A Survey of Volumetric Illumination Techniques for Interactive Volume Rendering
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Volumetric Real-Time Smoke and Fog Effects in the Unity Game Engine
Volumetric Real-Time Smoke and Fog Effects in the Unity Game Engine A Technical Report presented to the faculty of the School of Engineering and Applied Science University of Virginia by Jeffrey Wang May 6, 2021 On my honor as a University student, I have neither given nor received unauthorized aid on this assignment as defined by the Honor Guidelines for Thesis-Related Assignments. Jeffrey Wang Technical advisor: Luther Tychonievich, Department of Computer Science Volumetric Real-Time Smoke and Fog Effects in the Unity Game Engine Abstract Real-time smoke and fog volumetric effects were created in the Unity game engine by combining volumetric lighting systems and GPU particle systems. A variety of visual effects were created to demonstrate the features of these effects, which include light scattering, absorption, high particle count, and performant collision detection. The project was implemented by modifying the High Definition Render Pipeline and Visual Effect Graph packages for Unity. 1. Introduction Digital media is constantly becoming more immersive, and our simulated depictions of reality are constantly becoming more realistic. This is thanks, in large part, due to advances in computer graphics. Artists are constantly searching for ways to improve the complexity of their effects, depict more realistic phenomena, and impress their audiences, and they do so by improving the quality and speed of rendering – the algorithms that computers use to transform data into images (Jensen et al. 2010). There are two breeds of rendering: real-time and offline. Offline renders are used for movies and other video media. The rendering is done in advance by the computer, saved as images, and replayed later as a video to the audience. -
Opengl 4.0 Shading Language Cookbook
OpenGL 4.0 Shading Language Cookbook Over 60 highly focused, practical recipes to maximize your use of the OpenGL Shading Language David Wolff BIRMINGHAM - MUMBAI OpenGL 4.0 Shading Language Cookbook Copyright © 2011 Packt Publishing All rights reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, without the prior written permission of the publisher, except in the case of brief quotations embedded in critical articles or reviews. Every effort has been made in the preparation of this book to ensure the accuracy of the information presented. However, the information contained in this book is sold without warranty, either express or implied. Neither the author, nor Packt Publishing, and its dealers and distributors will be held liable for any damages caused or alleged to be caused directly or indirectly by this book. Packt Publishing has endeavored to provide trademark information about all of the companies and products mentioned in this book by the appropriate use of capitals. However, Packt Publishing cannot guarantee the accuracy of this information. First published: July 2011 Production Reference: 1180711 Published by Packt Publishing Ltd. 32 Lincoln Road Olton Birmingham, B27 6PA, UK. ISBN 978-1-849514-76-7 www.packtpub.com Cover Image by Fillipo ([email protected]) Credits Author Project Coordinator David Wolff Srimoyee Ghoshal Reviewers Proofreader Martin Christen Bernadette Watkins Nicolas Delalondre Indexer Markus Pabst Hemangini Bari Brandon Whitley Graphics Acquisition Editor Nilesh Mohite Usha Iyer Valentina J. D’silva Development Editor Production Coordinators Chris Rodrigues Kruthika Bangera Technical Editors Adline Swetha Jesuthas Kavita Iyer Cover Work Azharuddin Sheikh Kruthika Bangera Copy Editor Neha Shetty About the Author David Wolff is an associate professor in the Computer Science and Computer Engineering Department at Pacific Lutheran University (PLU). -
Phong Shading
Computer Graphics Shading Based on slides by Dianna Xu, Bryn Mawr College Image Synthesis and Shading Perception of 3D Objects • Displays almost always 2 dimensional. • Depth cues needed to restore the third dimension. • Need to portray planar, curved, textured, translucent, etc. surfaces. • Model light and shadow. Depth Cues Eliminate hidden parts (lines or surfaces) Front? “Wire-frame” Back? Convex? “Opaque Object” Concave? Why we need shading • Suppose we build a model of a sphere using many polygons and color it with glColor. We get something like • But we want Shading implies Curvature Shading Motivation • Originated in trying to give polygonal models the appearance of smooth curvature. • Numerous shading models – Quick and dirty – Physics-based – Specific techniques for particular effects – Non-photorealistic techniques (pen and ink, brushes, etching) Shading • Why does the image of a real sphere look like • Light-material interactions cause each point to have a different color or shade • Need to consider – Light sources – Material properties – Location of viewer – Surface orientation Wireframe: Color, no Substance Substance but no Surfaces Why the Surface Normal is Important Scattering • Light strikes A – Some scattered – Some absorbed • Some of scattered light strikes B – Some scattered – Some absorbed • Some of this scattered light strikes A and so on Rendering Equation • The infinite scattering and absorption of light can be described by the rendering equation – Cannot be solved in general – Ray tracing is a special case for -
CS488/688 Glossary
CS488/688 Glossary University of Waterloo Department of Computer Science Computer Graphics Lab August 31, 2017 This glossary defines terms in the context which they will be used throughout CS488/688. 1 A 1.1 affine combination: Let P1 and P2 be two points in an affine space. The point Q = tP1 + (1 − t)P2 with t real is an affine combination of P1 and P2. In general, given n points fPig and n real values fλig such that P P i λi = 1, then R = i λiPi is an affine combination of the Pi. 1.2 affine space: A geometric space composed of points and vectors along with all transformations that preserve affine combinations. 1.3 aliasing: If a signal is sampled at a rate less than twice its highest frequency (in the Fourier transform sense) then aliasing, the mapping of high frequencies to lower frequencies, can occur. This can cause objectionable visual artifacts to appear in the image. 1.4 alpha blending: See compositing. 1.5 ambient reflection: A constant term in the Phong lighting model to account for light which has been scattered so many times that its directionality can not be determined. This is a rather poor approximation to the complex issue of global lighting. 1 1.6CS488/688 antialiasing: Glossary Introduction to Computer Graphics 2 Aliasing artifacts can be alleviated if the signal is filtered before sampling. Antialiasing involves evaluating a possibly weighted integral of the (geometric) image over the area surrounding each pixel. This can be done either numerically (based on multiple point samples) or analytically. -
FAKE PHONG SHADING by Daniel Vlasic Submitted to the Department
FAKE PHONG SHADING by Daniel Vlasic Submitted to the Department of Electrical Engineering and Computer Science in Partial Fulfillment of the Requirements for the Degrees of Bachelor of Science in Computer Science and Engineering and Master of Engineering in Electrical Engineering and Computer Science at the Massachusetts Institute of Technology May 17, 2002 Copyright 2002 M.I.T. All Rights Reserved. Author ________________________________________________________ Department of Electrical Engineering and Computer Science May 17, 2002 Approved by ___________________________________________________ Leonard McMillan Thesis Supervisor Accepted by ____________________________________________________ Arthur C. Smith Chairman, Department Committee on Graduate Theses FAKE PHONG SHADING by Daniel Vlasic Submitted to the Department of Electrical Engineering and Computer Science May 17, 2002 In Partial Fulfillment of the Requirements for the Degrees of Bachelor of Science in Computer Science and Engineering And Master of Engineering in Electrical Engineering and Computer Science ABSTRACT In the real-time 3D graphics pipeline framework, rendering quality greatly depends on illumination and shading models. The highest-quality shading method in this framework is Phong shading. However, due to the computational complexity of Phong shading, current graphics hardware implementations use a simpler Gouraud shading. Today, programmable hardware shaders are becoming available, and, although real-time Phong shading is still not possible, there is no reason not to improve on Gouraud shading. This thesis analyzes four different methods for approximating Phong shading: quadratic shading, environment map, Blinn map, and quadratic Blinn map. Quadratic shading uses quadratic interpolation of color. Environment and Blinn maps use texture mapping. Finally, quadratic Blinn map combines both approaches, and quadratically interpolates texture coordinates. All four methods adequately render higher-resolution methods. -
The Design and Evolution of the Uberbake Light Baking System
The design and evolution of the UberBake light baking system DARIO SEYB∗, Dartmouth College PETER-PIKE SLOAN∗, Activision Publishing ARI SILVENNOINEN, Activision Publishing MICHAŁ IWANICKI, Activision Publishing WOJCIECH JAROSZ, Dartmouth College no door light dynamic light set off final image door light only dynamic light set on Fig. 1. Our system allows for player-driven lighting changes at run-time. Above we show a scene where a door is opened during gameplay. The image on the left shows the final lighting produced by our system as seen in the game. In the middle, we show the scene without the methods described here(top).Our system enables us to efficiently precompute the associated lighting change (bottom). This functionality is built on top of a dynamic light setsystemwhich allows for levels with hundreds of lights who’s contribution to global illumination can be controlled individually at run-time (right). ©Activision Publishing, Inc. We describe the design and evolution of UberBake, a global illumination CCS Concepts: • Computing methodologies → Ray tracing; Graphics system developed by Activision, which supports limited lighting changes in systems and interfaces. response to certain player interactions. Instead of relying on a fully dynamic solution, we use a traditional static light baking pipeline and extend it with Additional Key Words and Phrases: global illumination, baked lighting, real a small set of features that allow us to dynamically update the precomputed time systems lighting at run-time with minimal performance and memory overhead. This ACM Reference Format: means that our system works on the complete set of target hardware, ranging Dario Seyb, Peter-Pike Sloan, Ari Silvennoinen, Michał Iwanicki, and Wo- from high-end PCs to previous generation gaming consoles, allowing the jciech Jarosz. -
Fast Rendering of Irregular Grids
Fast Rendering of Irregular Grids Cl´audio T. Silva Joseph S. B. Mitchell Arie E. Kaufman State University of New York at Stony Brook Stony Brook, NY 11794 Abstract Definitions and Terminology 3 A polyhedron is a closed subset of < whose boundary consists We propose a fast algorithm for rendering general irregular grids. of a finite collection of convex polygons (2-faces,orfacets) whose Our method uses a sweep-plane approach to accelerate ray casting, union is a connected 2-manifold. The edges (1-faces)andvertices and can handle disconnected and nonconvex (even with holes) un- (0-faces) of a polyhedron are simply the edges and vertices of the structured irregular grids with a rendering cost that decreases as the polygonal facets. A convex polyhedron is called a polytope.A “disconnectedness” decreases. The algorithm is carefully tailored polytope having exactly four vertices (and four triangular facets) is to exploit spatial coherence even if the image resolution differs sub- called a simplex (tetrahedron). A finite set S of polyhedra forms a stantially from the object space resolution. mesh (or an unstructured, irregular grid) if the intersection of any In this paper, we establish the practicality of our method through two polyhedra from S is either empty, a single common edge, a sin- experimental results based on our implementation, and we also pro- gle common vertex, or a single common facet of the two polyhedra; vide theoretical results, both lower and upper bounds, on the com- such a set S is said to form a cell complex. The polyhedra of a mesh plexity of ray casting of irregular grids. -
3D Computer Graphics Compiled By: H
animation Charge-coupled device Charts on SO(3) chemistry chirality chromatic aberration chrominance Cinema 4D cinematography CinePaint Circle circumference ClanLib Class of the Titans clean room design Clifford algebra Clip Mapping Clipping (computer graphics) Clipping_(computer_graphics) Cocoa (API) CODE V collinear collision detection color color buffer comic book Comm. ACM Command & Conquer: Tiberian series Commutative operation Compact disc Comparison of Direct3D and OpenGL compiler Compiz complement (set theory) complex analysis complex number complex polygon Component Object Model composite pattern compositing Compression artifacts computationReverse computational Catmull-Clark fluid dynamics computational geometry subdivision Computational_geometry computed surface axial tomography Cel-shaded Computed tomography computer animation Computer Aided Design computerCg andprogramming video games Computer animation computer cluster computer display computer file computer game computer games computer generated image computer graphics Computer hardware Computer History Museum Computer keyboard Computer mouse computer program Computer programming computer science computer software computer storage Computer-aided design Computer-aided design#Capabilities computer-aided manufacturing computer-generated imagery concave cone (solid)language Cone tracing Conjugacy_class#Conjugacy_as_group_action Clipmap COLLADA consortium constraints Comparison Constructive solid geometry of continuous Direct3D function contrast ratioand conversion OpenGL between -
Volumetric Fog Rendering Bachelor’S Thesis (9 ECT)
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by DSpace at Tartu University Library UNIVERSITY OF TARTU Institute of Computer Science Computer Science curriculum Siim Raudsepp Volumetric Fog Rendering Bachelor’s thesis (9 ECT) Supervisor: Jaanus Jaggo, MSc Tartu 2018 Volumetric Fog Rendering Abstract: The aim of this bachelor’s thesis is to describe the physical behavior of fog in real life and the algorithm for implementing fog in computer graphics applications. An implementation of the volumetric fog algorithm written in the Unity game engine is also provided. The per- formance of the implementation is evaluated using benchmarks, including an analysis of the results. Additionally, some suggestions are made to improve the volumetric fog rendering in the future. Keywords: Computer graphics, fog, volumetrics, lighting CERCS: P170: Arvutiteadus, arvutusmeetodid, süsteemid, juhtimine (automaat- juhtimisteooria) Volumeetrilise udu renderdamine Lühikokkuvõte: Käesoleva bakalaureusetöö eesmärgiks on kirjeldada udu füüsikalist käitumist looduses ja koostada algoritm udu implementeerimiseks arvutigraafika rakendustes. Töö raames on koostatud volumeetrilist udu renderdav rakendus Unity mängumootoris. Töös hinnatakse loodud rakenduse jõudlust ning analüüsitakse tulemusi. Samuti tuuakse töös ettepanekuid volumeetrilise udu renderdamise täiustamiseks tulevikus. Võtmesõnad: Arvutigraafika, udu, volumeetria, valgustus CERCS: P170: Computer science, numerical analysis, systems, control 2 Table of Contents Introduction -
Techniques for an Artistic Manipulation of Light, Signal and Material
Techniques for an artistic manipulation of light, signal and material Sarah El-Sherbiny∗ Vienna University of Technology Figure 1: Beginning from the left side the images in the first column show an editing of the lighting. The scene was manipulated by painting with light and automatic refinements and optimizations made by the system [Pellacini et al. 2007]. A result of volumetric lighting can be seen in the second column. The top image was generated by static emissive curve geometry, while the image in the bottom was created by animated beams that get shaded with volumetric effects [Nowrouzezahrai et al. 2011]. In the third column the shadows were modified. The user can set constraints and manipulate surface effects via drag and drop [Ritschel et al. 2010]. The images in the fourth column illustrate the editing of reflections. The original image was manipulated so, that the reflected face gets better visible on the ring [Ritschel et al. 2009]. The last images on the right show the editing of materials by making objects transparent and translucent [Khan et al. 2006]. Abstract 1 Introduction Global illumination is important for getting more realistic images. This report gives an outline of some methods that were used to en- It considers direct illumination that occurs when light falls directly able an artistic editing. It describes the manipulation of indirect from a light source on a surface. Also indirect illumination is taken lighting, surface signals and materials of a scene. Surface signals into account, when rays get reflected on a surface. In diffuse re- include effects such as shadows, caustics, textures, reflections or flections the incoming ray gets reflected in many angles while in refractions. -
Interactive Refractive Rendering for Gemstones
Interactive Refractive Rendering for Gemstones LEE Hoi Chi Angie A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Philosophy in Automation and Computer-Aided Engineering ©The Chinese University of Hong Kong Jan, 2004 The Chinese University of Hong Kong holds the copyright of this thesis. Any person(s) intending to use a part of whole of the materials in the thesis in a proposed publication must seek copyright release from the Dean of the Graduate School. 统系绍¥圖\& 卿 15 )ij UNIVERSITY —肩j N^Xlibrary SYSTEM/-^ Abstract Customization plays an important role in today's jewelry design industry. There is a demand on the interactive gemstone rendering which is essential for illustrating design layout to the designer and customer interactively. Although traditional rendering techniques can be used for generating photorealistic image, they require long processing time for image generation so that interactivity cannot be attained. The technique proposed in this thesis is to render gemstone interactively using refractive rendering technique. As realism always conflicts with interactivity in the context of rendering, the refractive rendering algorithm need to strike a balance between them. In the proposed technique, the refractive rendering algorithm is performed in two stages, namely the pre-computation stage and the shading stage. In the pre-computation stage, ray-traced information, such as directions and positions of rays, are generated by ray tracing and stored in a database. During the shading stage, the corresponding data are retrieved from the database for the run-time shading calculation of gemstone. In the system, photorealistic image of gemstone with various cutting, properties, lighting and background can be rendered interactively. -
Flat Shading
Shading Reading: Angel Ch.6 What is “Shading”? So far we have built 3D models with polygons and rendered them so that each polygon has a uniform colour: - results in a ‘flat’ 2D appearance rather than 3D - implicitly assumed that the surface is lit such that to the viewer it appears uniform ‘Shading’ gives the surface its 3D appearance - under natural illumination surfaces give a variation in colour ‘shading’ across the surface - the amount of reflected light varies depends on: • the angle between the surface and the viewer • angle between the illumination source and surface • surface material properties (colour/roughness…) Shading is essential to generate realistic images of 3D scenes Realistic Shading The goal is to render scenes that appear as realistic as photographs of real scenes This requires simulation of the physical processes of image formation - accurate modeling of physics results in highly realistic images - accurate modeling is computationally expensive (not real-time) - to achieve a real-time graphics pipeline performance we must compromise between physical accuracy and computational cost To model shading requires: (1) Model of light source (2) Model of surface reflection Physically accurate modelling of shading requires a global analysis of the scene and illumination to account for surface reflection between surfaces/shadowing/ transparency etc. Fast shading calculation considers only local analysis based on: - material properties/surface geometry/light source position & properties Physics of Image Formation Consider the