Data Sheet: NVIDIA Mental Ray for Maya
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High End Visualization with Scalable Display System
HIGH END VISUALIZATION WITH SCALABLE DISPLAY SYSTEM Dinesh M. Sarode*, Bose S.K.*, Dhekne P.S.*, Venkata P.P.K.*, Computer Division, Bhabha Atomic Research Centre, Mumbai, India Abstract display, then the large number of pixels shows the picture Today we can have huge datasets resulting from in greater details and interaction with it enables the computer simulations (CFD, physics, chemistry etc) and greater insight in understanding the data. However, the sensor measurements (medical, seismic and satellite). memory constraints, lack of the rendering power and the There is exponential growth in computational display resolution offered by even the most powerful requirements in scientific research. Modern parallel graphics workstation makes the visualization of this computers and Grid are providing the required magnitude difficult or impossible. computational power for the simulation runs. The rich While the cost-performance ratio for the component visualization is essential in interpreting the large, dynamic based on semiconductor technologies doubling in every data generated from these simulation runs. The 18 months or beyond that for graphics accelerator cards, visualization process maps these datasets onto graphical the display resolution is lagging far behind. The representations and then generates the pixel resolutions of the displays have been increasing at an representation. The large number of pixels shows the annual rate of 5% for the last two decades. The ability to picture in greater details and interaction with it enables scale the components: graphics accelerator and display by the greater insight on the part of user in understanding the combining them is the most cost-effective way to meet data more quickly, picking out small anomalies that could the ever-increasing demands for high resolution. -
Appearance Exchange Format (Axf) Is the First File Format Exclusively Designed for System-Independent Storage of Measured Digital Appearance
The Digital Twin of a Physical Material Appearance eXchange The inability to capture and manage complex material appearance data in a single, editable, portable file format has been an obstacle to improving the virtualization of products. In practice, Format (AxF) many complex design and production workflows rely on a variety of different software packages, and different file formats must be used in parallel. This poses serious issues when consistency in color and appearance needs to be achieved. X-Rite’s Appearance eXchange Format (AxF) is the first file format exclusively designed for system-independent storage of measured digital appearance. AxF is a binary digital file format that delivers a standardized format for storing and communicating complex materials appearance data. It is used within X-Rite’s Total Appearance Capture (TAC) Ecosystem, and it can be ingested into a variety of CAD, PLM, 3D rendering and plug-in solutions used in product design, development, manufacturing, sales and marketing. One file format to use in any solution where material images are utilized. It is an industry first that is helping brands reduce cycle times, control costs and ensure consistency in color and appearance. • AxF is not restricted to a single representation of surface reflectance. From a single spectrum up to full BSSRDF, it supports continuous appearance representations, including parametric BRDF models as well as BTF measurements. • AxF is scalable, extensible and portable, ensuring efficient access for large data volumes of gigabytes or more. Extensions can be defined without harming existing support in third-party applications. SDKs are available for Windows and Linux operating systems with support for Mac under development. -
Full CUDA Implementation of GPGPU Recursive Ray-Tracing Andrew D
Purdue University Purdue e-Pubs College of Technology Masters Theses College of Technology Theses and Projects 4-30-2010 Full CUDA Implementation Of GPGPU Recursive Ray-Tracing Andrew D. Britton Purdue University - Main Campus, [email protected] Follow this and additional works at: http://docs.lib.purdue.edu/techmasters Britton, Andrew D., "Full CUDA Implementation Of GPGPU Recursive Ray-Tracing" (2010). College of Technology Masters Theses. Paper 24. http://docs.lib.purdue.edu/techmasters/24 This document has been made available through Purdue e-Pubs, a service of the Purdue University Libraries. Please contact [email protected] for additional information. Graduate School ETD Form 9 (Revised 12/07) PURDUE UNIVERSITY GRADUATE SCHOOL Thesis/Dissertation Acceptance This is to certify that the thesis/dissertation prepared Andrew Duncan Britton By Entitled FULL CUDA IMPLEMENTATION OF GPGPU RECURSIVE RAY-TRACING For the degree of Master of Science Is approved by the final examining committee: Dr. Bedrich Benes Chair Dr. James Mohler Eliot Mack To the best of my knowledge and as understood by the student in the Research Integrity and Copyright Disclaimer (Graduate School Form 20), this thesis/dissertation adheres to the provisions of Purdue University’s “Policy on Integrity in Research” and the use of copyrighted material. Dr. Bedrich Benes Approved by Major Professor(s): ____________________________________ ____________________________________ Approved by: Dr. James Mohler April 21, 2010 Head of the Graduate Program Date Graduate School -
Order Independent Transparency in Opengl 4.X Christoph Kubisch – [email protected] TRANSPARENT EFFECTS
Order Independent Transparency In OpenGL 4.x Christoph Kubisch – [email protected] TRANSPARENT EFFECTS . Photorealism: – Glass, transmissive materials – Participating media (smoke...) – Simplification of hair rendering . Scientific Visualization – Reveal obscured objects – Show data in layers 2 THE CHALLENGE . Blending Operator is not commutative . Front to Back . Back to Front – Sorting objects not sufficient – Sorting triangles not sufficient . Very costly, also many state changes . Need to sort „fragments“ 3 RENDERING APPROACHES . OpenGL 4.x allows various one- or two-pass variants . Previous high quality approaches – Stochastic Transparency [Enderton et al.] – Depth Peeling [Everitt] 3 peel layers – Caveat: Multiple scene passes model courtesy of PTC required Peak ~84 layers 4 RECORD & SORT 4 2 3 1 . Render Opaque – Depth-buffer rejects occluded layout (early_fragment_tests) in; fragments 1 2 3 . Render Transparent 4 – Record color + depth uvec2(packUnorm4x8 (color), floatBitsToUint (gl_FragCoord.z) ); . Resolve Transparent 1 2 3 4 – Fullscreen sort & blend per pixel 4 2 3 1 5 RESOLVE . Fullscreen pass uvec2 fragments[K]; // encodes color and depth – Not efficient to globally sort all fragments per pixel n = load (fragments); sort (fragments,n); – Sort K nearest correctly via vec4 color = vec4(0); register array for (i < n) { blend (color, fragments[i]); – Blend fullscreen on top of } framebuffer gl_FragColor = color; 6 TAIL HANDLING . Tail Handling: – Discard Fragments > K – Blend below sorted and hope error is not obvious [Salvi et al.] . Many close low alpha values are problematic . May not be frame- coherent (flicker) if blend is not primitive- ordered K = 4 K = 4 K = 16 Tailblend 7 RECORD TECHNIQUES . Unbounded: – Record all fragments that fit in scratch buffer – Find & Sort K closest later + fast record - slow resolve - out of memory issues 8 HOW TO STORE . -
Best Practice for Mobile
If this doesn’t look familiar, you’re in the wrong conference 1 This section of the course is about the ways that mobile graphics hardware works, and how to work with this hardware to get the best performance. The focus here is on the Vulkan API because the explicit nature exposes the hardware, but the principles apply to other programming models. There are ways of getting better mobile efficiency by reducing what you’re drawing: running at lower frame rate or resolution, only redrawing what and when you need to, etc.; we’ve addressed those in previous years and you can find some content on the course web site, but this time the focus is on high-performance 3D rendering. Those other techniques still apply, but this talk is about how to keep the graphics moving and assuming you’re already doing what you can to reduce your workload. 2 Mobile graphics processing units are usually fundamentally different from classical desktop designs. * Mobile GPUs mostly (but not exclusively) use tiling, desktop GPUs tend to use immediate-mode renderers. * They use system RAM rather than dedicated local memory and a bus connection to the GPU. * They have multiple cores (but not so much hyperthreading), some of which may be optimised for low power rather than performance. * Vulkan and similar APIs make these features more visible to the developer. Here, we’re mostly using Vulkan for examples – but the architectural behaviour applies to other APIs. 3 Let’s start with the tiled renderer. There are many approaches to tiling, even within a company. -
Nitin Singh - Senior CG Generalist
Nitin Singh - Senior CG Generalist. Email: [email protected] Montreal, Canada Website: www.NitinSingh.net HONORS & AWARDS * VISUAL EFFECTS SOCIETY AWARDS (VES) 2014 (Outstanding Created Environment in a Commercial or Broadcast Program) for Game Of Thrones ( Project Lead ) “The Climb”. * PRIMETIME EMMY AWARDS 2013 ( as Model and Texture Lead ) for Game of Thrones. “Valar Dohaeris” (Season 03) EXPERIENCE______________________________________________________________________________________________ Environment TD at Framestore, Montreal (Feb.05.2018 - June.09.2018) Projects:- The Aeronauts, Captain Marvel. * procedural texturing and lookDev for full CG environments. * Developing custom calisthenics shaders for procedural environment texturing and look development. * Making clouds procedurally in Houdini, Layout, Lookdev, and rendering of Assets / Shots in FrameStore's proprietary rendering engine. Software's Used: FrameStore's custom texturing and lighting tools, Maya, Arnold, Terragen 4. __________________________________________________________________________________________________________ Environment Pipeline TD at Method Studios (Iloura), Melbourne (Feb.05.2018 - June.09.2018) Projects:- Tomb Raider, Aquaman. * Developing custom pipeline tools for layout and Environment Dept. using Python and PyQt4. * Modeling and texturing full CG environment's with Substance Designer and Zbrush. *Texturing High res. photo-real textures for CG environments and assets. Software's Used: Maya, World Machine, Mari, Zbrush, Mudbox, Nuke, Vray 3.0, Photoshop, -
Power Optimizations for Graphics Processors
POWER OPTIMIZATIONS FOR GRAPHICS PROCESSORS B.V.N.SILPA DEPARTMENT OF COMPUTER SCIENCE & ENGINEERING INDIAN INSTITUTE OF TECHNOLOGY DELHI March 2011 POWER OPTIMAZTIONS FOR GRAPHICS PROCESSORS by B.V.N.SILPA Department of Computer Science and Engineering Submitted in fulfillment of the requirements of the degree of Doctor of Philosophy to the Indian Institute of Technology Delhi March 2011 Certificate This is to certify that the thesis titled Power optimizations for graphics pro- cessors being submitted by B V N Silpa for the award of Doctor of Philosophy in Computer Science & Engg. is a record of bona fide work carried out by her under my guidance and supervision at the Deptartment of Computer Science & Engineer- ing, Indian Institute of Technology Delhi. The work presented in this thesis has not been submitted elsewhere, either in part or full, for the award of any other degree or diploma. Preeti Ranjan Panda Professor Dept. of Computer Science & Engg. Indian Institute of Technology Delhi Acknowledgment It is with immense gratitude that I acknowledge the support and help of my Professor Preeti Ranjan Panda in guiding me through this thesis. I would like to thank Professors M. Balakrishnan, Anshul Kumar, G.S. Visweswaran and Kolin Paul for their valuable feedback, suggestions and help in all respects. I am indebted to my dear friend G Kr- ishnaiah for being my constant support and an impartial critique. I would like to thank Neeraj Goel, Anant Vishnoi and Aryabartta Sahu for their technical and moral support. I would also like to thank the staff of Philips, FPGA, Intel laboratories and IIT Delhi for their help. -
Configuring 3Ds Max/Design to Use Men- Tal Ray and Setting Mental Ray As a Default for All New Scenes
Chapter 1 mental ray Essentials mental ray by mental images is an advanced, Academy Award–winning rendering engine included with Autodesk’s 3ds Max and 3ds Max Design applications. This industry-standard renderer is used in a multitude of productions ranging from the latest sci-fi and action movies to visually rich game cinematics to stunning renderings of vehicles, architecture, and products yet only imagined. mental ray is integrated in 3D applications from a variety of developers, most notably by Autodesk, and is the leading rendering application in the world. In this chapter, I introduce you to a number of important topics for both Autodesk’s 3ds Max/ Design product and the mental ray rendering engine. This chapter ensures that you have a num- ber of critical skills and all the valuable information that you will need as you move forward. In this chapter, you will learn to •u Set up mental ray •u Configure 3ds Max/Design •u Configure gamma settings •u Configure essential quality settings •u Adjust Final Gather presets mental ray Overview mental ray provides a number of high-end render features: Bucket rendering mental ray renders scenes in square areas of your image called buckets or tiles; each processor core in your machine takes a bucket and processes that portion of the rendering before moving on to process the next available bucket. Brackets appear around each bucket as it is processing, and when the bucket completes, mental ray jumps to the next easiest bucket to manage. Figure 1.1 shows completed buckets and four buckets that are in process on a COPYRIGHTEDquad-core machine. -
Opengl FAQ and Troubleshooting Guide
OpenGL FAQ and Troubleshooting Guide Table of Contents OpenGL FAQ and Troubleshooting Guide v1.2001.11.01..............................................................................1 1 About the FAQ...............................................................................................................................................13 2 Getting Started ............................................................................................................................................18 3 GLUT..............................................................................................................................................................33 4 GLU.................................................................................................................................................................37 5 Microsoft Windows Specifics........................................................................................................................40 6 Windows, Buffers, and Rendering Contexts...............................................................................................48 7 Interacting with the Window System, Operating System, and Input Devices........................................49 8 Using Viewing and Camera Transforms, and gluLookAt().......................................................................51 9 Transformations.............................................................................................................................................55 10 Clipping, Culling, -
Ray Tracing on Programmable Graphics Hardware
Ray Tracing on Programmable Graphics Hardware Timothy J. Purcell Ian Buck William R. Mark ∗ Pat Hanrahan Stanford University † Abstract In this paper, we describe an alternative approach to real-time ray tracing that has the potential to out perform CPU-based algorithms Recently a breakthrough has occurred in graphics hardware: fixed without requiring fundamentally new hardware: using commodity function pipelines have been replaced with programmable vertex programmable graphics hardware to implement ray tracing. Graph- and fragment processors. In the near future, the graphics pipeline ics hardware has recently evolved from a fixed-function graph- is likely to evolve into a general programmable stream processor ics pipeline optimized for rendering texture-mapped triangles to a capable of more than simply feed-forward triangle rendering. graphics pipeline with programmable vertex and fragment stages. In this paper, we evaluate these trends in programmability of In the near-term (next year or two) the graphics processor (GPU) the graphics pipeline and explain how ray tracing can be mapped fragment program stage will likely be generalized to include float- to graphics hardware. Using our simulator, we analyze the per- ing point computation and a complete, orthogonal instruction set. formance of a ray casting implementation on next generation pro- These capabilities are being demanded by programmers using the grammable graphics hardware. In addition, we compare the perfor- current hardware. As we will show, these capabilities are also suf- mance difference between non-branching programmable hardware ficient for us to write a complete ray tracer for this hardware. As using a multipass implementation and an architecture that supports the programmable stages become more general, the hardware can branching. -
Nvidia Mental Ray Transition Faq
NVIDIA MENTAL RAY TRANSITION FAQ NVIDIA will no longer offer new subscriptions to the Mental Ray plugins for Maya and 3ds Max, as well as Mental Ray standalone. Current customers who have purchased licenses from NVIDIA will continue to receive support through our Advanced Rendering Forum for the remainder of their subscription terms. All NVIDIA Mental Ray plugin customers with a subscription valid in November 2017, including educational license holders, are eligible to receive a license extension. Q: What is happening to Mental Ray? Q: What about Service Packs or Bug Fix updates? Q: Why is Mental Ray being discontinued? A: NVIDIA will no longer offer new subscriptions to A: There will be maintenance releases with bug fixes A: To bring AI and further GPU acceleration to the NVIDIA® Mental Ray® plugins for Maya and throughout 2018 for plugin customers. They will graphics, NVIDIA continues to significantly focus 3ds Max, as well as Mental Ray standalone from also add support for the upcoming NVIDIA Volta™ on developing SDKs and technologies for software November 20th, 2017 onward. GPU generation. These releases will be announced development partners who create professional ray There will be maintenance releases with bug fixes in the Mental Ray topics of the Advanced tracing products. throughout 2018 for plugin customers. Rendering Forum. NVIDIA will focus on bringing GPU accelerated ray tracing technology to every rendering product Q: What if I need to use Mental Ray beyond my Q: Can I purchase or renew my license subscription out there. Therefore, it further invests into core subscription term? of Mental Ray? rendering technology, like: th A: All Mental Ray plugin customers with a A: As of November 20 , 2017, new licenses of Mental > NVIDIA OptiX and real-time ray tracing subscription valid in November 2017, including Ray products cannot be purchased anymore. -
ITP 215 Introduction to 3D Modeling, Animation, and Visual Effects Units: 2 Spring 2019 – Tuesdays/Thursdays 10Am-11:50Am
ITP 215 Introduction to 3D Modeling, Animation, and Visual Effects Units: 2 Spring 2019 – Tuesdays/Thursdays 10am-11:50am Location: KAP 107 Course notes and resources on Blackboard.usc.edu. Instructor: Lance Winkel Office: OHE 530 H Office Hours: Tuesdays / Thursdays 8am-10am, 2-3pm Contact Info: [email protected], 213.740.9959. I check email daily and will reply within 24 hours. Teaching Assistant: Office: Physical or virtual address Office Hours: Contact Info: Email, phone number (office, cell), Skype, etc. IT Help: Group to contact for technological services, if applicable. Hours of Service: Contact Info: Email, phone number (office, cell), Skype, etc. Revised July 2016 Course Description An applied introduction to the techniques used for modeling, animating, texturing, lighting, rendering, and creating 3D content for games, cinematics, visual effects, animation, and visualizations. Learning Objectives Gain a thorough applied foundation in the practice of 3D modeling, animation, surfacing, and special effects. Understand the processes involved in the creation of 3D content for animation, games, entertainment, and design. Use industry leading software and tools to explore the production cycle of animation, how pipelines are implemented to support the production process, and how to manage vision, budget, and time constraints. Develop an understanding of the diverse methods available for achieving similar results and the decision-making processes involved at various stages of project development. Gain insight into the differences among the various animation tools. Understanding the opportunities and tracks in the field of 3D animation. Prerequisite(s): None. Co-Requisite(s): None. Concurrent Enrollment: None. Recommended Preparation: Knowledge of any 2D graphics, paint, drawing, or CAD program is recommended but not required.