Illumination for Computer Generated Pictures
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3D Visualization of Weather Radar Data Examensarbete Utfört I Datorgrafik Av
3D Visualization of Weather Radar Data Examensarbete utfört i datorgrafik av Aron Ernvik lith-isy-ex-3252-2002 januari 2002 3D Visualization of Weather Radar Data Thesis project in computer graphics at Linköping University by Aron Ernvik lith-isy-ex-3252-2002 Examiner: Ingemar Ragnemalm Linköping, January 2002 Avdelning, Institution Datum Division, Department Date 2002-01-15 Institutionen för Systemteknik 581 83 LINKÖPING Språk Rapporttyp ISBN Language Report category Svenska/Swedish Licentiatavhandling ISRN LITH-ISY-EX-3252-2002 X Engelska/English X Examensarbete C-uppsats Serietitel och serienummer ISSN D-uppsats Title of series, numbering Övrig rapport ____ URL för elektronisk version http://www.ep.liu.se/exjobb/isy/2002/3252/ Titel Tredimensionell visualisering av väderradardata Title 3D visualization of weather radar data Författare Aron Ernvik Author Sammanfattning Abstract There are 12 weather radars operated jointly by SMHI and the Swedish Armed Forces in Sweden. Data from them are used for short term forecasting and analysis. The traditional way of viewing data from the radars is in 2D images, even though 3D polar volumes are delivered from the radars. The purpose of this work is to develop an application for 3D viewing of weather radar data. There are basically three approaches to visualization of volumetric data, such as radar data: slicing with cross-sectional planes, surface extraction, and volume rendering. The application developed during this project supports variations on all three approaches. Different objects, e.g. horizontal and vertical planes, isosurfaces, or volume rendering objects, can be added to a 3D scene and viewed simultaneously from any angle. Parameters of the objects can be set using a graphical user interface and a few different plots can be generated. -
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 -
Scan Conversion & Shading
3D Rendering Pipeline (for direct illumination) 3D Primitives 3D Modeling Coordinates Modeling TransformationTransformation 3D World Coordinates Scan Conversion LightingLighting 3D World Coordinates ViewingViewing P1 & Shading TransformationTransformation 3D Camera Coordinates ProjectionProjection TransformationTransformation Adam Finkelstein 2D Screen Coordinates P2 Princeton University Clipping 2D Screen Coordinates ViewportViewport COS 426, Spring 2003 TransformationTransformation P3 2D Image Coordinates Scan Conversion ScanScan Conversion & Shading 2D Image Coordinates Image Overview Scan Conversion • Scan conversion • Render an image of a geometric primitive o Figure out which pixels to fill by setting pixel colors • Shading void SetPixel(int x, int y, Color rgba) o Determine a color for each filled pixel • Example: Filling the inside of a triangle P1 P2 P3 Scan Conversion Triangle Scan Conversion • Render an image of a geometric primitive • Properties of a good algorithm by setting pixel colors o Symmetric o Straight edges void SetPixel(int x, int y, Color rgba) o Antialiased edges o No cracks between adjacent primitives • Example: Filling the inside of a triangle o MUST BE FAST! P1 P1 P2 P2 P4 P3 P3 1 Triangle Scan Conversion Simple Algorithm • Properties of a good algorithm • Color all pixels inside triangle Symmetric o void ScanTriangle(Triangle T, Color rgba){ o Straight edges for each pixel P at (x,y){ Antialiased edges if (Inside(T, P)) o SetPixel(x, y, rgba); o No cracks between adjacent primitives } } o MUST BE FAST! P P1 -
Evaluation of Image Quality Using Neural Networks
R. CANT et al: EVALUATION OF IMAGE QUALITY EVALUATION OF IMAGE QUALITY USING NEURAL NETWORKS R.J. CANT AND A.R. COOK Simulation and Modelling Group, Department of Computing, The Nottingham Trent University, Burton Street, Nottingham NG1 4BU, UK. Tel: +44-115-848 2613. Fax: +44-115-9486518. E-mail: [email protected]. ABSTRACT correspondence between human and neural network seems to depend on the level of expertise of the human subject. We discuss the use of neural networks as an evaluation tool for the graphical algorithms to be used in training simulator visual systems. The neural network used is of a type developed by the authors and is The results of a number of trial evaluation studies are presented in described in detail in [Cant and Cook, 1995]. It is a three-layer, feed- summary form, including the ‘calibration’ exercises that have been forward network customised to allow both unsupervised competitive performed using human subjects. learning and supervised back-propagation training. It has been found that in some cases the results of competitive learning alone show a INTRODUCTION better correspondence with human performance than those of back- propagation. The problem here is that the back-propagation results are too good. Training simulators, such as those employed in vehicle and aircraft simulation, have been used for an ever-widening range of applications The following areas of investigation are presented here: resolution and in recent years. Visual displays form a major part of virtually all of sampling, shading algorithms, texture anti-aliasing techniques, and these systems, most of which are used to simulate normal optical views, model complexity. -
Synthesizing Realistic Facial Expressions from Photographs Z
Synthesizing Realistic Facial Expressions from Photographs z Fred eric Pighin Jamie Hecker Dani Lischinski y Richard Szeliski David H. Salesin z University of Washington y The Hebrew University Microsoft Research Abstract The applications of facial animation include such diverse ®elds as character animation for ®lms and advertising, computer games [19], We present new techniques for creating photorealistic textured 3D video teleconferencing [7], user-interface agents and avatars [44], facial models from photographs of a human subject, and for creat- and facial surgery planning [23, 45]. Yet no perfectly realistic facial ing smooth transitions between different facial expressions by mor- animation has ever been generated by computer: no ªfacial anima- phing between these different models. Starting from several uncali- tion Turing testº has ever been passed. brated views of a human subject, we employ a user-assisted tech- There are several factors that make realistic facial animation so elu- nique to recover the camera poses corresponding to the views as sive. First, the human face is an extremely complex geometric form. well as the 3D coordinates of a sparse set of chosen locations on the For example, the human face models used in Pixar's Toy Story had subject's face. A scattered data interpolation technique is then used several thousand control points each [10]. Moreover, the face ex- to deform a generic face mesh to ®t the particular geometry of the hibits countless tiny creases and wrinkles, as well as subtle varia- subject's face. Having recovered the camera poses and the facial ge- tions in color and texture Ð all of which are crucial for our compre- ometry, we extract from the input images one or more texture maps hension and appreciation of facial expressions. -
Cutting Planes and Beyond 1 Abstract 2 Introduction
Cutting Planes and Beyond Michael Clifton and Alex Pang Computer Information Sciences Board University of California Santa Cruz CA Abstract We present extensions to the traditional cutting plane that b ecome practical with the availability of virtual reality devices These extensions take advantage of the intuitive ease of use asso ciated with the cutting metaphor Using their hands as the cutting to ol users interact directly with the data to generate arbitrarily oriented planar surfaces linear surfaces and curved surfaces We nd that this typ e of interaction is particularly suited for exploratory scientic visualization where features need to b e quickly identied and precise p ositioning is not required We also do cument our investigation on other intuitive metaphors for use with scientic visualization Keywords curves cutting planes exploratory visualization scientic visualization direct manipulation Intro duction As a visualization to ol virtual reality has shown promise in giving users a less inhibited metho d of observing and interacting with data By placing users in the same environment as the data a b etter sense of shap e motion and spatial relationship can b e conveyed Instead of a static view users are able to determine what they see by navigating the data environment just as they would in a real world environment However in the real world we are not just passive observers When examining and learning ab out a new ob ject we have the ability to manipulate b oth the ob ject itself and our surroundings In some cases the ability -
Meant to Provoke Thought Regarding the Current "Software Crisis" at the Time
1 www.onlineeducation.bharatsevaksamaj.net www.bssskillmission.in DATA STRUCTURES Topic Objective: At the end of this topic student will be able to: At the end of this topic student will be able to: Learn about software engineering principles Discover what an algorithm is and explore problem-solving techniques Become aware of structured design and object-oriented design programming methodologies Learn about classes Learn about private, protected, and public members of a class Explore how classes are implemented Become aware of Unified Modeling Language (UML) notation Examine constructors and destructors Learn about the abstract data type (ADT) Explore how classes are used to implement ADT Definition/Overview: Software engineering is the application of a systematic, disciplined, quantifiable approach to the development, operation, and maintenance of software, and the study of these approaches. That is the application of engineering to software. The term software engineering first appeared in the 1968 NATO Software Engineering Conference and WWW.BSSVE.INwas meant to provoke thought regarding the current "software crisis" at the time. Since then, it has continued as a profession and field of study dedicated to creating software that is of higher quality, cheaper, maintainable, and quicker to build. Since the field is still relatively young compared to its sister fields of engineering, there is still much work and debate around what software engineering actually is, and if it deserves the title engineering. It has grown organically out of the limitations of viewing software as just programming. Software development is a term sometimes preferred by practitioners in the industry who view software engineering as too heavy-handed and constrictive to the malleable process of creating software. -
Gaboury 10/01/13
Jacob Gaboury 10/01/13 Object Standards, Standard Objects In December 1949 Martin Heidegger gave a series of four lectures in the city of Bremen, then an isolated part of the American occupation zone following the Second World War. The event marked Heidegger’s first speaking engagement following his removal from his Freiburg professorship by the denazification authorities in 1946, and his first public lecture since his foray into university administration and politics in the early 1930s. Titled Insight Into That Which Is [Einblick in das, was ist],1 the lectures mark the debut of a new direction in Heidegger’s thought and introduce a number of major themes that would be explored in his later work.2 Heidegger opened the Bremen lectures with a work simply titled “The Thing” which begins with a meditation on the collapsing of distance, enabled by modern technology. “Physical distance is dissolved by aircraft. The radio makes information instantly available that once went unknown. The formerly slow and mysterious growth of plants is laid bare through stop-action photography.”3 Yet Heidegger argues that despite all conquest of distances the nearness of things remains absent. What about nearness? How can we come to know its nature? Nearness, it seems, cannot be encountered directly. We succeed in reaching it rather by attending to what is near. Near to us are what we usually call things. But what is a thing?4 This question motivates the lecture, and indeed much of Heidegger’s later thought. In 1 Heidegger, Martin. trans. Andrew J. Mitchell. Bremen and Freiburg Lectures: Insight Into That Which Is and Basic Principals of Thinking. -
To Do Outline Phong Illumination Model Idea of Phong Illumination Phong Formula
To Do Foundations of Computer Graphics (Spring 2010) . Work on HW4 milestone CS 184, Lecture 18: Shading & Texture Mapping . Prepare for final push on HW 4, HW 5 http://inst.eecs.berkeley.edu/~cs184 Many slides from Greg Humphreys, UVA and Rosalee Wolfe, DePaul tutorial teaching texture mapping visually Chapter 11 in text book covers some portions Outline Phong Illumination Model . Brief discussion on Phong illumination model . Specular or glossy materials: highlights and Gouraud, Phong shading . Polished floors, glossy paint, whiteboards . For plastics highlight is color of light source (not object) . Texture Mapping (bulk of lecture) . For metals, highlight depends on surface color . Really, (blurred) reflections of light source These are key components of shading Roughness Idea of Phong Illumination Phong Formula . Find a simple way to create highlights that are view- I ()RE p dependent and happen at about the right place R . Not physically based -L . Use dot product (cosine) of eye and reflection of E light direction about surface normal . Alternatively, dot product of half angle and normal . Raise cosine lobe to some power to control sharpness or roughness R ? R LLNN 2( ) 1 Alternative: Half-Angle (Blinn-Phong) Flat vs. Gouraud Shading I ()NH p N H glShadeModel(GL_FLAT) glShadeModel(GL_SMOOTH) Flat - Determine that each face has a single normal, and color the entire face a single value, based on that normal. In practice, both diffuse and specular Gouraud – Determine the color at each vertex, using the normal at components for most materials that vertex, and interpolate linearly for pixels between vertex locations. Gouraud Shading – Details Gouraud and Errors I1221()()yys Iyy s Ia yy12 . -
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 -
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