Deep Shadow Maps

Deep Shadow Maps Tom Lokovic Eric Veach Pixar Animation Studios£ Abstract We introduce deep shadow maps, a technique that produces fast, high-quality shadows for primitives such as hair, fur, and smoke. Unlike traditional shadow maps, which store a single depth at each pixel, deep shadow maps store a representation of the fractional visibility through a pixel at all possible depths. Deep shadow maps have several advantages. First, they are prefiltered, which allows faster shadow lookups and much smaller memory footprints than regular shadow maps of similar quality. Second, they support shadows from partially transparent surfaces and volumetric objects such as fog. Third, they handle important cases of motion blur at no extra cost. The algorithm is simple to implement and can be added easily Figure 1: Hair rendered with and without self-shadowing. to existing renderers as an alternative to ordinary shadow maps. 1 Introduction through dense hair and fog. Compared to ordinary shadow maps, deep shadows have the fol- Rendering hair, fur, and smoke is difficult because accurate self- lowing advantages: shadowing is so important to their appearance [2]. To demonstrate ¯ They support semitransparent surfaces and volumetric primi- this, Figure 1 shows a small patch of curly hair rendered both with tivessuchassmoke. and without shadows. Notice that the shadows cast by portions of the hair onto itself have a great influence on the overall illumination ¯ For high-quality shadows, they are smaller than equivalent and apparent realism of the rendering. shadow maps by an order of magnitude and are significantly Traditional shadow maps [11] need very high resolutions to cap- faster to access. ture this type of self-shadowing accurately. Many more depth samples must also be accessed during shadow lookups to compensate ¯ Unlike ordinary shadow maps, they support mip-mapping. for the higher frequencies in the shadow map. This is especially ob- This can dramatically reduce lookup costs when objects are vious in animations, where inadequate sampling results in sparkling viewed over a wide range of scales. (a distracting artifact caused by rapidly changing noise patterns). In addition, deep shadow maps can efficiently support high- Furthermore, shadow maps cannot handle volumetric effects quality motion blurred shadows. While this effect is also possible such as clouds or smoke. Traditional approaches such as integrating with ordinary shadow maps, the large filter widths required have the atmospheric density along each shadow ray are very inefficient, made this technique quite expensive in the past. simply because there can be a large number of shadow tests along In the following section, we discuss previous work and explain each primary ray. why traditional shadow maps are not appropriate for fine geome- We propose a new type of shadow map to solve these problems, try such as hair and fur. Section 3 defines deep shadow maps and the deep shadow map. Rather than storing a single depth at each presents algorithms for creating and using them, while Section 4 pixel, a deep shadow map stores a fractional visibility function (or describes their advantages and limitations. We then discuss some simply visibility function) that records the approximate amount of of the more practical implementation issues, and present the results light that passes through the pixel and penetrates to each depth. The from several experiments. visibility function takes into account not only the opacities of the surfaces and volume elements encountered, but also their coverage of the pixel’s filter region. This allows deep shadow maps to ac- 2 Background and Related Work curately represent the partial attenuation that occurs as light passes Traditional shadow maps [11] are generated by placing a camera £ email: [email protected], [email protected] (the shadow camera) at the light source origin such that the objects casting shadows are within the field of view. The result is a Permission to make digital or hard copies of part or all of this work or rectangular array of pixels where each pixel stores the depth of the personal or classroom use is granted without fee provided that copies are not closest visible surface. To determine whether a given point È is in made or distributed for profit or commercial advantage and that copies bear this notice and the full citation on the first page. To copy otherwise, to shadow, it is transformed into the coordinate system of the shadow republish, to post on servers, or to redistribute to lists, requires prior specific camera and its depth is compared to the corresponding value from permission and/or a fee. the shadow map. Higher-quality antialiased shadows are possible SIGGRAPH 2000, New Orleans, LA USA with percentage closer filtering [9], which examines depth samples within a given filter region and computes the fraction that are © ACM 2000 1-58113-208-5/00/07 ...$5.00 closer than a given depth Þ . This process relies heavily on stratified sampling [7], both in generating the original shadow map and in selecting a random subset of the depth samples for filtering. 385 N N ::: classic survey is [13]). Ray casting can generate accurate shadows, ::: ::::::::: but on furry objects with millions of hairs it is too expensive in :::::: :::::: terms of time and memory. This is particularly true when hair re- :::::::::::: ::::: ceives shadows from fog or smoke, since ray marching is performed ::::::::::::: :::::: once for every hair sample. It is also difficult, other than by using ::::::: :::: an expensive area light source, to “soften” shadows for artistic pur- ::::::: ::: poses. In the case of standard shadow maps this can be achieved ::: :::::: by simply increasing the filter width. Kajiya and Kay used ray-cast ::: :::::: shadows on a volumetric hair representation [2], but their rendering ::::: :::::: times were relatively long. ::: ::::::: :::: Another possible approach to hair self-shadowing is to precom- :::: :::: pute the shadow density as a 3D texture. This technique has been used with some success for clouds (e.g. [3]) and for hybrid volume (a) (b) and surface rendering of medical datasets [5]. The main drawback Figure 2: Variance contributions to stratified sampling. (a) When a of this approach is that 3D textures have a relatively coarse resolu- =¾ ½ tion, and in particular they have limited range and low accuracy in ´Æ µ single silhouette edge passes through the filter region, Ç samples contribute to the variance. (b) When the filter region is covered Þ (which creates bias problems). A 3D texture with sufficient detail to capture accurate surface shadows of complex geometry would be with fine geometry, all Æ samples contribute to the variance, resulting in a much larger expected error. prohibitively large. Multi-layer Z-buffers [6] and layered depth images [10] store in- formation at multiple depths per pixel, but are geared toward rendering opaque surfaces from new viewpoints rather than shadow While shadow maps are very good for rendering shadows of evaluation. Keating and Max [4] apply multi-layer depth images to large objects, they do not work as well for finely detailed geom- the problem of shadow penumbras, but their technique otherwise etry such as hair. This is because stratified sampling does not work has the same limitations as ordinary shadow maps. very well when there are many discontinuities crossing the filter region [7]. As a result, many more samples are required in order to 3 Deep Shadow Maps reduce noise artifacts such as sparkling to an acceptable level. To understand why this is so, consider Figure 2a. Here we show 3.1 Definition an isolated silhouette edge crossing the filter region for a shadow Ô Ô Æ ¢ Æ lookup, evaluated using Æ samples jittered over a grid. A deep shadow map is a rectangular array of pixels in which every The depth of each sample is obtained from the shadow map (whose pixel stores a visibility function. Intuitively, a visibility function is resolution may be much finer than the sample grid). Using per- defined by considering a beam of light that starts at the shadow cam- centage closer filtering, each sample contributes either 0 or 1 to era origin and passes through the given pixel. The function value the average shadow value depending on the relative Þ values of the at a given depth is simply the fraction of the beam’s initial power shadow map and the test point È . that penetrates to that depth. Note that the beam is not necessar- In this situation, observe that the only samples that contribute to ily square; it can be shaped and weighted according to any desired the variance are the ones whose cells are crossed by the silhouette pixel filter. Figure 3 gives several examples, showing how visibility ½=¾ ´Æ µ edge. There are only Ç of these, and further analysis [7] functions can account for semitransparent surfaces, pixel coverage, ¿=4 and smoke. Each visibility function starts off with a value of 1, and ´Æ µ shows that the expected error in this case is Ç . Thus strat- ification yields much better results near large silhouette edges than decreases with depth as various types of blockers are encountered. unstratified Monte Carlo sampling, which has an expected error of If all light is blocked, the function drops off to a value of 0. ½=¾ To make this definition more precise, consider a ray that starts ´Æ µ Ç . Ü; Ý µ at the shadow camera origin and passes through the point ´ on In the case of hair or fur, however, the filter region is crossed by the image plane. Some fraction of the light emitted along this ray many silhouette edges (see Figure 2b). In this case, every one of the will be attenuated by surfaces or by volumetric scattering and ab- Æ cells is crossed by an edge, and the corresponding expected error sorption.

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