3D Graphics Software a Software Package Used in the Development and Manipulation of 3D Computer Graphics. Examples Include 3Ds Max, Blender, Maya, Mudbox, Zbrush
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Universidade Tecnológica Federal Do Paraná Campus Curitiba – Sede Central Departamento Acadêmico De Desenho Industrial Tecnologia Em Design Gráfico
UNIVERSIDADE TECNOLÓGICA FEDERAL DO PARANÁ CAMPUS CURITIBA – SEDE CENTRAL DEPARTAMENTO ACADÊMICO DE DESENHO INDUSTRIAL TECNOLOGIA EM DESIGN GRÁFICO ALEXANDRE DA SILVA SANTANA A ESTAÇÃO DE TREM DE CURITIBA EM MODELAGEM 3D: UMA FORMA DE RETRATAR A HISTÓRIA DO TREM TRABALHO DE CONCLUSÃO DE CURSO CURITIBA-PR 2017 ALEXANDRE DA SILVA SANTANA A ESTAÇÃO DE TREM DE CURITIBA EM MODELAGEM 3D: UMA FORMA DE RETRATAR A HISTÓRIA DO TREM Monografia apresentada ao Curso Superior de Tecnologia em Design Gráfico do Departamento Acadêmico de Desenho Industrial – DADIN – da Universidade Tecnológica Federal do Paraná – UTFPR, como requisito parcial para obtenção do título de Graduação em Tecnologia em Design Gráfico. Orientadora: Prof.ª MSc. Ana Cristina Munaro. CURITIBA-PR 2017 Ministério da Educação Universidade Tecnológica Federal do Paraná PR Câmpus Curitiba UNIVERSIDADE TECNOLÓGICA FEDERAL DO PARANÁ Diretoria de Graduação e Educação Profissional Departamento Acadêmico de Desenho Industrial TERMO DE APROVAÇÃO TRABALHO DE CONCLUSÃO DE CURSO 039 A ESTAÇÃO DE TREM DE CURITIBA EM MODELAGEM 3D: UMA FORMA DE REVIVER A HISTÓRIA DO TREM por Alexandre da Silva Santana – 1612557 Trabalho de Conclusão de Curso apresentado no dia 28 de novembro de 2017 como requisito parcial para a obtenção do título de TECNÓLOGO EM DESIGN GRÁFICO, do Curso Superior de Tecnologia em Design Gráfico, do Departamento Acadêmico de Desenho Industrial, da Universidade Tecnológica Federal do Paraná. O aluno foi arguido pela Banca Examinadora composta pelos professores abaixo, que após deliberação, consideraram o trabalho aprovado. Banca Examinadora: Prof. Alan Ricardo Witikoski (Dr.) Avaliador DADIN – UTFPR Prof. Francis Rodrigues da Silva (Esp.) Convidado DADIN – UTFPR Profa. Ana Cristina Munaro (MSc.) Orientadora DADIN – UTFPR Prof. -
Canonical View Volumes
University of British Columbia View Volumes Canonical View Volumes Why Canonical View Volumes? CPSC 314 Computer Graphics Jan-Apr 2016 • specifies field-of-view, used for clipping • standardized viewing volume representation • permits standardization • restricts domain of z stored for visibility test • clipping Tamara Munzner perspective orthographic • easier to determine if an arbitrary point is perspective view volume orthographic view volume orthogonal enclosed in volume with canonical view y=top parallel volume vs. clipping to six arbitrary planes y=top x=left x=left • rendering y y x or y x or y = +/- z x or y back • projection and rasterization algorithms can be Viewing 3 z plane z x=right back 1 VCS front reused front plane VCS y=bottom z=-near z=-far x -z x z=-far plane -z plane -1 x=right y=bottom z=-near http://www.ugrad.cs.ubc.ca/~cs314/Vjan2016 -1 2 3 4 Normalized Device Coordinates Normalized Device Coordinates Understanding Z Understanding Z near, far always positive in GL calls • convention left/right x =+/- 1, top/bottom y =+/- 1, near/far z =+/- 1 • z axis flip changes coord system handedness THREE.OrthographicCamera(left,right,bot,top,near,far); • viewing frustum mapped to specific mat4.frustum(left,right,bot,top,near,far, projectionMatrix); • RHS before projection (eye/view coords) parallelepiped Camera coordinates NDC • LHS after projection (clip, norm device coords) • Normalized Device Coordinates (NDC) x x perspective view volume orthographic view volume • same as clipping coords x=1 VCS NDCS y=top • only objects -
Castle Game Engine Documentation
Castle Game Engine documentation Michalis Kamburelis Castle Game Engine documentation Michalis Kamburelis Copyright © 2006, 2007, 2008, 2009, 2010, 2011, 2012, 2013, 2014 Michalis Kamburelis You can redistribute and/or modify this document under the terms of the GNU General Public License [http://www.gnu.org/licenses/gpl.html] as published by the Free Software Foundation; either version 2 of the License, or (at your option) any later version. Table of Contents Goals ....................................................................................................................... vii 1. Overview of VRML ............................................................................................... 1 1.1. First example ............................................................................................... 1 1.2. Fields .......................................................................................................... 3 1.2.1. Field types ........................................................................................ 3 1.2.2. Placing fields within nodes ................................................................ 5 1.2.3. Examples .......................................................................................... 5 1.3. Children nodes ............................................................................................. 7 1.3.1. Group node examples ........................................................................ 7 1.3.2. The Transform node ....................................................................... -
COMPUTER GRAPHICS COURSE Viewing and Projections
COMPUTER GRAPHICS COURSE Viewing and Projections Georgios Papaioannou - 2014 VIEWING TRANSFORMATION The Virtual Camera • All graphics pipelines perceive the virtual world Y through a virtual observer (camera), also positioned in the 3D environment “eye” (virtual camera) Eye Coordinate System (1) • The virtual camera or “eye” also has its own coordinate system, the eyeY coordinate system Y Eye coordinate system (ECS) Z eye X Y X Z Global (world) coordinate system (WCS) Eye Coordinate System (2) • Expressing the scene’s geometry in the ECS is a natural “egocentric” representation of the world: – It is how we perceive the user’s relationship with the environment – It is usually a more convenient space to perform certain rendering tasks, since it is related to the ordering of the geometry in the final image Eye Coordinate System (3) • Coordinates as “seen” from the camera reference frame Y ECS X Eye Coordinate System (4) • What “egocentric” means in the context of transformations? – Whatever transformation produced the camera system its inverse transformation expresses the world w.r.t. the camera • Example: If I move the camera “left”, objects appear to move “right” in the camera frame: WCS camera motion Eye-space object motion Moving to Eye Coordinates • Moving to ECS is a change of coordinates transformation • The WCSECS transformation expresses the 3D environment in the camera coordinate system • We can define the ECS transformation in two ways: – A) Invert the transformations we applied to place the camera in a particular pose – B) Explicitly define the coordinate system by placing the camera at a specific location and setting up the camera vectors WCSECS: Version A (1) • Let us assume that we have an initial camera at the origin of the WCS • Then, we can move and rotate the “eye” to any pose (rigid transformations only: No sense in scaling a camera): 퐌푐 퐨푐, 퐮, 퐯, 퐰 = 퐑1퐑2퐓1퐑ퟐ … . -
Interactive Volume Navigation
IEEE TRANSACTIONS ON VISUALIZATION AND COMPUTER GRAPHICS, VOL. 4, NO. 3, JULY-SEPTEMBER 1998 243 Interactive Volume Navigation Martin L. Brady, Member, IEEE, Kenneth K. Jung, Member, IEEE, H.T. Nguyen, Member, IEEE, and Thinh PQ Nguyen Member, IEEE Abstract—Volume navigation is the interactive exploration of volume data sets by “flying” the viewpoint through the data, producing a volume rendered view at each frame. We present an inexpensive perspective volume navigation method designed to be run on a PC platform with accelerated 3D graphics hardware. The heart of the method is a two-phase perspective raycasting algorithm that takes advantage of the coherence inherent in adjacent frames during navigation. The algorithm generates a sequence of approximate volume-rendered views in a fraction of the time that would be required to compute them individually. The algorithm handles arbitrarily large volumes by dynamically swapping data within the current view frustum into main memory as the viewpoint moves through the volume. We also describe an interactive volume navigation application based on this algorithm. The application renders gray-scale, RGB, and labeled RGB volumes by volumetric compositing, allows trilinear interpolation of sample points, and implements progressive refinement during pauses in user input. Index Terms—Volume navigation, volume rendering, 3D medical imaging, scientific visualization, texture mapping. ——————————F—————————— 1INTRODUCTION OLUME-rendering techniques can be used to create in- the views should be produced at interactive rates. The V formative two-dimensional (2D) rendered views from complete data set may exceed the system’s memory, but the large three-dimensional (3D) images, or volumes, such as amount of data enclosed by the view frustum is assumed to those arising in scientific and medical applications. -
The Design and Evolution of the Uberbake Light Baking System
The design and evolution of the UberBake light baking system DARIO SEYB∗, Dartmouth College PETER-PIKE SLOAN∗, Activision Publishing ARI SILVENNOINEN, Activision Publishing MICHAŁ IWANICKI, Activision Publishing WOJCIECH JAROSZ, Dartmouth College no door light dynamic light set off final image door light only dynamic light set on Fig. 1. Our system allows for player-driven lighting changes at run-time. Above we show a scene where a door is opened during gameplay. The image on the left shows the final lighting produced by our system as seen in the game. In the middle, we show the scene without the methods described here(top).Our system enables us to efficiently precompute the associated lighting change (bottom). This functionality is built on top of a dynamic light setsystemwhich allows for levels with hundreds of lights who’s contribution to global illumination can be controlled individually at run-time (right). ©Activision Publishing, Inc. We describe the design and evolution of UberBake, a global illumination CCS Concepts: • Computing methodologies → Ray tracing; Graphics system developed by Activision, which supports limited lighting changes in systems and interfaces. response to certain player interactions. Instead of relying on a fully dynamic solution, we use a traditional static light baking pipeline and extend it with Additional Key Words and Phrases: global illumination, baked lighting, real a small set of features that allow us to dynamically update the precomputed time systems lighting at run-time with minimal performance and memory overhead. This ACM Reference Format: means that our system works on the complete set of target hardware, ranging Dario Seyb, Peter-Pike Sloan, Ari Silvennoinen, Michał Iwanicki, and Wo- from high-end PCs to previous generation gaming consoles, allowing the jciech Jarosz. -
Computer Graphicsgraphics -- Weekweek 33
ComputerComputer GraphicsGraphics -- WeekWeek 33 Bengt-Olaf Schneider IBM T.J. Watson Research Center Questions about Last Week ? Computer Graphics – Week 3 © Bengt-Olaf Schneider, 1999 Overview of Week 3 Viewing transformations Projections Camera models Computer Graphics – Week 3 © Bengt-Olaf Schneider, 1999 VieViewingwing Transformation Computer Graphics – Week 3 © Bengt-Olaf Schneider, 1999 VieViewingwing Compared to Taking Pictures View Vector & Viewplane: Direct camera towards subject Viewpoint: Position "camera" in scene Up Vector: Level the camera Field of View: Adjust zoom Clipping: Select content Projection: Exposure Field of View Computer Graphics – Week 3 © Bengt-Olaf Schneider, 1999 VieViewingwing Transformation Position and orient camera Set viewpoint, viewing direction and upvector Use geometric transformation to position camera with respect to the scene or ... scene with respect to the camera. Both approaches are mathematically equivalent. Computer Graphics – Week 3 © Bengt-Olaf Schneider, 1999 VieViewingwing Pipeline and Coordinate Systems Model Modeling Transformation Coordinates (MC) Modeling Position objects in world coordinates Transformation Viewing Transformation World Coordinates (WC) Position objects in eye/camera coordinates Viewing EC a.k.a. View Reference Coordinates Transformation Eye (Viewing) Perspective Transformation Coordinates (EC) Perspective Convert view volume to a canonical view volume Transformation Also used for clipping Perspective PC a.k.a. clip coordinates Coordinates (PC) Perspective Perspective Division Division Normalized Device Perform mapping from 3D to 2D Coordinates (NDC) Viewport Mapping Viewport Mapping Map normalized device coordinates into Device window/screen coordinates Coordinates (DC) Computer Graphics – Week 3 © Bengt-Olaf Schneider, 1999 Why a special eye coordinate systemsystem ? In prinicipal it is possible to directly project on an arbitray viewplane. However, this is computationally very involved. -
CSCI 445: Computer Graphics
CSCI 445: Computer Graphics Qing Wang Assistant Professor at Computer Science Program The University of Tennessee at Martin Angel and Shreiner: Interactive Computer Graphics 7E © 1 Addison-Wesley 2015 Classical Viewing Angel and Shreiner: Interactive Computer Graphics 7E © 2 Addison-Wesley 2015 Objectives • Introduce the classical views • Compare and contrast image formation by computer with how images have been formed by architects, artists, and engineers • Learn the benefits and drawbacks of each type of view Angel and Shreiner: Interactive Computer Graphics 7E © 3 Addison-Wesley 2015 Classical Viewing • Viewing requires three basic elements • One or more objects • A viewer with a projection surface • Projectors that go from the object(s) to the projection surface • Classical views are based on the relationship among these elements • The viewer picks up the object and orients it how she would like to see it • Each object is assumed to constructed from flat principal faces • Buildings, polyhedra, manufactured objects Angel and Shreiner: Interactive Computer Graphics 7E © 4 Addison-Wesley 2015 Planar Geometric Projections • Standard projections project onto a plane • Projectors are lines that either • converge at a center of projection • are parallel • Such projections preserve lines • but not necessarily angles • Nonplanar projections are needed for applications such as map construction Angel and Shreiner: Interactive Computer Graphics 7E © 5 Addison-Wesley 2015 Classical Projections Angel and Shreiner: Interactive Computer Graphics 7E -
Openscenegraph 3.0 Beginner's Guide
OpenSceneGraph 3.0 Beginner's Guide Create high-performance virtual reality applications with OpenSceneGraph, one of the best 3D graphics engines Rui Wang Xuelei Qian BIRMINGHAM - MUMBAI OpenSceneGraph 3.0 Beginner's Guide Copyright © 2010 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 authors, 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: December 2010 Production Reference: 1081210 Published by Packt Publishing Ltd. 32 Lincoln Road Olton Birmingham, B27 6PA, UK. ISBN 978-1-849512-82-4 www.packtpub.com Cover Image by Ed Maclean ([email protected]) Credits Authors Editorial Team Leader Rui Wang Akshara Aware Xuelei Qian Project Team Leader Reviewers Lata Basantani Jean-Sébastien Guay Project Coordinator Cedric Pinson -
Opensg Starter Guide 1.2.0
OpenSG Starter Guide 1.2.0 Generated by Doxygen 1.3-rc2 Wed Mar 19 06:23:28 2003 Contents 1 Introduction 3 1.1 What is OpenSG? . 3 1.2 What is OpenSG not? . 4 1.3 Compilation . 4 1.4 System Structure . 5 1.5 Installation . 6 1.6 Making and executing the test programs . 6 1.7 Making and executing the tutorials . 6 1.8 Extending OpenSG . 6 1.9 Where to get it . 7 1.10 Scene Graphs . 7 2 Base 9 2.1 Base Types . 9 2.2 Log . 9 2.3 Time & Date . 10 2.4 Math . 10 2.5 System . 11 2.6 Fields . 11 2.7 Creating New Field Types . 12 2.8 Base Functors . 13 2.9 Socket . 13 2.10 StringConversion . 16 3 Fields & Field Containers 17 3.1 Creating a FieldContainer instance . 17 3.2 Reference counting . 17 3.3 Manipulation . 18 3.4 FieldContainer attachments . 18 ii CONTENTS 3.5 Data separation & Thread safety . 18 4 Image 19 5 Nodes & NodeCores 21 6 Groups 23 6.1 Group . 23 6.2 Switch . 23 6.3 Transform . 23 6.4 ComponentTransform . 23 6.5 DistanceLOD . 24 6.6 Lights . 24 7 Drawables 27 7.1 Base Drawables . 27 7.2 Geometry . 27 7.3 Slices . 35 7.4 Particles . 35 8 State Handling 37 8.1 BlendChunk . 39 8.2 ClipPlaneChunk . 39 8.3 CubeTextureChunk . 39 8.4 LightChunk . 39 8.5 LineChunk . 39 8.6 PointChunk . 39 8.7 MaterialChunk . 40 8.8 PolygonChunk . 40 8.9 RegisterCombinersChunk . -
High-Quality Volume Rendering of Dark Matter Simulations
https://doi.org/10.2352/ISSN.2470-1173.2018.01.VDA-333 © 2018, Society for Imaging Science and Technology High-Quality Volume Rendering of Dark Matter Simulations Ralf Kaehler; KIPAC/SLAC; Menlo Park, CA, USA Abstract cells overlap in overdense regions. Previous methods to visualize Phase space tessellation techniques for N–body dark matter dark matter simulations using this technique were either based on simulations yield density fields of very high quality. However, due versions of the volume rendering integral without absorption [19], to the vast amount of elements and self-intersections in the result- subject to high–frequency image noise [17] or did not achieve in- ing tetrahedral meshes, interactive visualization methods for this teractive frame rates [18]. This paper presents a volume rendering approach so far either employed simplified versions of the volume approach for phase space tessellations, that rendering integral or suffered from rendering artifacts. This paper presents a volume rendering approach for • combines the advantages of a single–pass k–buffer approach phase space tessellations, that combines state-of-the-art order– with a view–adaptive voxelization grid, independent transparency methods to manage the extreme depth • incorporates several optimizations to tackle the unique prob- complexity of this mesh type. We propose several performance lems arising from the large number of self–intersections and optimizations, including a view–dependent multiresolution repre- extreme depth complexity, sentation of the data and a tile–based rendering strategy, to en- • proposes a view–dependent level–of–detail representation able high image quality at interactive frame rates for this complex of the data that requires only minimal preprocessing data structure and demonstrate the advantages of our approach • and thus achieves high image quality at interactive frame for different types of dark matter simulations. -
Comparison of Unity and Unreal Engine
Bachelor Project Czech Technical University in Prague Faculty of Electrical Engineering F3 Department of Computer Graphics and Interaction Comparison of Unity and Unreal Engine Antonín Šmíd Supervisor: doc. Ing. Jiří Bittner, Ph.D. Field of study: STM, Web and Multimedia May 2017 ii iv Acknowledgements Declaration I am grateful to Jiri Bittner, associate I hereby declare that I have completed professor, in the Department of Computer this thesis independently and that I have Graphics and Interaction. I am thankful listed all the literature and publications to him for sharing expertise, and sincere used. I have no objection to usage of guidance and encouragement extended to this work in compliance with the act §60 me. Zákon c. 121/2000Sb. (copyright law), and with the rights connected with the Copyright Act including the amendments to the act. In Prague, 25. May 2017 v Abstract Abstrakt Contemporary game engines are invalu- Současné herní engine jsou důležitými ná- able tools for game development. There stroji pro vývoj her. Na trhu je množ- are numerous engines available, each ství enginů a každý z nich vyniká v urči- of which excels in certain features. To tých vlastnostech. Abych srovnal výkon compare them I have developed a simple dvou z nich, vyvinul jsem jednoduchý ben- game engine benchmark using a scalable chmark za použití škálovatelné 3D reim- 3D reimplementation of the classical Pac- plementace klasické hry Pac-Man. Man game. Benchmark je navržený tak, aby The benchmark is designed to em- využil všechny důležité komponenty her- ploy all important game engine compo- ního enginu, jako je hledání cest, fyzika, nents such as path finding, physics, ani- animace, scriptování a různé zobrazovací mation, scripting, and various rendering funkce.