DOCSLIB.ORG

Memoria Undernet

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Memoria Undernet Escola Universitària d’Enginyeria Tècnica de Telecomunicació La Salle Treball Final de Grau Grau en Enginyeria Multimèdia UNDERNET Alumne Professor Ponent Joan Vidal López Marc Antonijuan Tresens ACTA DE L'EXAMEN DEL TREBALL FI DE CARRERA Reunit el Tribunal qualificador en el dia de la data, l'alumne D. Joan Vidal López va exposar el seu Treball de Fi de Carrera, el qual va tractar sobre el tema següent: UnderNET Acabada l'exposició i contestades per part de l'alumne les objeccions formulades pels Srs. membres del tribunal, aquest valorà l'esmentat Treball amb la qualificació de Barcelona, VOCAL DEL TRIBUNAL VOCAL DEL TRIBUNAL PRESIDENT DEL TRIBUNAL Agraïments M’agradaria dedicar aquest projecte a aquelles persones que al llarg d’aquest temps han col·laborat ja sigui amb paciència, ajuda o temps hagi pogut realitzar-se. Al meu pare, la meva mare i germans pel seu suport innestimable. I especialment a aquelles persones que no han pogut veure’l finalitzat: als meus avis. A Gregorio que, juntament amb el meu pare, m’han transmés la passió per la tecnologia i a Juan, el primer “enginyer” de la familia. UnderNET ÍNDEX RESUM ............................................................................................................................................... 3 1. INTRODUCCIÓ ............................................................................................................................ 4 2. ESTAT DE L’ART .......................................................................................................................... 7 3. EDUTAIMENT ........................................................................................................................... 10 4. DISSENY DEL JOC ...................................................................................................................... 13 4.1 CONSIDERACIONS PRÈVIES ............................................................................................................ 13 Quin tipus de joc es vol realitzar ..................................................................................................... 13 4.2 GAME DESIGN DOCUMENT ........................................................................................................... 16 4.3 GDD v1 ........................................................................................................................................... 17 4.4 GDD v2 ........................................................................................................................................... 18 GAME DESING DOCUMENT – UNEDERNET v2 ................................................................................ 19 5. CREACIÓ DE L’ART .................................................................................................................... 27 5.1 INSPIRACIÓ .................................................................................................................................... 27 5.2 ART WORK ..................................................................................................................................... 29 MOODBOARD .................................................................................................................................. 29 PALETA DE COLORS ......................................................................................................................... 29 GUI .................................................................................................................................................. 30 5.3 DISSENYS FINALS ........................................................................................................................... 31 GUIs ................................................................................................................................................. 31 MODELATGES 3D............................................................................................................................. 33 TEXTURES ........................................................................................................................................ 39 6. IMPLEMENTACIÓ ..................................................................................................................... 41 6.1 DEFINICIÓ TECNOLOGIA ................................................................................................................ 41 COMPARATIVA MOTORS GRÀFICS .................................................................................................. 41 ELECCIÓ MOTOR GRÀFIC ................................................................................................................. 46 6.2 ENTORN DE DESENVOLUPAMENT ................................................................................................. 47 IDE UNITY ........................................................................................................................................ 47 MICROSOFT VISUAL STUDIO 2012 .................................................................................................. 48 6.3 GESTIÓ DEL PROJECTE AMB UNITY................................................................................................ 49 Scripts .............................................................................................................................................. 49 Jerarquia del projecte ..................................................................................................................... 49 6.4 DESENVOLUPAMENT DE NIVELLS .................................................................................................. 51 MAZE: NIVELL 1 ............................................................................................................................... 51 CITY: NIVELL 2 ................................................................................................................................. 53 1 UnderNET DEVICE: NIVELL 3 ............................................................................................................................. 56 MENU I EXPLICATIUS ....................................................................................................................... 57 6.5 EXPORTACIÓ .................................................................................................................................. 58 6.6 TECNOLOGIES NO APLICADES........................................................................................................ 59 GENERADOR DE LABERINTS ............................................................................................................ 59 PATHFINDING .................................................................................................................................. 60 XML / DLLs ....................................................................................................................................... 62 7. RESULTATS ............................................................................................................................... 64 8. CONCLUSIONS .......................................................................................................................... 65 9. LÍNIES DE FUTUR ...................................................................................................................... 67 10. ESTUDI DE COSTOS............................................................................................................... 69 ÍNDEX DE FIGURES ............................................................................................................................ 70 BIBLIOGRAFIA ................................................................................................................................... 72 ANNEX .............................................................................................................................................. 74 2 UnderNET RESUM En un món cada cop més interactiu els mètodes tradicionals d’ensenyament poden no satisfer les necessitats de l’estudiant en la seva totalitat. Aquest projecte pretén oferir una eina didàctica que permeti ajudar a assentar coneixements acadèmics, els quals es centraran en l’àmbit de la telemàtica. El resultat és l’estructura bàsica d’un videojoc que permetrà aprendre i aprofundir en els coneixements de l’estudiant, mentre interactua amb el seu entorn real. Per dur-ho a terme s’ha recorregut les diverses fases tradicionals de la creació dels videojocs des del seu disseny fins la seva implementació, sempre partint de la vessant didàctica. En un mundo cada vez más interactivo los métodos educativos tradicionales pueden no satisfacer las necesidades del estudiante en su totalidad. Este proyecto pretende ofrecer una herramienta didáctica que permita ayudar a asentar conocimientos académicos, los cuales se centrarán en el ámbito de la telemática. El resultado es la estructura básica de un videojuego que permitirá aprender y profundizar en los conocimientos del estudiante, mientras interactúa con su entorno real. Para su realización se han recorrido las diversas fases tradicionales en la creación de videojuegos desde su diseño a su implementación, siempre partiendo de la perspectiva didáctica. In an increasingly interactive world, traditional educational methods may not meet students’ needs completely. This project aims to provide an educational tool which enables us to help to consolidate knowledge focused on the field of telematics. The result is the basic structure
Load more

Recommended publications
  • Vzorová Prezentace Dcgi
    Textures Jiří Bittner, Vlastimil Havran Textures . Motivation - What are textures good for? MPG 13 . Texture mapping principles . Using textures in rendering . Summary 2 Textures Add Details 3 Cheap Way of Increasing Visual Quality 4 Textures - Introduction . Surface macrostructure . Sub tasks: - Texture definition: image, function, … - Texture mapping • positioning the texture on object (assigning texture coordinates) - Texture rendering • what is influenced by texture (modulating color, reflection, shape) 5 Typical Use of (2D) Texture . Texture coordinates (u,v) in range [0-1]2 u brick wall texel color v (x,y,z) (u,v) texture spatial parametric image coordinates coordinates coordinates 6 Texture Data Source . Image - Data matrix - Possibly compressed . Procedural - Simple functions (checkerboard, hatching) - Noise functions - Specific models (marvle, wood, car paint) 8 Texture Dimension . 2D – images . 1D – transfer function (e.g. color of heightfield) . 3D – material from which model is manufactured (wood, marble, …) - Hypertexture – 3D model of partly transparent materials (smoke, hair, fire) . +Time – animated textures 9 Texture Data . Scalar values - weight, intensity, … . Vectors - color - spectral color 10 Textures . Motivation - What are textures good for? MPG 13 . Texture mapping principles . Using textures in rendering . Summary 11 Texture Mapping Principle Texture application Planar Mapping texture 2D image to 3D surface (Inverse) texture mapping T: [u v] –> Color M: [x y z] –> [u v] M ◦ T: [x y z] –> [u v] –> Color 12 Texture Mapping – Basic Principles . Inverse mapping . Geometric mapping using proxy surface . Environment mapping 13 Inverse Texture Mapping – Simple Shapes . sphere, toroid, cube, cone, cylinder T(u,v) (M ◦ T) (x,y,z) v z v y u u x z z [x, y, z] r r h y β α y x x [u,v]=[0,0.5] [u,v]=[0,0] 14 Texture Mapping using Proxy Surface .
    [Show full text]
  • Environment Mapping
    Environment Mapping Computer Graphics CSE 167 Lecture 13 CSE 167: Computer graphics • Environment mapping – An image‐based lighting method – Approximates the appearance of a surface using a precomputed texture image (or images) – In general, the fastest method of rendering a surface CSE 167, Winter 2018 2 More realistic illumination • In the real world, at each point in a scene, light arrives from all directions (not just from a few point light sources) – Global illumination is a solution, but is computationally expensive – An alternative to global illumination is an environment map • Store “omni‐directional” illumination as images • Each pixel corresponds to light from a certain direction • Sky boxes make for great environment maps CSE 167, Winter 2018 3 Based on slides courtesy of Jurgen Schulze Reflection mapping • Early (earliest?) non‐decal use of textures • Appearance of shiny objects – Phong highlights produce blurry highlights for glossy surfaces – A polished (shiny) object reflects a sharp image of its environment 2004] • The whole key to a Adelson & shiny‐looking material is Willsky, providing something for it to reflect [Dror, CSE 167, Winter 2018 4 Reflection mapping • A function from the sphere to colors, stored as a texture 1976] Newell & [Blinn CSE 167, Winter 2018 5 Reflection mapping • Interface (Lance Williams, 1985) Video CSE 167, Winter 2018 6 Reflection mapping • Flight of the Navigator (1986) CSE 167, Winter 2018 7 Reflection mapping • Terminator 2 (1991) CSE 167, Winter 2018 8 Reflection mapping • Star Wars: Episode
    [Show full text]
  • Ahenvironmentlight Version 3.0 for DAZ Studio Version 3.0.1.139 and Above
    ahEnvironmentLight V3 for DAZ Studio 3.0 by Pendragon - Manual Page 1 of 32 © 2009 by Arthur Heinz - All Rights Reserved. ahEnvironmentLight Version 3.0 for DAZ Studio Version 3.0.1.139 and above Arthur Heinz aka “Pendragon” <[email protected]> ahEnvironmentLight V3 for DAZ Studio 3.0 by Pendragon - Manual Page 2 of 32 © 2009 by Arthur Heinz - All Rights Reserved. Table of Contents Featured Highlights of Version 3.0 ...................................................................................................................4 Quick Start........................................................................................................................................................5 Where to find the various parts....................................................................................................................5 Loading and rendering a scene with the IBL light........................................................................................6 New features concerning setup...................................................................................................................8 Preview Light..........................................................................................................................................8 Internal IBL Image Rotation Parameters...............................................................................................10 Overall Illumination Settings.................................................................................................................10
    [Show full text]
  • IBL in GUI for Mobile Devices Andreas Nilsson
    LiU-ITN-TEK-A--11/025--SE IBL in GUI for mobile devices Andreas Nilsson 2011-05-11 Department of Science and Technology Institutionen för teknik och naturvetenskap Linköping University Linköpings universitet SE-601 74 Norrköping, Sweden 601 74 Norrköping LiU-ITN-TEK-A--11/025--SE IBL in GUI for mobile devices Examensarbete utfört i medieteknik vid Tekniska högskolan vid Linköpings universitet Andreas Nilsson Examinator Ivan Rankin Norrköping 2011-05-11 Upphovsrätt Detta dokument hålls tillgängligt på Internet – eller dess framtida ersättare – under en längre tid från publiceringsdatum under förutsättning att inga extra- ordinära omständigheter uppstår. Tillgång till dokumentet innebär tillstånd för var och en att läsa, ladda ner, skriva ut enstaka kopior för enskilt bruk och att använda det oförändrat för ickekommersiell forskning och för undervisning. Överföring av upphovsrätten vid en senare tidpunkt kan inte upphäva detta tillstånd. All annan användning av dokumentet kräver upphovsmannens medgivande. För att garantera äktheten, säkerheten och tillgängligheten finns det lösningar av teknisk och administrativ art. Upphovsmannens ideella rätt innefattar rätt att bli nämnd som upphovsman i den omfattning som god sed kräver vid användning av dokumentet på ovan beskrivna sätt samt skydd mot att dokumentet ändras eller presenteras i sådan form eller i sådant sammanhang som är kränkande för upphovsmannens litterära eller konstnärliga anseende eller egenart. För ytterligare information om Linköping University Electronic Press se förlagets hemsida http://www.ep.liu.se/ Copyright The publishers will keep this document online on the Internet - or its possible replacement - for a considerable time from the date of publication barring exceptional circumstances. The online availability of the document implies a permanent permission for anyone to read, to download, to print out single copies for your own use and to use it unchanged for any non-commercial research and educational purpose.
    [Show full text]
  • Reflective Bump Mapping
    Reflective Bump Mapping Cass Everitt NVIDIA Corporation [email protected] Overview • Review of per-vertex reflection mapping • Bump mapping and reflection mapping • Reflective Bump Mapping • Pseudo-reflective bump mapping • Offset bump mapping, or EMBM (misnomer) • Tangent-space support? • Common usage • True Reflective bump mapping • Simple object-space implementation • Supports tangent-space, and more normal control 2 Per-Vertex Reflection Mapping • Normals are transformed into eye-space • “u” vector is the normalized eye-space vertex position • Reflection vector is calculated in eye-space as r = u − 2n(n •u) Note that this equation depends on n being unit length • Reflection vector is transformed into cubemap- space with the texture matrix • Since the cubemap represents the environment, cubemap-space is typically the same as world- space • OpenGL does not have an explicit world-space, but the application usually does 3 Per-Vertex Reflection Mapping Diagram Eye Space Cube Map Space (usually world space) -z -z r n texture e -x x matrix r n e -x x Reflection vector is computed cube in eye space and rotated in to map cubemap space by the texture matrix eye cube eye map 4 Bump Mapping and Reflection Mapping • Bump mapping and (per-vertex) reflection mapping don’t look right together • Reflection Mapping is a form of specular lighting • Would be like combining per-vertex specular with per-pixel diffuse • Looks like a bumpy surface with a smooth enamel gloss coat • Really need per-fragment reflection mapping • Doing it right requires a lot of
    [Show full text]
  • Environment Mapping Techniques
    chapter07.qxd 2/6/2003 3:49 PM Page 169 Chapter 7 Environment Mapping Techniques This chapter explains environment mapping and presents several applications of the technique. The chapter has the following four sections: • “Environment Mapping” introduces the technique and explains its key assump- tions and limitations. • “Reflective Environment Mapping” explains the physics of reflection and how to simulate reflective materials with environment mapping. • “Refractive Environment Mapping” describes Snell’s Law and shows how to use environment maps to implement an effect that approximates refraction. • “The Fresnel Effect and Chromatic Dispersion” combines reflection, refraction, the Fresnel effect, and the chromatic properties of light to produce a more complex effect called chromatic dispersion. 7.1 Environment Mapping The preceding chapters showed some basic shading techniques. By now, you know how to light, transform, texture, and animate objects with Cg. However, your render- ings are probably not quite what you envisioned. The next few chapters describe a few simple techniques that can dramatically improve your images. This chapter presents several techniques based on environment mapping. Environment mapping simulates an object reflecting its surroundings. In its simplest form, environ- ment mapping gives rendered objects a chrome-like appearance. 169 7.1 Environment Mapping chapter07.qxd 2/6/2003 3:49 PM Page 170 Environment mapping assumes that an object’s environment (that is, everything sur- rounding it) is infinitely distant from the object and, therefore, can be encoded in an omnidirectional image known as an environment map. 7.1.1 Cube Map Textures All recent GPUs support a type of texture known as a cube map.
    [Show full text]
  • Blinn/Newell Method(1976)
    Texturing Methods Alpha Mapping Light Mapping Gloss Mapping Environment Mapping ◦ Blinn/Newell ◦ Cube, Sphere, Paraboloid Mapping Bump Mapping ◦ Emboss Method ◦ EM bump mapping ITCS 3050:Game Engine Design 1 Texturing Methods Alpha Mapping Decaling: Eg., flower in a teapot, parts outside of the flower have α = 0; clamp to border mode with a transparent border. Cutouts: Similar idea, but make all background pixels to be trans- parent. ”Tree” example: Combine the tree texture with a rotated copy to form a cheap 3D tree. ITCS 3050:Game Engine Design 2 Texturing Methods Light Mapping For static environments, diffuse lighting is view independent, specu- lar lighting is not. Can capture diffuse illumination in a texture, as a light map Useful to perform light mapping in a separate stage - can use smaller textures, use texture animation (moving spotlights) Volume light textures provide more comprehensive light maps. ITCS 3050:Game Engine Design 3 Texturing Methods Gloss Mapping Gloss mapping helps selective use of glossiness (shininess) on 3D objects Example: Brick wall with shiny bricks, dull mortar - use a gloss map with high values for brick positions and low values elsewhere. o = tdiff ⊗ idiff + tglossispec Thus, we simply enhance the brightness of the highlights using the gloss map. ITCS 3050:Game Engine Design 4 Texturing Methods Environment Mapping (EM) Introduced by Blinn and Newell. Also called reflection mapping, powerful means to obtain reflections in curved surfaces. Uses the direction of the reflection vector as an index into an image containing the environment. Assumptions: lights are far, no self reflection. ITCS 3050:Game Engine Design 5 Texturing Methods Environment Mapping Procedure Generate 2D image of environment Pixels containing reflective objects - compute reflection vector from normal and view vector Compute index into environment map, using the reflection vector Retrieve texel from the EM to color pixel.
    [Show full text]
  • 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
    [Show full text]
  • Rendering Mirror Surfaces Ray Tracing Environment Mapping (Reflection
    COMP 557 18 - environment mapping Mar. 12, 2015 Rendering mirror surfaces The next texture mapping method assumes we have a mirror surface, or at least a reflectance function that contains a mirror component. Examples might be a car window or hood, a puddle on the ground, or highly polished metal or ceramic. The intensity of light reflected off each surface point towards the camera depends on what is visible from the surface in the \mirror direction." We write the formula for mirror reflection r = 2n(n · v) − v where v is the direction to the viewer and r is the direction of the incoming ray. This is essentially the same relationship that we saw in lecture 12 for two rays related by a mirror reflection, except there we had l instead of r for the direction of the incident ray. (We could have used l again here, but I chose not to because I want to emphasize that we are not considering a light source direction. Rather we are considering anything that can be seen in that mirror reflection direction.) Note that since the mirror surface is a finite distance away, the v vector will typically vary along the surface regardless of whether the normal n varies. Since both the surface normal and v can vary along the surface, the reflection vector r vector typically varies along the surface as well. Ray tracing To correctly render the image seen \in the mirror," we would need to cast a ray into the scene from the surface point and in direction r.
    [Show full text]
  • 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 ................................................
    [Show full text]
  • Texture Mapping
    Texture Mapping University of Texas at Austin CS384G - Computer Graphics Fall 2010 Don Fussell Reading Required Watt, intro to Chapter 8 and intros to 8.1, 8.4, 8.6, 8.8. Recommended Paul S. Heckbert. Survey of texture mapping. IEEE Computer Graphics and Applications 6(11): 56--67, November 1986. Optional Watt, the rest of Chapter 8 Woo, Neider, & Davis, Chapter 9 James F. Blinn and Martin E. Newell. Texture and reflection in computer generated images. Communications of the ACM 19(10): 542--547, October 1976. University of Texas at Austin CS384G - Computer Graphics Fall 2010 Don Fussell 2 What adds visual realism? Geometry only Phong shading Phong shading + Texture maps University of Texas at Austin CS384G - Computer Graphics Fall 2010 Don Fussell 3 Texture mapping Texture mapping (Woo et al., fig. 9-1) Texture mapping allows you to take a simple polygon and give it the appearance of something much more complex. Due to Ed Catmull, PhD thesis, 1974 Refined by Blinn & Newell, 1976 Texture mapping ensures that “all the right things” happen as a textured polygon is transformed and rendered. University of Texas at Austin CS384G - Computer Graphics Fall 2010 Don Fussell 4 Non-parametric texture mapping With “non-parametric texture mapping”: Texture size and orientation are fixed They are unrelated to size and orientation of polygon Gives cookie-cutter effect University of Texas at Austin CS384G - Computer Graphics Fall 2010 Don Fussell 5 Parametric texture mapping With “parametric texture mapping,” texture size and orientation are tied to the
    [Show full text]
  • Environment Mapping
    CS 418: Interactive Computer Graphics Environment Mapping Eric Shaffer Some slides adapted from Angel and Shreiner: Interactive Computer Graphics 7E © Addison-Wesley 2015 Environment Mapping How can we render reflections with a rasterization engine? When shading a fragment, usually don’t know other scene geometry Answer: use texture mapping…. Create a texture of the environment Map it onto mirror object surface Any suggestions how generate (u,v)? Types of Environment Maps Sphere Mapping Classic technique… Not supported by WebGL OpenGL supports sphere mapping which requires a circular texture map equivalent to an image taken with a fisheye lens Sphere Mapping Example 5 Sphere Mapping Limitations Visual artifacts are common Sphere mapping is view dependent Acquisition of images non-trivial Need fisheye lens Or render from fisheye lens Cube maps are easier to acquire Or render Acquiring a Sphere Map…. Take a picture of a shiny sphere in a real environment Or render the environment into a texture (see next slide) Why View Dependent? Conceptually a sphere map is generated like ray-tracing Records reflection under orthographic projection From a given view point What is a drawback of this? Cube Map Cube mapping takes a different approach…. Imagine an object is in a box …and you can see the environment through that box 9 Forming a Cube Map Reflection Mapping How Does WebGL Index into Cube Map? •To access the cube map you compute R = 2(N·V)N-V •Then, in your shader vec4 texColor = textureCube(texMap, R); V R •How does WebGL
    [Show full text]