Currently living in Paris, my job interests encompass everything related to Computer Graphics. Please have a look at my resume and if it sparks your interest, feel free to contact me.
In May 2014, I joined the lively SUPAMONKS STUDIO. Since then, I have been working on solutions for the real-time previewing tools of 3D animations and on the studio's in-house, physically-based renderer. On the side, I also implemented C++ plug-ins for DCC software such as Autodesk Maya, VRay and Nuke, and contributed Python scripts and GUI for rigging and animation purposes.
During the year I spent at Aerys, I worked on the company's 3D engine Minko: by either enhancing and optimizing its Flash-based implementation, or by taking part in its C++ and WebGL-based port. I studied solutions for object-space interactive global illumination, and worked on the integration of the Oculus Rift and Leap Motion technologies, as well as the Bullet physics library. I finally happened to occasionally participate in stand-alone projects for the company's clients, projects that mostly involved Minko, but sometimes Aerys's network technology Orbit.
My one-year contract was funded by the Spirit ANR project, whose objective is to exploit the information carried by the spatial layout of identifiable structures, e.g., cells or vessels, often present in medical imaging. Such arrangements of objects can then be identified to 2d discrete textures, and also be extended to the 3d case. My work dealt with the by-example synthesis of such textures, and thus alluded to the emerging shape synthesis problem in CG.
With Thomas Hurtut and Bruno Galerne, we proposed a novel, sophisticated discrete texture statistical model, designed in ways such as to account for the shape of the textures' objects. An international publication on this work is currently under review.
Finally, I implemented recent state-of-the-art synthesis techniques, the spatial layout handling of which relates them to the SPIRIT project's problem statement (i.e. Ma et al.'s Discrete Texture Synthesis, and Baxter et al.'s Latent Doodle Space).
My six-month contract occured at the end of the Genac 2 ANR project, supervised by Nicolas Holzschuch and Cyril Soler.
My participation mostly consisted in assessing the merits of a recent epitome-based image compression technique presented at SIGGRAPH'08 by Wang et al.. This intricate method blends image processing with computer vision, by dividing the image into blocks, detecting disposable duplicates, and reshapingredundancy into a transformation and color scaling maps. Our collaboration with Eden Games aimed at estimating the efficiency of this technique on their texture dataset, and the viability of its possible integration to the Genac game engine.
During my PhD, I had the opportunity to work alongside the ARTIS team members, most closely with my advisors Cyril Soler and Francois Sillion, and thus familiarize with all aspects of rendering in the Computer Graphics field.
Exploring the question of information extraction in the context of by-example synthesis, my thesis led me to the following topics: texture synthesis, object detection in images, statistical modeling of spatial patterns, color theory, color appearance models in applied perception, differential geometry, and classification.
Beside this variety of fields and topics, the chance to work with several collaborators, namely Thomas Hurtut, Kaleigh Smith, Amit Shesh, and Joëlle Thollot, made my research time a very enriching experience.
My Master's project took place within the ARTIS team, under the supervision of Cyril Soler. Our objective was to extend Hertzmann et al.'s Image Analogies to the context of stroke-based rendering of 3d models. This non-parametric, image filter learning technique draws heavy inspiration from raster texture synthesis, and our application of it studied its suitability to 3d expressive rendering.
This project marks the beginning of my programming habits with C++, OpenGL, and Qt.
I spent my second year summer internship in BeeBuzziness, when it was still a Grenoble-based start-up. Under the supervision of Piere-Nicomède Tasle and Nicolas Mattioni, I was to set up an as automatic as possible way of producing Flash based advertising for the Web. I thus designed and implemented a set of generic Macromedia Flash components that would fetch product information from a distant database, and update its content while retaining the stylistic settings chosen by the advert's designer. Product information queries involved SOPA-based Web Services written in C#, while the Macromedia components were programmed in ActionScript.
