Doesn't they say the same thing about photography when it was emerging? ;)
Agreed. This is just depressing and is a detriment to society. If this keeps advancing at its current rate, good art will be so trivial to generate that it won't be special anymore. Art will slowly morph into a banal distraction, with creating an original piece being as easy as applying an Instagram filter. The role of the human artist will change from a craftsperson to someone who picks a bunch of parameters, gives it to the AI, and chooses the best output. This type of technology is a threat to the very existence of art as a craft, will completely devalue artwork, and will make the journey of training to become an artist obsolete. I hate these researchers for what they're doing to a field that I love.
I disagree. There will always be demand for real artists. Like any other digital software, this is just a tool with the possibility to help artists create compelling worlds faster and add realism that would otherwise have taken days to make using other methods. As a 3D character artist, I would love to use this to create quick backdrops to place my characters in to enhance final renders.
Is this the end of texturing as we know it? We’ve seen some demos of the Artomatix software, and while impressive, we wouldn’t say it was the end of the current pipeline. But, a couple of days ago, the tech people behind the ArtEngine toolkit released some new stuff. The whole project is described in the official blog post on Artomatix website (via DSOGaming).
This innovation is fundamentally different from the way texture artists apply materials onto their 3D models today. Current workflows are dominated by manual painting which is powerful but labor intensive, or there are a few planar projection techniques that can help speed things up, such as tri-planar, which are fast but can lead to repetitious features, seam artefacts, stretching and don’t really lend themselves to artistic controls. On-model synthesis offers a simple but powerful tool to sit alongside the others, where the artist can direct the high-level properties of the material, such as how it flows along the surface of the mesh as well as it’s size at any given position. By leveraging A.I. and an example of the desired material, on-model synthesis can generate a full PBR material over the surface of the mesh, taking UV space into account to create a new unique texture that looks organic while avoiding seams”.
Artomatix CTO Dr. Eric Risser
Why is on-model synthesis so interesting? Well, as Artomatix puts it, this method performs not only on simple textures and models but also works with very sophisticated materials and shapes. The features of this new feature are showcased in a new demo. There you can see a fire-breathing gecko is perched on a charred tree branch. The model was textured through the manual painting of a flow and size map directly on the model. Then multiple PBR materials were synthesized over the surface of the gecko model and blended together.
Unfortunately, we don’t have the footage of the demo.