does not fall through the table; move the table, and the bowl moves with it -- "like it should in real life," said Mr Enthed.
To implement collision detection and gravity, IKEA integrated a games engine into 3D Studio. For example, to create a stack of plates, the dozen plates can be placed one on another, and they know that they must stack and cannot fall through the bottom one. "We persuaded Autodesk to put it into the toolset." Pick-and-place solved 60% of the artists' problems.
IKEA wanted to add a random effect so that objects do not line up perfectly, such as macaroni in a glass jar or cutlery in a drawer or apples in a bowl. They call it Earthquake mode: hold down the Alt key, and the longer it is held down, the more randomly the selection set of items is shaken. (See figure 4.) "We do this [randomization] all the time," said Mr Enthed. "We developed this four years ago, but haven't seen it any software."
 Figure 4IKEA software creating the earthquake effect
"Getting things into scenes simply and then placing them inside of each other [and looking realistic by being somewhat disorderly] is a tremendous amount of work if you don't have the tools," said Mr Enthed. "So that is where we are focusing on things to build these [software routines] internally."
Fine-Tuning Render Farms
In 2011, IKEA built its own render farm using the Amazon cloud. It worked, but when it was given to the 3D artists, it took only a week for IKEA to realize that the artists were no longer using their own computers; they just used the render farm with as many virtual computers as they wanted, which were required as they cranked up the realism levels. The problem is that the resources were not being used correctly. [And, I expect, costing IKEA a big Amazon bill.]
So, the first effort was halted. The new approach was to use internal computers fully before going to the cloud. IKEA had, after all, given all their artists high-end desktop computers with 24 cores, 48 threads, and 200GB RAM. IKEA wanted to make use of the computers when they sat idle as their operators were in meetings or had gone home. IKEA wrote a never-idle utility that starts running when a computer is idle for more than 15 minutes. Meanwhile, a render queue is running all the time, and when a computer becomes available, it helps with the render queue. With all that compute horsepower internally, IKEA finds it can empty the render queue each night using their own computers.
Sometimes, however, a 3D artist might set parameters so high that the rendering doesn't get completed overnight, creating a virtual paper jam. Solution: when a render job is sent to the queue, another utility does a sanity check to make sure the settings won't jam other rendering jobs.
In 2014, they began looking toward the future with real-time rendering. [I think he means displaying interactive 3D images on Web pages.] This is like the rendering IKEA has been doing for the last nine years, Mr Enthed said, but at 25-90 frames a second in stereo.
IKEA's Big Problems With Rendering Software
"Why am I here [at Develop3D]?" asked Mr Enthed. "I am here for your brains. I want you to know our needs for the future. This is a call to the industry. This is what I think we need to do." He then listed the top problems IKEA has with today's rendering software:
Problem #1 (the top problem): Need to have a generic material description so that it can be translated to different renderers, whether running OpenGL, WebGL, and/or V-Ray. This would allow IKEA to switch between rendering engines as they want; right now, they are stuck with V-Ray, as much as they like using it.
Problem #2: Need to define snap points so that objects connect property, such as legs to the correct bottom corners of a table, the shelves in the holes in a cabinet, hinges on screw holes of a door. [It was not clear from the presentation, but I think he implied they use different CAD systems, between which snap points do not translate. He never named CAD programs in his talk.]
Problem #3: Need a way to create LODs automatically. The problem with all polygon reduction software, Mr Enthed found, is that they shrink curves to interior rectangles, instead of out to bounding boxes. "I can't have the products shrink, it doesn't really work." The problem could be solved using solids, but curvaceous sofas cannot be modeled efficiently using solids.
Problem #4: Need soft-stuff simulation, such as where a cushion deforms correctly as it is placed on another object, complete with hand-chop indent. "How do you work with sofas, cushions -- anything of cloth, complete with strands?"
Conclusion
IKEA works in the middle of gaming (which uses assets in different light conditions, like IKEA does), CAD (half of the models are designed in CAD using solids), film (high image quality), and architecture (everything is in an architectural context). But IKEA finds that no software company combines the four fields in the way that IKEA needs. "Maybe they will after this [presentation]," he concluded.
http://develop3dlive.com/videos/martin-enthed-ikea/ |
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Maybe it was HP's two-year-old threat to come out with its own brand of multi-color, multi-material 3D printer, or maybe not. Stratasys nevertheless is releasing its multi-color (360,000 colors shades), multi-material (up to six materials ranging from rigid to flexible, opaque to transparent) 3D printer, theJ750, supported by the most impressive list of marketing slogans:
- Stratasys invents 3D printing again
- Transformational market disruptive 3D printer
- Eliminates time-consuming processes, accelerating product concepting
- Unprecedented range of materials to achieve one-stop realism
- Drives near instantaneous decision-making
- Changing the way products are designed and launched
- Incomparable 3D printing versatility
- Breaks restrictive technology barriers
- A true industry milestone
- Harnessing more than 25 years of experience to set a new historical milestone in 3D printing
- Reaffirming our commitment to keeping customers always on the cutting edge of innovation
- Recalibrates the impact of 3D printing
- Truly raising the bar in 3D printing versatility
- The J750 is quite simply a game changer
Layers can be as thin as 0.014 mm (14 microns). Color textures are loaded via VRML files exported from CAD software. Price not announced, but my guess is that it would be in the quarter-million range. http://www.stratasys.com/3d-printers/production-series/stratasys-j750 |
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There is more at our WorldCAD Access blog about the CAD industry, tips on using hardware and software, and our popular travelogues. You can keep up with the blog through its RSS feed and email alert service. These are some of the articles that appeared on WorldCAD Access during the last week:
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upFront.eZine @upFronteZine May 22: Autodesk to change Suites to Collections; official announcement next week.
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