 Dear Fellow Scholars, this is two-minute papers with Karo Zsolnai-Fehir. If we wish to populate a virtual world with photorealistic materials, the last few years have offered a number of amazing techniques to do so. We can obtain such a material from a flash and no flash photograph pair of a target material and having a neural network create a digital version of it, or remarkably even just one photograph is enough to perform this. This footage that you see here shows these materials after they have been rendered by a light simulation program. If we don't have physical access to these materials, we can also use a recent learning algorithm to learn our preferences and recommend new materials that we would enjoy. However, whenever I publish such a video, I always get comments asking, but what about the more advanced materials? And my answer is, you are right. Have a look at this piece of work, which is about acquiring printed holographic materials. This means that we have physical access to this holographic pattern, put a camera close by and measure data in a way that can be imported into a light simulation program to make a digital copy of it. This idea is much less farfetched than it sounds because we can find such materials in many everyday objects like banknotes, giftbags, clothing, or of course security holograms. However, it is also quite difficult. Look here. As you see, these holographic patterns are quite diverse, and the well-crafted algorithm would have to be able to capture this rotation effect, circular diffractive areas, firework effects, and even this iridescent glitter. That is quite a challenge. This paper proposes two novel techniques to approach this problem. The first one assumes that there is some sort of repetition in the visual structure of the hologram and takes that into consideration. As a result, it can give us high quality results by taking only one to five photographs of a target material. The second method is more exhaustive and needs more specialized hardware, but in return can deal with arbitrary structures and requires at least four photographs at all times. These are both quite remarkable. Just think about the fact that these materials look different from every viewing angle, and they also change over the surface of the object. And for the first technique, we don't need sophisticated instruments, only a consumer DSLR camera is required. The reconstructed digital materials can be used in real time, and what's more, we can also exert artistic control over the outputs by modifying the periodicities of the material. How cool is that? And if you are about to subscribe to the series, or you are already subscribed, make sure to click the bell icon, or otherwise you may miss future episodes. That would be a bummer because I have a lot more amazing papers to show you. Thanks for watching and for your generous support, and I'll see you next time.