Imperfect Voxelized Shadow Volumes
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Efficient Image-Based Methods for Rendering Soft Shadows
Efficient Image-Based Methods for Rendering Soft Shadows Maneesh Agrawala Ravi Ramamoorthi Alan Heirich Laurent Moll Pixar Animation Studios Stanford University∗ Compaq Computer Corporation Figure 1: A plant rendered using our interactive layered attenuation-map approach (left), rayshade (middle), and our efficient high-quality coherence-based raytracing approach (right). Note the soft shadows on the leaves. To emphasize the soft shadows, this image is rendered without cosine falloff of light intensity. Model courtesy of O. Deussen, P. Hanrahan, B. Lintermann, R. Mech, M. Pharr, and P. Prusinkiewicz. Abstract The cost of many soft shadow algorithms grows with the geomet- ric complexity of the scene. Algorithms such as ray tracing [5], We present two efficient image-based approaches for computation and shadow volumes [6], perform visibility calculations in object- and display of high-quality soft shadows from area light sources. space, against a complete representation of scene geometry. More- Our methods are related to shadow maps and provide the associ- over, some interactive techniques [12, 27] precompute and display ated benefits. The computation time and memory requirements for soft shadow textures for each object in the scene. Such approaches adding soft shadows to an image depend on image size and the do not scale very well as scene complexity increases. number of lights, not geometric scene complexity. We also show Williams [30] has shown that for computing hard shadows from that because area light sources are localized in space, soft shadow point light sources, a complete scene representation is not nec- computations are particularly well suited to image-based render- essary. -
Shadows in Computer Graphics
Shadows in Computer Graphics by Björn Kühl im/ve University of Hamburg, Germany Importance of Shadows Shadows provide cues − to the position of objects casting and receiving shadows − to the position of the light sources Importance of Shadows Shadows provide information − about the shape of casting objects − about the shape of shadow receiving objects Shadow Tutorial Popular Shadow Techniques Implementation Details − Stencil Shadow Volumes (object based) − Shadow Mapping (image based) Comparison of both techniques Popular Shadow Methods Shadows can be found in most new games Two methods for shadow generation are predominately used: − Shadow Mapping Need for Speed Prince of Persia − Stencil Shadow Volumes Doom3 F.E.A.R Prey Stencil Shadow Volumes Figure: Screenshot from id's Doom3 Stencil Shadow Volumes introduction Frank Crow introduced his approach using shadow volumes in 1977. Tim Heidmann of Silicon Graphics was the first one who implemented Crow´s idea using the stencil buffer. Figure: The shadow volume encloses the region which could not be lit. Stencil Shadow Volumes Calculating Shadow Volumes With The CPU Calculate the silhouette: An edge between two planes is a member of the silhouette, if one plane is facing the light and the other is turned away. Figure: silhouette edge (left), a light source and an occluder (top right), and the silhouette of the occluder ( down right) Stencil Shadow Volumes Calculating Shadow Volumes With The CPU The shadow volume should be closed By extruding the silhouette, the side surfaces of the shadow volume are generated The light cap is formed by the planes facing the light The dark cap is formed by the planes not facing the light − which are transferred into infinity. -
GEARS: a General and Efficient Algorithm for Rendering Shadows
Lili Wang et al. / GEARS: A General and Efficient Algorithm for Rendering Shadows 1 GEARS: A General and Efficient Algorithm for Rendering Shadows Lili Wang†1, Shiheng Zhou1, Wei Ke2, and Voicu Popescu3 1China State Key Laboratory of Virtual Reality Technology and Systems, Beihang University, Beijing China 2 Macao Polytechnic Institute, Macao China 3Computer Science, Purdue University, West Lafayette, Indiana, USA Figure 1: Soft shadows rendered with our method (left of each pair) and with ray tracing (right of each pair), for comparison. The average frame rate for our method vs. ray tracing is 26.5fps vs. 1.07fps for the Bird Nest scene, 75.6fps vs. 5.33fps for the Spider scene, and 21.4fps vs. 1.98fps for the Garden scene. The shadow rendering times are 49.8ms vs. 1176.4ms, 14.3ms vs. 209.2ms, and 45.2ms vs. 561.8ms for the three scenes, respectively. The output image resolution is 512x512. submitted to COMPUTER GRAPHICS Forum (3/2014). Volume xx (200y), Number z, pp. 1–13 Abstract We present a soft shadow rendering algorithm that is general, efficient, and accurate. The algorithm supports fully dynamic scenes, with moving and deforming blockers and receivers, and with changing area light source parameters. For each output image pixel, the algorithm computes a tight but conservative approximation of the set of triangles that block the light source as seen from the pixel sample. The set of potentially blocking triangles allows estimating visibility between light points and pixel samples accurately and efficiently. As the light source size decreases to a point, our algorithm converges to rendering pixel accurate hard shadows. -
1 Camera Space Shadow Maps for Large Virtual Environments
Camera Space Shadow Maps for Large Virtual Environments Ivica Kolic 1 ⋅⋅⋅ Zeljka Mihajlovic 2 Abstract This paper presents a new single-pass shadow mapping technique that achieves better 1 Introduction quality than the approaches based on perspective warping, such as perspective, light-space and A shadow is one of the most important elements for trapezoidal shadow maps. The proposed technique achieving realism in virtual environments. Over the is appropriate for real-time rendering of large years, many real-time shadow-generation virtual environments that include dynamic objects. approaches have been developed. The most well- By performing operations in camera space, this known approaches are fake and planar shadows, solution successfully handles the general and the shadow volumes (Crow 1977 ), and shadow dueling frustum cases, and produces high-quality mapping (Williams 1978 ). shadows even for extremely large scenes. This This paper primarily focuses on the shadow paper also presents a fast non-linear projection mapping technique that is recognized as the most technique for shadow map stretching that enables important shadow generation tool today because of complete utilization of the shadow map by its simplicity, generality, and predictability. The eliminating wastage. The application of stretching basic shadow mapping principle involves two results in a significant reduction in unwanted steps. In the first step, the shadow map is generated perspective aliasing, commonly found in all by storing the depth of the scene from the point of shadow mapping techniques. Technique is view of the light. In the second step, the scene is compared with other shadow mapping techniques, rendered regularly; however, for every drawn pixel, and the benefits of the proposed method are the shadow map is consulted to determine whether presented. -
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. -
Improving Shadows and Reflections Via the Stencil Buffer
Improving Shadows and Reflections via the Stencil Buffer Mark J. Kilgard * NVIDIA Corporation “Slap textures on polygons, throw them at the screen, and let the depth buffer sort it out.” For too many game developers, the above statement sums up their approach to 3D hardware- acceleration. A game programmer might turn on some fog and maybe throw in some transparency, but that’s often the limit. The question is whether that is enough anymore for a game to stand out visually from the crowd. Now everybody’s using 3D hardware-acceleration, and everybody’s slinging textured polygons around, and, frankly, as a result, most 3D games look more or less the same. Sure there are differences in game play, network interaction, artwork, sound track, etc., etc., but we all know that the “big differentiator” for computer gaming, today and tomorrow, is the look. The problem is that with everyone resorting to hardware rendering, most games look fairly consistent, too consistent. You know exactly the textured polygon look that I’m talking about. Instead of settling for 3D hardware doing nothing more than slinging textured polygons, I argue that cutting-edge game developers must embrace new hardware functionality to achieve visual effects beyond what everybody gets today from your basic textured and depth-buffered polygons. Two effects that can definitely set games apart from the crowd are better quality shadows and reflections. While some games today incorporate shadows and reflections to a limited extent, the common techniques are fairly crude. Reflections in today’s games are mostly limited to “infinite extent” ground planes or ground planes bounded by walls. -
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. -
Shadow Mappingmapping
ShadowShadow MappingMapping Cass Everitt NVIDIA Corporation [email protected] Motivation for Better Shadows • Shadows increase scene realism • Real world has shadows • Other art forms recognize the value of shadows • Shadows provide important depth cues 2 Common Real-time Shadow Techniques Projected Projected Shadow planar planar volumes shadows Hybrid approaches Light maps 3 Problems with Common Shadow Techniques • Mostly tricks with lots of limitations • Projected planar shadows • well works only on flat surfaces • Stenciled shadow volumes • determining accurate, water-tight shadow volume is hard work • Light maps • totally unsuited for dynamic shadows • In general, hard to get everything shadowing everything 4 Stenciled Shadow Volumes • Powerful technique, excellent results possible 5 Introducing Another Technique: Shadow Mapping • Image-space shadow determination • Lance Williams published the basic idea in 1978 • By coincidence, same year Jim Blinn invented bump mapping (a great vintage year for graphics) • Completely image-space algorithm • means no knowledge of scene’s geometry is required • must deal with aliasing artifacts • Well known software rendering technique • Pixar’s RenderMan uses the algorithm • Basic shadowing technique for Toy Story, etc. 6 Shadow Mapping References • Important SIGGRAPH papers • Lance Williams, “Casting Curved Shadows on Curved Surfaces,” SIGGRAPH 78 • William Reeves, David Salesin, and Robert Cook (Pixar), “Rendering antialiased shadows with depth maps,” SIGGRAPH 87 • Mark Segal, et. al. (SGI), “Fast -
Reflective Shadow Maps
Reflective Shadow Maps Carsten Dachsbacher∗ Marc Stamminger† University of Erlangen-Nuremberg University of Erlangen-Nuremberg Figure 1: This figure shows the components of the reflective shadow map (depth, world space coordinates, normal, flux) and the resulting image rendered with indirect illumination from the RSM. Note that the angular decrease of flux is shown exaggerated for visualization. Abstract mination, however, generates subtle, but also important effects that are mandatory to achieve realism. In this paper we present ”reflective shadow maps”, an algorithm for Unfortunately, due to their global nature, full global illumina- interactive rendering of plausible indirect illumination. A reflective tion and interactivity are usually incompatible. Ray Tracing and shadow map is an extension to a standard shadow map, where every Radiosity—just to mention the two main classes of global illumi- pixel is considered as an indirect light source. The illumination due nation algorithms—require minutes or hours to generate a single to these indirect lights is evaluated on-the-fly using adaptive sam- image with full global illumination. Recently, there has been re- pling in a fragment shader. By using screen-space interpolation of markable effort to make ray tracing interactive (e.g. [Wald et al. the indirect lighting, we achieve interactive rates, even for complex 2003]). Compute clusters are necessary to achieve interactivity at scenes. Since we mainly work in screen space, the additional effort good image resolution and dynamic scenes are difficult to handle, is largely independent of scene complexity. The resulting indirect because they require to update the ray casting acceleration struc- light is approximate, but leads to plausible results and is suited for tures for every frame. -
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. -
Shadow Volume History (1)
Shadow Volume History (1) • Invented by Frank Crow [’77] – Software rendering scan-line approach Shadow Volumes • Brotman and Badler [’84] – Software-based depth-buffered approach – Used lots of point lights to simulate soft shadows • Pixel-Planes [Fuchs, et.al. ’85] hardware – First hardware approach – Point within a volume, rather than ray intersection • Bergeron [’96] generalizations – Explains how to handle open models – And non-planar polygons Shadow Volume History (2) Shadow Volume History (3) • Fournier & Fussell [’88] theory • Dietrich slides [March ’99] at GDC – Provides theory for shadow volume counting approach within a – Proposes zfail based stenciled shadow volumes frame buffer • Kilgard whitepaper [March ’99] at GDC • Akeley & Foran invent the stencil buffer – Invert approach for planar cut-outs – IRIS GL functionality, later made part of OpenGL 1.0 • Bilodeau slides [May ’99] at Creative seminar – Patent filed in ’92 – Proposes way around near plane clipping problems • Heidmann [IRIS Universe article, ’91] – Reverses depth test function to reverse stencil volume ray – IRIS GL stencil buffer-based approach intersection sense • Deifenbach’s thesis [’96] • Carmack [unpublished, early 2000] – Used stenciled volumes in multi-pass framework – First detailed discussion of the equivalence of zpass and zfail stenciled shadow volume methods Shadow Volume History (4) Shadow Volume Basics • Kilgard [2001] at GDC and CEDEC Japan Shadowing – Proposes zpass capping scheme object • Project back-facing (w.r.t. light) geometry to the near clip plane Light for capping source Shadow • Establishes near plane ledge for crack-free volume near plane capping (infinite extent) – Applies homogeneous coordinates (w=0) for rendering infinite shadow volume geometry – Requires much CPU effort for capping – Not totally robust because CPU and GPU computations will not match exactly, resulting in cracks A shadow volume is simply the half-space defined by a light source and a shadowing object. -
Extended Shadow Maps Tomas Bujnak 1 Faculty of Mathematics, Physics and Informatics Comenius University Bratislava / Slovakia
Extended shadow maps Tomas Bujnak 1 Faculty of Mathematics, Physics and Informatics Comenius University Bratislava / Slovakia Abstract 2 Previous work The most popular methods for interactive hard shadows Numerous different methods and algorithms have been rendering are shadow volumes and shadow maps. developed for generating realistic looking shadows using Shadow volumes generate precise shadows but require acceptable amount of resources. high fill rate. Due to excessive fill rate requirements, Review of many older shadowing techniques can be shadow maps are probably the most widely used means found in the survey published by Woo et al.[2] and in for generation of shadows, despite their well known Watt and Watt's book [3]. aliasing problems. In this paper, Extended Shadow Maps Unfortunately not all techniques are suitable for are introduced, as a means to reduce required shadow hardware rasterizers. Two most common techniques for map resolution and enhancing visual quality of shadows hardware accelerated complex shadowing are stenciled by encoding additional information about silhouette shadow volumes and shadow mapping for spotlights. edges into the shadow map by drawing quads for Shadow mapping can be extended to omni directional silhouette preservation. Recent algorithms using this lights using multiple passes. technique were not suitable for computer games due to their hardware requirements, because in this types of 2.1 Shadow volumes applications, high frame rate is required. Our algorithm, Extended Shadow Maps creates anti-aliased shadows Shadow volumes are polyhedral regions that form using fast fixed-point pixel shaders version 1.4. For shadow of an object. They are formed by extruding the shadowing detection only 4 arithmetic instruction slots silhouette edges away from the position of light source.