Capturing and Simulating Physically Accurate Illumination in Computer Graphics
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An Overview of Modern Global Illumination
Scholarly Horizons: University of Minnesota, Morris Undergraduate Journal Volume 4 Issue 2 Article 1 July 2017 An Overview of Modern Global Illumination Skye A. Antinozzi University of Minnesota, Morris Follow this and additional works at: https://digitalcommons.morris.umn.edu/horizons Part of the Graphics and Human Computer Interfaces Commons Recommended Citation Antinozzi, Skye A. (2017) "An Overview of Modern Global Illumination," Scholarly Horizons: University of Minnesota, Morris Undergraduate Journal: Vol. 4 : Iss. 2 , Article 1. Available at: https://digitalcommons.morris.umn.edu/horizons/vol4/iss2/1 This Article is brought to you for free and open access by the Journals at University of Minnesota Morris Digital Well. It has been accepted for inclusion in Scholarly Horizons: University of Minnesota, Morris Undergraduate Journal by an authorized editor of University of Minnesota Morris Digital Well. For more information, please contact [email protected]. An Overview of Modern Global Illumination Cover Page Footnote This work is licensed under the Creative Commons Attribution- NonCommercial-ShareAlike 4.0 International License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc-sa/ 4.0/. UMM CSci Senior Seminar Conference, April 2017 Morris, MN. This article is available in Scholarly Horizons: University of Minnesota, Morris Undergraduate Journal: https://digitalcommons.morris.umn.edu/horizons/vol4/iss2/1 Antinozzi: An Overview of Modern Global Illumination An Overview of Modern Global Illumination Skye A. Antinozzi Division of Science and Mathematics University of Minnesota, Morris Morris, Minnesota, USA 56267 [email protected] ABSTRACT world that enable visual perception of our surrounding envi- Advancements in graphical hardware call for innovative solu- ronments. -
CEO & Co-Founder, Pinscreen, Inc. Distinguished Fellow, University Of
HaoLi CEO & Co-Founder, Pinscreen, Inc. Distinguished Fellow, University of California, Berkeley Pinscreen, Inc. Email [email protected] 11766 Wilshire Blvd, Suite 1150 Home page http://www.hao-li.com/ Los Angeles, CA 90025, USA Facebook http://www.facebook.com/li.hao/ PROFILE Date of birth 17/01/1981 Place of birth Saarbrücken, Germany Citizenship German Languages German, French, English, and Mandarin Chinese (all fluent and no accents) BIO I am CEO and Co-Founder of Pinscreen, an LA-based Startup that builds the world’s most advanced AI-driven virtual avatars, as well as a Distinguished Fellow of the Computer Vision Group at the University of California, Berkeley. Before that, I was an Associate Professor (with tenure) in Computer Science at the University of Southern California, as well as the director of the Vision & Graphics Lab at the USC Institute for Creative Technologies. I work at the intersection between Computer Graphics, Computer Vision, and AI, with focus on photorealistic human digitization using deep learning and data-driven techniques. I’m known for my work on dynamic geometry processing, virtual avatar creation, facial performance capture, AI-driven 3D shape digitization, and deep fakes. My research has led to the Animoji technology in Apple’s iPhone X, I worked on the digital reenactment of Paul Walker in the movie Furious 7, and my algorithms on deformable shape alignment have improved the radiation treatment for cancer patients all over the world. I have been keynote speaker at numerous major events, conferences, festivals, and universities, including the World Economic Forum (WEF) in Davos 2020 and Web Summit 2020. -
Global Illumination for Dynamic Voxel Worlds Using Surfels and Light Probes
Master of Science in Computer Science May 2020 Global Illumination for Dynamic Voxel Worlds using Surfels and Light Probes Dan Printzell Faculty of Computing, Blekinge Institute of Technology, 371 79 Karlskrona, Sweden This thesis is submitted to the Faculty of Computing at Blekinge Institute of Technology in partial ful- filment of the requirements for the degree of Master of Science in Computer Science. The thesis is equivalent to 20 weeks of full time studies. The authors declare that they are the sole authors of this thesis and that they have not used any sources other than those listed in the bibliography and identified as references. They further declare that they have not submitted this thesis at any other institution to obtain a degree. Contact Information: Author(s): Dan Printzell E-mail: [email protected] University advisor: Dr. Prashant Goswami Department of Computer Science Faculty of Computing Internet : www.bth.se Blekinge Institute of Technology Phone : +46 455 38 50 00 SE–371 79 Karlskrona, Sweden Fax : +46 455 38 50 57 Abstract Background. Getting realistic in 3D worlds has been a goal for the game industry since its creation. With the knowledge of how light works; computing a realistic looking image is possible. The problem is that it takes too much computational power for it to be able to render in real-time with an acceptable frame rate. In a paper Jendersie, Kuri and Grosch [8] and in a thesis by Kuri [9] they present a method of calculation light paths ahead-of- time, that will then be used at run-time to get realistic light. -
Global Illumination Compendium (PDF)
Global Illumination Compendium September 29, 2003 Philip Dutré [email protected] Computer Graphics, Department of Computer Science Katholieke Universiteit Leuven http://www.cs.kuleuven.ac.be/~phil/GI/ This collection of formulas and equations is supposed to be useful for anyone who is active in the field of global illu- mination in computer graphics. I started this document as a helpful tool to my own research, since I was growing tired of having to look up equations and formulas in various books and papers. As a consequence, many concepts which are ‘trivial’ to me are not in this Global Illumination Compendium, unless someone specifically asked for them. There- fore, any further input and suggestions for more useful content are strongly appreciated. If possible, adequate references are given to look up some of the equations in more detail, or to look up the deriva- tions. Also, an attempt has been made to mention the paper in which a particular idea or equation has been described first. However, over time, many ideas have become ‘common knowledge’ or have been modified to such extent that they no longer resemble the original formulation. In these cases, references are not given. As a rule of thumb, I include a reference if it really points to useful extra knowledge about the concept being described. In a document like this, there is always a fair chance of errors. Please report any errors, such that future versions have the correct equations and formulas. Thanks to the following people for providing me with suggestions and spotting errors: Neeharika Adabala, Martin Blais, Michael Chock, Chas Ehrlich, Piero Foscari, Neil Gatenby, Simon Green, Eric Haines, Paul Heckbert, Vladimir Koylazov, Vincent Ma, Ioannis (John) Pantazopoulos, Fabio Pellacini, Robert Porschka, Mahesh Ramasubramanian, Cyril Soler, Greg Ward, Steve Westin, Andrew Willmott. -
Programmable Image-Based Light Capture for Previsualization
ii Abstract Previsualization is a class of techniques for creating approximate previews of a movie sequence in order to visualize a scene prior to shooting it on the set. Often these techniques are used to convey the artistic direction of the story in terms of cinematic elements, such as camera movement, angle, lighting, dialogue, and char- acter motion. Essentially, a movie director uses previsualization (previs) to convey movie visuals as he sees them in his ”minds-eye”. Traditional methods for previs include hand-drawn sketches, Storyboards, scaled models, and photographs, which are created by artists to convey how a scene or character might look or move. A recent trend has been to use 3D graphics applications such as video game engines to perform previs, which is called 3D previs. This type of previs is generally used prior to shooting a scene in order to choreograph camera or character movements. To visualize a scene while being recorded on-set, directors and cinematographers use a technique called On-set previs, which provides a real-time view with little to no processing. Other types of previs, such as Technical previs, emphasize accurately capturing scene properties but lack any interactive manipulation and are usually employed by visual effects crews and not for cinematographers or directors. This dissertation’s focus is on creating a new method for interactive visualization that will automatically capture the on-set lighting and provide interactive manipulation of cinematic elements to facilitate the movie maker’s artistic expression, validate cine- matic choices, and provide guidance to production crews. Our method will overcome the drawbacks of the all previous previs methods by combining photorealistic ren- dering with accurately captured scene details, which is interactively displayed on a mobile capture and rendering platform. -
Image-Based Lighting
Tutorial Image-Based Paul Debevec Lighting USC Institute for Creative Technologies mage-based lighting (IBL) is the process of 2. mapping the illumination onto a representation of Iilluminating scenes and objects (real or syn- the environment; thetic) with images of light from the real world. It 3. placing the 3D object inside the environment; and evolved from the reflection-mapping technique1,2 in 4. simulating the light from the environment illumi- which we use panoramic images as nating the computer graphics object. texture maps on computer graphics This tutorial shows how models to show shiny objects reflect- Figure 1 shows an example of an object illuminated ing real and synthetic environments. entirely using IBL. Gary Butcher created the models in image-based lighting can IBL is analogous to image-based 3D Studio Max, and the renderer used was the Arnold modeling, in which we derive a 3D global illumination system written by Marcos Fajardo. illuminate synthetic objects scene’s geometric structure from I captured the light in a kitchen so it includes light from images, and to image-based render- a ceiling fixture; the blue sky from the windows; and with measurements of real ing, in which we produce the ren- the indirect light from the room’s walls, ceiling, and dered appearance of a scene from its cabinets. Gary mapped the light from this room onto a light, making objects appear appearance in images. When used large sphere and placed the model of the microscope effectively, IBL can produce realistic on the table in the middle of the sphere. -
3Delight 11.0 User's Manual
3Delight 11.0 User’s Manual A fast, high quality, RenderMan-compliant renderer Copyright c 2000-2013 The 3Delight Team. i Short Contents .................................................................. 1 1 Welcome to 3Delight! ......................................... 2 2 Installation................................................... 4 3 Using 3Delight ............................................... 7 4 Integration with Third Party Software ....................... 27 5 3Delight and RenderMan .................................... 28 6 The Shading Language ...................................... 65 7 Rendering Guidelines....................................... 126 8 Display Drivers ............................................ 174 9 Error Messages............................................. 183 10 Developer’s Corner ......................................... 200 11 Acknowledgements ......................................... 258 12 Copyrights and Trademarks ................................ 259 Concept Index .................................................. 263 Function Index ................................................. 270 List of Figures .................................................. 273 ii Table of Contents .................................................................. 1 1 Welcome to 3Delight! ...................................... 2 1.1 What Is In This Manual ?............................................. 2 1.2 Features .............................................................. 2 2 Installation ................................................ -
Real-Time Global Illumination Using Precomputed Illuminance Composition with Chrominance Compression
Journal of Computer Graphics Techniques Vol. 5, No. 4, 2016 http://jcgt.org Real-Time Global Illumination Using Precomputed Illuminance Composition with Chrominance Compression Johannes Jendersie1 David Kuri2 Thorsten Grosch1 1TU Clausthal 2Volkswagen AG Figure 1. The Crytek Sponza1 (5.7ms, 245k triangles, 10k caches, 4 band SHs) with a visu- alization of the caches (left) and a Volkswagen test data set using an environment map from Persson2 (10.5ms, 1.35M triangles, 10k caches, 6 band SHs) with multiple bounce indirect illumination and slightly glossy surfaces (right). Abstract In this paper we present a new real-time approach for indirect global illumination under dy- namic lighting conditions. We use surfels to gather a sampling of the local illumination and propagate the light through the scene using a hierarchy and a set of precomputed light trans- port paths. The light is then aggregated into caches for lighting static and dynamic geometry. By using a spherical harmonics representation, caches preserve incident light directions to allow both diffuse and slightly glossy BRDFs for indirect lighting. We provide experimental results for up to eight bands of spherical harmonics to stress the limits of specular reflections. In addition, we apply a chrominance downsampling to reduce the memory overhead of the caches. The sparse sampling of illumination in surfels also enables indirect lighting from many light sources and an efficient progressive multi-bounce implementation. Furthermore, any existing pipeline can be used for surfel lighting, facilitating the use of all kinds of light sources, including sky lights, without a large implementation effort. In addition to the general initial 1Meinl, F. -
Fast Global Illumination for Visualizing Isosurfaces with a 3D Illumination Grid
A NATOMIC R ENDERING AND V ISUALIZATION Fast Global Illumination for Visualizing Isosurfaces with a 3D Illumination Grid Users who examine isosurfaces of their 3D data sets generally view them with local illumination because global illumination is too computationally intensive. By storing the precomputed illumination in a texture map, visualization systems can let users sweep through globally illuminated isosurfaces of their data at interactive speeds. isualizing a 3D scalar function is an ing) the equation for light transport. Generally, important aspect of data analysis in renderers that solve the light transport equation science, medicine, and engineering. are implemented in software and are conse- However, many software systems for quently much slower than their hardware-based 3DV data visualization offer only the default ren- counterparts. So a user faces the choice between dering capability provided by the computer’s fast-but-incorrect and slow-but-accurate displays graphics card, which implements a graphics li- of illuminated 3D scenes. Global illumination brary such as OpenGL1 at the hardware level to might make complicated 3D scenes more com- render polygons using local illumination. Local prehensible to the human visual system, but un- illumination computes the amount of light that less we can produce it at interactive rates (faster would be received at a point on a surface from a than one frame per second), scientific users will luminaire, neglecting the shadows cast by any continue to analyze isosurfaces of their 3D scalar intervening surfaces and indirect illumination data rendered with less realistic, but faster, local from light reflected from other surfaces. This illumination. -
Real-Time Global Illumination on GPU
Real-Time Global Illumination on GPU Mangesh Nijasure, Sumanta Pattanaik Vineet Goel U. Central Florida, Orlando, FL ATI Research, Orlando, FL Abstract Our algorithm takes advantage of the capability of the GPU for computing accurate global illumination in 3D We present a system for computing plausible global illu- scenes and is fast enough so that interactive and immer- mination solution for dynamic environments in real time on sive applications with desired complexity and realism are programmable graphics processors (GPUs). We designed a possible. We simulate the transport of light in a synthetic progressive global illumination algorithm to simulate mul- environment by following the light emitted from the light tiple bounces of light on the surfaces of synthetic scenes. source(s) through its multiple bounces on the surfaces of the The entire algorithm runs on ATI’s Radeon 9800 using ver- scene. Light bouncing off the surfaces is captured by cube- tex and fragment shaders, and computes global illumination maps distributed uniformly over the volume of the scene. solution for reasonably complex scenes with moving objects Cube-maps are rendered using graphics hardware. Light is and moving lights in realtime. distributed from these cube-maps to the nearby surface po- sitions by using a simple trilinear interpolation scheme for Keywords: Global Illumination, Real Time Rendering, the computation of each subsequent bounce. Iterative com- Programmable Graphics Hardware. puting of a small number of bounces gives us a plausible approximation of global illumination for scenes involving 1 Introduction both moving objects and changing light sources in fractions of seconds. Traditionally, cube maps are used for hardware simula- Accurate lighting computation is one of the key elements tion of the reflection of the environment on shiny surfaces to realism in rendered images. -
GLOBAL ILLUMINATION in GAMES What Is Global Illumination?
Nikolay Stefanov, PhD Ubisoft Massive GLOBAL ILLUMINATION IN GAMES What is global illumination? Interaction between light and surfaces Adds effects such as soft contact shadows and colour bleeding Can be brute-forced using path tracing, but is very slow Cornell98 Global illumination is simply the process by which light interacts with physical surfaces. Surfaces absorb, reflect or transmit light. This here is a picture of the famous Cornell box scene, which is a standard environment for testing out global illumination algorithms. The only light source in this image is at the top of the image. Global illumination adds soft shadows and colour between between the cubes and the walls. There is also natural darkening along the edges of the walls, floor and ceiling. One such algorithm is path tracing. A naive, brute force path trace essentially shoot millions and millions of rays or paths, recording every surface hit along the way. The algorithm stops tracing the path when the ray hits a light. As you can imagine, this takes ages to produce a noise-free image. Nonetheless, people have started using some variants of this algorithm for movie production (e.g. “Cloudy With a Chance of Meatballs”) What is global illumination? Scary looking equation! But can be done in 99 lines of C++ All of this makes for some scary looking maths, as illustrated here by the rendering equation from Kajiya. However that doesn’t mean that the *code* is necessarily complicated. GI in 99 lines of C++ Beason2010 Here is an image of Kevin Beason’s smallpt, which is 99 lines of C++ code. -
SIGGRAPH 2008 Course: Computational Photography: Advanced Topics
SIGGRAPH 2008 Course: Computational Photography: Advanced Topics http://computationalphotography.org Speakers Paul Debevec (USC, USA) (debevec (at) ict.usc.edu) Ramesh RASKAR (MIT Media Lab, USA) (raskar (at) media.mit.edu) Jack TUMBLIN (Northwestern University, USA) (jet (at) cs.northwestern.edu) Course Abstract Computational photography combines plentiful computing, digital sensors, modern optics, many varieties of actuators, probes and smart lights to escape the limitations of traditional film cameras and enables novel imaging applications. Unbounded dynamic range, variable focus, resolution, and depth of field, hints about shape, reflectance, and lighting, and new interactive forms of photos that are partly snapshots and partly videos, performance capture and interchangeably relighting real and virtual characters are just some of the new applications emerging in Computational Photography. The computational techniques encompass methods from modification of imaging parameters during capture to sophisticated reconstructions from indirect measurements. We will bypass basic and introductory material presented in earlier versions of this course (Computational Photography 2005,6,7) and expand coverage of more recent topics. Emphasizing more recent work in computational photography and related fields (2006 or later) this course will give more attention to advanced topics only briefly touched before, including tomography, heterodyning and Fourier Slice applications, inverse problems, gradient illumination, novel optics, emerging sensors