DOCSLIB.ORG

Webgl.Hotshot-PACKT.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Webgl.Hotshot-PACKT.Pdf WebGL HOTSH T Create interactive 3D content for web pages and mobile devices Mitch Williams BIRMINGHAM - MUMBAI WebGL HOTSH T Copyright © 2014 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: May 2014 Production Reference: 1200514 Published by Packt Publishing Ltd. Livery Place 35 Livery Street Birmingham B3 2PB, UK. ISBN 978-1-78328-091-9 www.packtpub.com Cover Image by Michael Harms ([email protected]) Credits Author Project Coordinator Mitch Williams Wendell Palmer Reviewers Proofreaders Andrea Barisone Simran Bhogal Dario Calonaci Maria Gould Jing Jin Paul Hindle Vincent Lark Todd J. Seiler Indexer Mehreen Deshmukh Commissioning Editor Joanne Fitzpatrick Graphics Ronak Dhruv Acquisition Editor Valentina Dsilva Joanne Fitzpatrick Disha Haria Content Development Editor Production Coordinator Neeshma Ramakrishnan Shantanu Zagade Technical Editors Cover Work Shruti Rawool Shantanu Zagade Aman Preet Singh Copy Editors Tanvi Gaitonde Dipti Kapadia Aditya Nair About the Author Mitch Williams has been involved with 3D graphics programming and Web3D development since its creation in the mid 1990s. He began his career writing software for digital imaging products before moving on as Manager of Software for Vivendi Universal Games. In the late 1990s, he started 3D-Online, his own company, where he created "Dynamic-3D", a Web3D graphics engine. He has worked on various projects ranging from interactive 3D medical procedures, online 3D training for the Department of Defense, creating one of the first 3D mobile games prior to the launch of the iPhone, and graphics card shader language programming. He has been teaching Interactive 3D Media at various universities including UC Berkeley, UC Irvine, and UCLA Extension. Gratitude and thanks to my family, friends, dogs—past and present, artists, SIGGRAPH, wonderful students, and the great math and engineering teachers who helped me along the way. About the Reviewers Andrea Barisone works for a leading Italian IT company and has over 13 years of experience in Information Technology, working on corporate projects as a developer using different technologies. He also has a strong experience in ECM Systems and has several J2EE certifications. He has the ability to acquire new technologies and to exploit the knowledge acquired by working with different environments and technologies. He was the technical reviewer for the following books: f Agile Web Development with Rails 4, David Heinemeier Hansson, Sam Ruby, and Dave Thomas, Pragmatic Bookshelf f BPEL and Java Cookbook, Jurij Laznik, Packt Publishing f Learning Three.js: The JavaScript 3D Library for WebGL, Jos Dirksen, Packt Publishing f Building Applications with ExtJS, Simon Elliston Ball, Packt Publishing (yet to be published) I would like to thank my parents, Renzo and Maria Carla; my beloved wife, Barbara; and my two wonderful little children, Gabriele and Aurora, for making every day of my life wonderful. Dario Calonaci is a graphic designer specializing in typography and logo design. He has worked for the United Nations conference RIO+20, and has worked with Node.js, which was selected for Obama for America. His name and work has appeared in a book presentation in the Senate's library in Rome. He has been teaching Web Design since he was 23 years old. He is a member of FacultyRow, a New York-based association, as a valuable teacher and academic figure. He has been invited to deliver talks as well as to conduct a workshop. His works have been exposed in New York, internationally published and featured, and studied in a couple of theses. You can learn more about him and see his works at http://dariocalonaci.com. Jing Jin works at a game company as a technical artist. She loves delving into new technologies that render game graphics better and more efficiently. She's also interested in innovations that enable a variety of gaming experiences and bring novelty to traditional gaming. Vincent Lark (@allyouneedisgnu) is a French developer in Luxembourg with six years of experience. He worked as a full-stack developer in some large audience companies such as EuroDNS, Jamendo, and more recently, for a local news website for cross-border workers. Interested in game development and 3D modeling since his school years, he's practicing these subjects in Global Game Jams and other hackathons with friends. An open source fanatic, he shares every prototype on his GitHub account and tries to follow state-of-the-art web development. Todd J. Seiler works in the CAD/CAM dental industry as a graphics software engineer at E4D Technologies in Dallas, Texas. He has worked as a software development engineer in Test on Games for Windows LIVE at Microsoft, and he has also worked in the mobile game development industry. He has a B.S. degree in Computer Graphics and Interactive Media from the University of Dubuque, Dubuque, Iowa with minors in Computer Information Systems. He also has a B.S. degree in Real-time Interactive Simulations from DigiPen Institute of Technology, Redmond, Washington, with minors in mathematics and physics. In his spare time, he plays video games, studies Catholic apologetics and theology, writes books and articles, and toys with new tech when he can. He periodically blogs about random things at http://www.toddseiler.com. www.PacktPub.com Support files, eBooks, discount offers, and more You might want to visit www.PacktPub.com for support files and downloads related to your book. Did you know that Packt offers eBook versions of every book published, with PDF and ePub files available? You can upgrade to the eBook version at www.PacktPub.com and as a print book customer, you are entitled to a discount on the eBook copy. Get in touch with us at [email protected] for more details. At www.PacktPub.com, you can also read a collection of free technical articles, sign up for a range of free newsletters and receive exclusive discounts and offers on Packt books and eBooks. TM http://PacktLib.PacktPub.com Do you need instant solutions to your IT questions? PacktLib is Packt's online digital book library. Here, you can access, read and search across Packt's entire library of books. Why Subscribe? f Fully searchable across every book published by Packt f Copy and paste, print and bookmark content f On demand and accessible via web browser Free Access for Packt account holders If you have an account with Packt at www.PacktPub.com, you can use this to access PacktLib today and view nine entirely free books. Simply use your login credentials for immediate access. Table of Contents Preface 1 Project 1: Building Great Web3D 9 A second coming 10 Comprehensive solutions 11 Mission briefing 13 Introduction to 3D fundamentals 14 Transformations – translation, rotation, and scaling 17 Lights, camera, action! 18 Navigating between multiple viewpoints 20 Animation with interpolators 22 Adding texture maps to 3D meshes 25 Lighting a scene and shading 3D objects with normals 29 Creating an animated Solar System with multiple cameras for navigation 31 Mission accomplished 37 Project 2: WebGL for E-Commerce 39 Mission briefing 40 Introduction to WebGL 42 WebGL 3D with Perspective View 47 WebGL texture mapping and animation 49 Loading a 3D modeled object, normals, and lighting 53 Using the mouse for interactivity 57 E-commerce using existing assets 63 E-commerce with 3D modeling 66 Mission accomplished 70 Table of Contents Project 3: User Experience, Story, Character, Visual Design, and Interactivity 71 Mission briefing 72 Refreshment with shader languages 73 Lighting 3D depths 79 Visual design and interactivity 86 Full navigation 91 Order of transparencies 92 Scene lighting 97 Mission accomplished 100 Project 4: Mobile and Web3D Gaming 101 Mission briefing 102 Creating user interfaces in the 3D environment 103 Designing a game 110 Fun with physics and collisions 118 Mission accomplished 127 Project 5: Social Media Meets Its Destiny 129 Mission briefing 130 Bridging Facebook with WebGL 131 Visiting Facebook friends in WebGL 140 Building a navigable world of Facebook friends 145 Project 6: 3D Reveals More Information 151 Mission briefing 151 Linking 3D to data 152 Comparing multiple stocks in 3D 159 Displaying historical stock data 164 Presenting comparative data 170 Zooming into the data – level of detail 172 Mission accomplished 178 Project 7: Adapting Architecture, Medical, and Mechanical Engineering to Web3D 179 Mission briefing 180 Demonstrating environment mapping for reflections 181 Bending of light – calculating refraction for surfaces such as water 190 Creating surfaces – depth,non-smooth, natural, and realistic with normal maps 192 Rendering a scene as a texture to view multiple
Load more

Recommended publications
  • Game Developers Conference Europe Wrap, New Women’S Group Forms, Licensed to Steal Super Genre Break Out, and More
    >> PRODUCT REVIEWS SPEEDTREE RT 1.7 * SPACEPILOT OCTOBER 2005 THE LEADING GAME INDUSTRY MAGAZINE >>POSTMORTEM >>WALKING THE PLANK >>INNER PRODUCT ART & ARTIFICE IN DANIEL JAMES ON DEBUG? RELEASE? RESIDENT EVIL 4 CASUAL MMO GOLD LET’S DEVELOP! Thanks to our publishers for helping us create a new world of video games. GameTapTM and many of the video game industry’s leading publishers have joined together to create a new world where you can play hundreds of the greatest games right from your broadband-connected PC. It’s gaming freedom like never before. START PLAYING AT GAMETAP.COM TM & © 2005 Turner Broadcasting System, Inc. A Time Warner Company. Patent Pending. All Rights Reserved. GTP1-05-116-104_mstrA_v2.indd 1 9/7/05 10:58:02 PM []CONTENTS OCTOBER 2005 VOLUME 12, NUMBER 9 FEATURES 11 TOP 20 PUBLISHERS Who’s the top dog on the publishing block? Ranked by their revenues, the quality of the games they release, developer ratings, and other factors pertinent to serious professionals, our annual Top 20 list calls attention to the definitive movers and shakers in the publishing world. 11 By Tristan Donovan 21 INTERVIEW: A PIRATE’S LIFE What do pirates, cowboys, and massively multiplayer online games have in common? They all have Daniel James on their side. CEO of Three Rings, James’ mission has been to create an addictive MMO (or two) that has the pick-up-put- down rhythm of a casual game. In this interview, James discusses the barriers to distributing and charging for such 21 games, the beauty of the web, and the trouble with executables.
    [Show full text]
  • GAME DEVELOPERS a One-Of-A-Kind Game Concept, an Instantly Recognizable Character, a Clever Phrase— These Are All a Game Developer’S Most Valuable Assets
    HOLLYWOOD >> REVIEWS ALIAS MAYA 6 * RTZEN RT/SHADER ISSUE AUGUST 2004 THE LEADING GAME INDUSTRY MAGAZINE >>SIGGRAPH 2004 >>DEVELOPER DEFENSE >>FAST RADIOSITY SNEAK PEEK: LEGAL TOOLS TO SPEEDING UP LIGHTMAPS DISCREET 3DS MAX 7 PROTECT YOUR I.P. WITH PIXEL SHADERS POSTMORTEM: THE CINEMATIC EFFECT OF ZOMBIE STUDIOS’ SHADOW OPS: RED MERCURY []CONTENTS AUGUST 2004 VOLUME 11, NUMBER 7 FEATURES 14 COPYRIGHT: THE BIG GUN FOR GAME DEVELOPERS A one-of-a-kind game concept, an instantly recognizable character, a clever phrase— these are all a game developer’s most valuable assets. To protect such intangible properties from pirates, you’ll need to bring out the big gun—copyright. Here’s some free advice from a lawyer. By S. Gregory Boyd 20 FAST RADIOSITY: USING PIXEL SHADERS 14 With the latest advances in hardware, GPU, 34 and graphics technology, it’s time to take another look at lightmapping, the divine art of illuminating a digital environment. By Brian Ramage 20 POSTMORTEM 30 FROM BUNGIE TO WIDELOAD, SEROPIAN’S BEAT GOES ON 34 THE CINEMATIC EFFECT OF ZOMBIE STUDIOS’ A decade ago, Alexander Seropian founded a SHADOW OPS: RED MERCURY one-man company called Bungie, the studio that would eventually give us MYTH, ONI, and How do you give a player that vicarious presence in an imaginary HALO. Now, after his departure from Bungie, environment—that “you-are-there” feeling that a good movie often gives? he’s trying to repeat history by starting a new Zombie’s answer was to adopt many of the standard movie production studio: Wideload Games.
    [Show full text]
  • Steve Marschner CS5625 Spring 2019 Predicting Reflectance Functions from Complex Surfaces
    08 Detail mapping Steve Marschner CS5625 Spring 2019 Predicting Reflectance Functions from Complex Surfaces Stephen H. Westin James R. Arvo Kenneth E. Torrance Program of Computer Graphics Cornell University Ithaca, New York 14853 Hierarchy of scales Abstract 1000 macroscopic Geometry We describe a physically-based Monte Carlo technique for ap- proximating bidirectional reflectance distribution functions Object scale (BRDFs) for a large class of geometriesmesoscopic by directly simulating 100 optical scattering. The technique is more general than pre- vious analytical models: it removesmicroscopic most restrictions on sur- Texture, face microgeometry. Three main points are described: a new bump maps 10 representation of the BRDF, a Monte Carlo technique to esti- mate the coefficients of the representation, and the means of creating a milliscale BRDF from microscale scattering events. Milliscale These allow the prediction of scattering from essentially ar- (Mesoscale) 1 mm Texels bitrary roughness geometries. The BRDF is concisely repre- sented by a matrix of spherical harmonic coefficients; the ma- 0.1 trix is directly estimated from a geometric optics simulation, BRDF enforcing exact reciprocity. The method applies to rough- ness scales that are large with respect to the wavelength of Microscale light and small with respect to the spatial density at which 0.01 the BRDF is sampled across the surface; examples include brushed metal and textiles. The method is validated by com- paring with an existing scattering model and sample images are generated with a physically-based global illumination al- Figure 1: Applicability of Techniques gorithm. CR Categories and Subject Descriptors: I.3.7 [Computer model many surfaces, such as those with anisotropic rough- Graphics]: Three-Dimensional Graphics and Realism.
    [Show full text]
  • Procedural Modeling
    Procedural Modeling From Last Time • Many “Mapping” techniques – Bump Mapping – Normal Mapping – Displacement Mapping – Parallax Mapping – Environment Mapping – Parallax Occlusion – Light Mapping Mapping Bump Mapping • Use textures to alter the surface normal – Does not change the actual shape of the surface – Just shaded as if it were a different shape Sphere w/Diffuse Texture Swirly Bump Map Sphere w/Diffuse Texture & Bump Map Bump Mapping • Treat a greyscale texture as a single-valued height function • Compute the normal from the partial derivatives in the texture Another Bump Map Example Bump Map Cylinder w/Diffuse Texture Map Cylinder w/Texture Map & Bump Map Normal Mapping • Variation on Bump Mapping: Use an RGB texture to directly encode the normal http://en.wikipedia.org/wiki/File:Normal_map_example.png What's Missing? • There are no bumps on the silhouette of a bump-mapped or normal-mapped object • Bump/Normal maps don’t allow self-occlusion or self-shadowing From Last Time • Many “Mapping” techniques – Bump Mapping – Normal Mapping – Displacement Mapping – Parallax Mapping – Environment Mapping – Parallax Occlusion – Light Mapping Mapping Displacement Mapping • Use the texture map to actually move the surface point • The geometry must be displaced before visibility is determined Displacement Mapping Image from: Geometry Caching for Ray-Tracing Displacement Maps EGRW 1996 Matt Pharr and Pat Hanrahan note the detailed shadows cast by the stones Displacement Mapping Ken Musgrave a.k.a. Offset Mapping or Parallax Mapping Virtual Displacement Mapping • Displace the texture coordinates for each pixel based on view angle and value of the height map at that point • At steeper view-angles, texture coordinates are displaced more, giving illusion of depth due to parallax effects “Detailed shape representation with parallax mapping”, Kaneko et al.
    [Show full text]
  • Per-Pixel Displacement Mapping with Distance Functions
    108_gems2_ch08_new.qxp 2/2/2005 2:20 PM Page 123 Chapter 8 Per-Pixel Displacement Mapping with Distance Functions William Donnelly University of Waterloo In this chapter, we present distance mapping, a technique for adding small-scale dis- placement mapping to objects in a pixel shader. We treat displacement mapping as a ray-tracing problem, beginning with texture coordinates on the base surface and calcu- lating texture coordinates where the viewing ray intersects the displaced surface. For this purpose, we precompute a three-dimensional distance map, which gives a measure of the distance between points in space and the displaced surface. This distance map gives us all the information necessary to quickly intersect a ray with the surface. Our algorithm significantly increases the perceived geometric complexity of a scene while maintaining real-time performance. 8.1 Introduction Cook (1984) introduced displacement mapping as a method for adding small-scale detail to surfaces. Unlike bump mapping, which affects only the shading of surfaces, displacement mapping adjusts the positions of surface elements. This leads to effects not possible with bump mapping, such as surface features that occlude each other and nonpolygonal silhouettes. Figure 8-1 shows a rendering of a stone surface in which occlusion between features contributes to the illusion of depth. The usual implementation of displacement mapping iteratively tessellates a base sur- face, pushing vertices out along the normal of the base surface, and continuing until 8.1 Introduction 123 Copyright 2005 by NVIDIA Corporation 108_gems2_ch08_new.qxp 2/2/2005 2:20 PM Page 124 Figure 8-1. A Displaced Stone Surface Displacement mapping (top) gives an illusion of depth not possible with bump mapping alone (bottom).
    [Show full text]
  • Analytic Displacement Mapping Using Hardware Tessellation
    Analytic Displacement Mapping using Hardware Tessellation Matthias Nießner University of Erlangen-Nuremberg and Charles Loop Microsoft Research Displacement mapping is ideal for modern GPUs since it enables high- 1. INTRODUCTION frequency geometric surface detail on models with low memory I/O. How- ever, problems such as texture seams, normal re-computation, and under- Displacement mapping has been used as a means of efficiently rep- sampling artifacts have limited its adoption. We provide a comprehensive resenting and animating 3D objects with high frequency surface solution to these problems by introducing a smooth analytic displacement detail. Where texture mapping assigns color to surface points at function. Coefficients are stored in a GPU-friendly tile based texture format, u; v parameter values, displacement mapping assigns vector off- and a multi-resolution mip hierarchy of this function is formed. We propose sets. The advantages of this approach are two-fold. First, only the a novel level-of-detail scheme by computing per vertex adaptive tessellation vertices of a coarse (low frequency) base mesh need to be updated factors and select the appropriate pre-filtered mip levels of the displace- each frame to animate the model. Second, since the only connec- ment function. Our method obviates the need for a pre-computed normal tivity data needed is for the coarse base mesh, significantly less map since normals are directly derived from the displacements. Thus, we space is needed to store the equivalent highly detailed mesh. Fur- are able to perform authoring and rendering simultaneously without typical ther space reductions are realized by storing scalar, rather than vec- displacement map extraction from a dense triangle mesh.
    [Show full text]
  • Gpu-Based Normal Map Generation
    GPU-BASED NORMAL MAP GENERATION Jesús Gumbau, Carlos González Universitat Jaume I. Castellón, Spain Miguel Chover Universitat Jaume I. Castellón, Spain Keywords: GPU, normal maps, graphics hardware. Abstract: This work presents a method for the generation of normal maps from two polygonal models: a very detailed one with a high polygonal density, and a coarser one which will be used for real-time rendering. This method generates the normal map of the high resolution model which can be applied to the coarser model to improve its shading. The normal maps are completely generated on the graphics hardware. 1 INTRODUCTION a common texture coordinate system, this is not always the case and thus, it is not trivial to A normal map is a two-dimensional image whose implement on the graphics hardware. This is the contents are RGB colour elements which are reason why this kind of tools are often implemented interpreted as 3D vectors containing the direction of on software. the normal of the surface in each point. This is The high programmability of current graphics especially useful in real-time applications when this hardware allows for the implementation of these image is used as a texture applied onto a 3D model, kinds of methods on the GPU. This way, the great because normals for each point of a model can be scalability of the graphics hardware, which is specified without needing more geometry. This increased even more each year, can be used to feature enables the use of correct per-pixel lighting perform this task. using the Phong lighting equation.
    [Show full text]
  • LEAN Mapping
    LEAN Mapping Marc Olano∗ Dan Bakery Firaxis Games Firaxis Games (a) (b) (c) Figure 1: In-game views of a two-layer LEAN map ocean with sun just off screen to the right, and artist-selected shininess equivalent to a Blinn-Phong specular exponent of 13,777: (a) near, (b) mid, and (c) far. Note the lack of aliasing, even with an extremely high power. Abstract 1 Introduction For over thirty years, bump mapping has been an effective method We introduce Linear Efficient Antialiased Normal (LEAN) Map- for adding apparent detail to a surface [Blinn 1978]. We use the ping, a method for real-time filtering of specular highlights in bump term bump mapping to refer to both the original height texture that and normal maps. The method evaluates bumps as part of a shading defines surface normal perturbation for shading, and the more com- computation in the tangent space of the polygonal surface rather mon and general normal mapping, where the texture holds the ac- than in the tangent space of the individual bumps. By operat- tual surface normal. These methods are extremely common in video ing in a common tangent space, we are able to store information games, where the additional surface detail allows a rich visual ex- on the distribution of bump normals in a linearly-filterable form perience without complex high-polygon models. compatible with standard MIP and anisotropic filtering hardware. The necessary textures can be computed in a preprocess or gener- Unfortunately, bump mapping has serious drawbacks with filtering ated in real-time on the GPU for time-varying normal maps.
    [Show full text]
  • Real-Time Rendering of Normal Maps with Discontinuities
    Evgueni Parilov · Ilya Rosenberg · Denis Zorin Real-time rendering of normal maps with discontinuities CIMS Technical Report, TR2005-872 August, 2005 Abstract Normal mapping uses normal perturbations stored in a texture to give objects a more geometrically complex appearance without increasing the number of geometric primitives. Standard bi- and trilinear inter- polation of normal maps works well if the normal field is continuous, but may result in visible artifacts in the areas where the field is discontinuous, which is common for surfaces with creases and dents. In this paper we describe a real-time rendering technique which preserves the discontinuity curves of the normal field at sub-pixel level and its GPU implementation. Our representation of the piecewise-continuous normal field is based on approximations of the distance function to the discontinuity set and its gradient. Using these approximations we can efficiently reconstruct discontinuities at arbitrary resolution and ensure that no normals are interpolated across the discontinuity. We also described a method for updating the normal field along the discontinuities in real-time based on blending the original field with the one calculated from a user-defined surface profile. Keywords Interactive rendering · real-time normal mapping · discontinuous normal field · distance function approximation · constrained Laplacian smoothing 1 Introduction Bump and normal mapping is a widely used technique for adding complex small-scale geometric detail to models, in which only the normals are modified using perturbations stored in a texture. Bump mapping and related techniques were successfully applied in combination with a variety of rendering algorithms, and thanks to the advances in graphics hardware its use is becoming routine in interactive applications.
    [Show full text]
  • Review of Displacement Mapping Techniques and Optimization
    BLEKINGE TEKNISKA HÖGSKOLA Review of Displacement Mapping Techniques and Optimization Ermin Hrkalovic Mikael Lundgren 2012-05-01 Contents 1 Introduction .......................................................................................................................................... 3 2 Purpose and Objectives ........................................................................................................................ 4 3 Research Questions .............................................................................................................................. 4 4 Research Methodology ........................................................................................................................ 4 5 Normal Mapping ................................................................................................................................... 4 6 Relief Mapping ..................................................................................................................................... 5 7 Parallax Occlusion Mapping ................................................................................................................. 7 8 Quadtree Displacement Mapping ........................................................................................................ 8 9 Implementation .................................................................................................................................... 8 9.1 Optimization ...............................................................................................................................
    [Show full text]
  • IMAGE-BASED MODELING TECHNIQUES for ARTISTIC RENDERING Bynum Murray Iii Clemson University, [email protected]
    Clemson University TigerPrints All Theses Theses 5-2010 IMAGE-BASED MODELING TECHNIQUES FOR ARTISTIC RENDERING Bynum Murray iii Clemson University, [email protected] Follow this and additional works at: https://tigerprints.clemson.edu/all_theses Part of the Fine Arts Commons Recommended Citation Murray iii, Bynum, "IMAGE-BASED MODELING TECHNIQUES FOR ARTISTIC RENDERING" (2010). All Theses. 777. https://tigerprints.clemson.edu/all_theses/777 This Thesis is brought to you for free and open access by the Theses at TigerPrints. It has been accepted for inclusion in All Theses by an authorized administrator of TigerPrints. For more information, please contact [email protected]. IMAGE-BASED MODELING TECHNIQUES FOR ARTISTIC RENDERING A Thesis Presented to the Graduate School of Clemson University In Partial Fulfillment of the Requirements for the Degree Master of Arts Digital Production Arts by Bynum Edward Murray III May 2010 Accepted by: Timothy Davis, Ph.D. Committee Chair David Donar, M.F.A. Tony Penna, M.F.A. ABSTRACT This thesis presents various techniques for recreating and enhancing two- dimensional paintings and images in three-dimensional ways. The techniques include camera projection modeling, digital relief sculpture, and digital impasto. We also explore current problems of replicating and enhancing natural media and describe various solutions, along with their relative strengths and weaknesses. The importance of artistic skill in the implementation of these techniques is covered, along with implementation within the current industry applications Autodesk Maya, Adobe Photoshop, Corel Painter, and Pixologic Zbrush. The result is a set of methods for the digital artist to create effects that would not otherwise be possible.
    [Show full text]
  • An Overview Study of Game Engines
    Faizi Noor Ahmad Int. Journal of Engineering Research and Applications www.ijera.com ISSN : 2248-9622, Vol. 3, Issue 5, Sep-Oct 2013, pp.1673-1693 RESEARCH ARTICLE OPEN ACCESS An Overview Study of Game Engines Faizi Noor Ahmad Student at Department of Computer Science, ACNCEMS (Mahamaya Technical University), Aligarh-202002, U.P., India ABSTRACT We live in a world where people always try to find a way to escape the bitter realities of hubbub life. This escapism gives rise to indulgences. Products of such indulgence are the video games people play. Back in the past the term ―game engine‖ did not exist. Back then, video games were considered by most adults to be nothing more than toys, and the software that made them tick was highly specialized to both the game and the hardware on which it ran. Today, video game industry is a multi-billion-dollar industry rivaling even the Hollywood. The software that drives these three dimensional worlds- the game engines-have become fully reusable software development kits. In this paper, I discuss the specifications of some of the top contenders in video game engines employed in the market today. I also try to compare up to some extent these engines and take a look at the games in which they are used. Keywords – engines comparison, engines overview, engines specification, video games, video game engines I. INTRODUCTION 1.1.2 Artists Back in the past the term ―game engine‖ did The artists produce all of the visual and audio not exist. Back then, video games were considered by content in the game, and the quality of their work can most adults to be nothing more than toys, and the literally make or break a game.
    [Show full text]