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Texture Mapping Textures Provide Details Makes Graphics Pretty
Texture Mapping Textures Provide Details Makes Graphics Pretty • Details creates immersion • Immersion creates fun Basic Idea Paint pictures on all of your polygons • adds color data • adds (fake) geometric and texture detail one of the basic graphics techniques • tons of hardware support Texture Mapping • Map between region of plane and arbitrary surface • Ensure “right things” happen as textured polygon is rendered and transformed Parametric Texture Mapping • Texture size and orientation tied to polygon • Texture can modulate diffuse color, specular color, specular exponent, etc • Separation of “texture space” from “screen space” • UV coordinates of range [0…1] Retrieving Texel Color • Compute pixel (u,v) using barycentric interpolation • Look up texture pixel (texel) • Copy color to pixel • Apply shading How to Parameterize? Classic problem: How to parameterize the earth (sphere)? Very practical, important problem in Middle Ages… Latitude & Longitude Distorts areas and angles Planar Projection Covers only half of the earth Distorts areas and angles Stereographic Projection Distorts areas Albers Projection Preserves areas, distorts aspect ratio Fuller Parameterization No Free Lunch Every parameterization of the earth either: • distorts areas • distorts distances • distorts angles Good Parameterizations • Low area distortion • Low angle distortion • No obvious seams • One piece • How do we achieve this? Planar Parameterization Project surface onto plane • quite useful in practice • only partial coverage • bad distortion when normals perpendicular Planar Parameterization In practice: combine multiple views Cube Map/Skybox Cube Map Textures • 6 2D images arranged like faces of a cube • +X, -X, +Y, -Y, +Z, -Z • Index by unnormalized vector Cube Map vs Skybox skybox background Cube maps map reflections to emulate reflective surface (e.g. -
Texture / Image-Based Rendering Texture Maps
Texture / Image-Based Rendering Texture maps Surface color and transparency Environment and irradiance maps Reflectance maps Shadow maps Displacement and bump maps Level of detail hierarchy CS348B Lecture 12 Pat Hanrahan, Spring 2005 Texture Maps How is texture mapped to the surface? Dimensionality: 1D, 2D, 3D Texture coordinates (s,t) Surface parameters (u,v) Direction vectors: reflection R, normal N, halfway H Projection: cylinder Developable surface: polyhedral net Reparameterize a surface: old-fashion model decal What does texture control? Surface color and opacity Illumination functions: environment maps, shadow maps Reflection functions: reflectance maps Geometry: bump and displacement maps CS348B Lecture 12 Pat Hanrahan, Spring 2005 Page 1 Classic History Catmull/Williams 1974 - basic idea Blinn and Newell 1976 - basic idea, reflection maps Blinn 1978 - bump mapping Williams 1978, Reeves et al. 1987 - shadow maps Smith 1980, Heckbert 1983 - texture mapped polygons Williams 1983 - mipmaps Miller and Hoffman 1984 - illumination and reflectance Perlin 1985, Peachey 1985 - solid textures Greene 1986 - environment maps/world projections Akeley 1993 - Reality Engine Light Field BTF CS348B Lecture 12 Pat Hanrahan, Spring 2005 Texture Mapping ++ == 3D Mesh 2D Texture 2D Image CS348B Lecture 12 Pat Hanrahan, Spring 2005 Page 2 Surface Color and Transparency Tom Porter’s Bowling Pin Source: RenderMan Companion, Pls. 12 & 13 CS348B Lecture 12 Pat Hanrahan, Spring 2005 Reflection Maps Blinn and Newell, 1976 CS348B Lecture 12 Pat Hanrahan, Spring 2005 Page 3 Gazing Ball Miller and Hoffman, 1984 Photograph of mirror ball Maps all directions to a to circle Resolution function of orientation Reflection indexed by normal CS348B Lecture 12 Pat Hanrahan, Spring 2005 Environment Maps Interface, Chou and Williams (ca. -
Cardinality-Constrained Texture Filtering
To appear in ACM TOG 32(4). Cardinality-Constrained Texture Filtering Josiah Manson Scott Schaefer Texas A&M University Texas A&M University (a) Input (b) Exact (c) 8 Texels (d) Trilinear Figure 1: We show a comparison of Lanczos´ 2 filter approximations showing (a) the 10242 input image, with downsampled images at a resolution of 892 calculated using (b) an exact Lanczos´ filter, (c) an eight texel approximation using our method, and (d) trilinear interpolation applied to a Lanczos´ filtered mipmap. Our approximation produces an image that is nearly the same as the exact filtered image while using the same number of texels as trilinear interpolation. Abstract theorem [Shannon 1949] implies that we must use a low-pass filter to remove high-frequency data from the image prior to sampling. We present a method to create high-quality sampling filters by com- There are a variety of low-pass filters, where each filter has its own bining a prescribed number of texels from several resolutions in a set of tradeoffs. Some filters remove aliasing at the cost of overblur- mipmap. Our technique provides fine control over the number of ring the image, while others blur less but allow more aliasing. Fil- texels we read per texture sample so that we can scale quality to ters that are effective at removing aliasing without overblurring sum match a memory bandwidth budget. Our method also has a fixed over a greater number of texels, which makes them expensive to cost regardless of the filter we approximate, which makes it fea- compute. As an extreme example, the sinc filter removes all high sible to approximate higher-order filters such as a Lanczos´ 2 filter frequencies and no low frequencies, but sums over an infinite num- in real-time rendering. -
Deconstructing Hardware Usage for General Purpose Computation on Gpus
Deconstructing Hardware Usage for General Purpose Computation on GPUs Budyanto Himawan Manish Vachharajani Dept. of Computer Science Dept. of Electrical and Computer Engineering University of Colorado University of Colorado Boulder, CO 80309 Boulder, CO 80309 E-mail: {Budyanto.Himawan,manishv}@colorado.edu Abstract performance, in 2001, NVidia revolutionized the GPU by making it highly programmable [3]. Since then, the programmability of The high-programmability and numerous compute resources GPUs has steadily increased, although they are still not fully gen- on Graphics Processing Units (GPUs) have allowed researchers eral purpose. Since this time, there has been much research and ef- to dramatically accelerate many non-graphics applications. This fort in porting both graphics and non-graphics applications to use initial success has generated great interest in mapping applica- the parallelism inherent in GPUs. Much of this work has focused tions to GPUs. Accordingly, several works have focused on help- on presenting application developers with information on how to ing application developers rewrite their application kernels for the perform the non-trivial mapping of general purpose concepts to explicitly parallel but restricted GPU programming model. How- GPU hardware so that there is a good fit between the algorithm ever, there has been far less work that examines how these appli- and the GPU pipeline. cations actually utilize the underlying hardware. Less attention has been given to deconstructing how these gen- This paper focuses on deconstructing how General Purpose ap- eral purpose application use the graphics hardware itself. Nor has plications on GPUs (GPGPU applications) utilize the underlying much attention been given to examining how GPUs (or GPU-like GPU pipeline. -
Texture Mapping Modeling an Orange
Texture Mapping Modeling an Orange q Problem: Model an orange (the fruit) q Start with an orange-colored sphere – Too smooth q Replace sphere with a more complex shape – Takes too many polygons to model all the dimples q Soluon: retain the simple model, but add detail as a part of the rendering process. 1 Modeling an orange q Surface texture: we want to model the surface features of the object not just the overall shape q Soluon: take an image of a real orange’s surface, scan it, and “paste” onto a simple geometric model q The texture image is used to alter the color of each point on the surface q This creates the ILLUSION of a more complex shape q This is efficient since it does not involve increasing the geometric complexity of our model Recall: Graphics Rendering Pipeline Application Geometry Rasterizer 3D 2D input CPU GPU output scene image 2 Rendering Pipeline – Rasterizer Application Geometry Rasterizer Image CPU GPU output q The rasterizer stage does per-pixel operaons: – Turn geometry into visible pixels on screen – Add textures – Resolve visibility (Z-buffer) From Geometry to Display 3 Types of Texture Mapping q Texture Mapping – Uses images to fill inside of polygons q Bump Mapping – Alter surface normals q Environment Mapping – Use the environment as texture Texture Mapping - Fundamentals q A texture is simply an image with coordinates (s,t) q Each part of the surface maps to some part of the texture q The texture value may be used to set or modify the pixel value t (1,1) (199.68, 171.52) Interpolated (0.78,0.67) s (0,0) 256x256 4 2D Texture Mapping q How to map surface coordinates to texture coordinates? 1. -
A Snake Approach for High Quality Image-Based 3D Object Modeling
A Snake Approach for High Quality Image-based 3D Object Modeling Carlos Hernandez´ Esteban and Francis Schmitt Ecole Nationale Superieure´ des Tel´ ecommunications,´ France e-mail: carlos.hernandez, francis.schmitt @enst.fr f g Abstract faces. They mainly work for 2.5D surfaces and are very de- pendent on the light conditions. A third class of methods In this paper we present a new approach to high quality 3D use the color information of the scene. The color informa- object reconstruction by using well known computer vision tion can be used in different ways, depending on the type of techniques. Starting from a calibrated sequence of color im- scene we try to reconstruct. A first way is to measure color ages, we are able to recover both the 3D geometry and the consistency to carve a voxel volume [28, 18]. But they only texture of the real object. The core of the method is based on provide an output model composed of a set of voxels which a classical deformable model, which defines the framework makes difficult to obtain a good 3D mesh representation. Be- where texture and silhouette information are used as exter- sides, color consistency algorithms compare absolute color nal energies to recover the 3D geometry. A new formulation values, which makes them sensitive to light condition varia- of the silhouette constraint is derived, and a multi-resolution tions. A different way of exploiting color is to compare local gradient vector flow diffusion approach is proposed for the variations of the texture such as in cross-correlation methods stereo-based energy term. -
UNWRELLA Step by Step Unwrapping and Texture Baking Tutorial
Introduction Content Defining Seams in 3DSMax Applying Unwrella Texture Baking Final result UNWRELLA Unwrella FAQ, users manual Step by step unwrapping and texture baking tutorial Unwrella UV mapping tutorial. Copyright 3d-io GmbH, 2009. All rights reserved. Please visit http://www.unwrella.com for more details. Unwrella Step by Step automatic unwrapping and texture baking tutorial Introduction 3. Introduction Content 4. Content Defining Seams in 3DSMax 10. Defining Seams in Max Applying Unwrella Texture Baking 16. Applying Unwrella Final result 20. Texture Baking Unwrella FAQ, users manual 29. Final Result 30. Unwrella FAQ, user manual Unwrella UV mapping tutorial. Copyright 3d-io GmbH, 2009. All rights reserved. Please visit http://www.unwrella.com for more details. Introduction In this comprehensive tutorial we will guide you through the process of creating optimal UV texture maps. Introduction Despite the fact that Unwrella is single click solution, we have created this tutorial with a lot of material explaining basic Autodesk 3DSMax work and the philosophy behind the „Render to Texture“ workflow. Content Defining Seams in This method, known in game development as texture baking, together with deployment of the Unwrella plug-in achieves the 3DSMax following quality benchmarks efficiently: Applying Unwrella - Textures with reduced texture mapping seams Texture Baking - Minimizes the surface stretching Final result - Creates automatically the largest possible UV chunks with maximal use of available space Unwrella FAQ, users manual - Preserves user created UV Seams - Reduces the production time from 30 minutes to 3 Minutes! Please follow these steps and learn how to utilize this great tool in order to achieve the best results in minimum time during your everyday productions. -
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 -
A New Way for Mapping Texture Onto 3D Face Model
A NEW WAY FOR MAPPING TEXTURE ONTO 3D FACE MODEL Thesis Submitted to The School of Engineering of the UNIVERSITY OF DAYTON In Partial Fulfillment of the Requirements for The Degree of Master of Science in Electrical Engineering By Changsheng Xiang UNIVERSITY OF DAYTON Dayton, Ohio December, 2015 A NEW WAY FOR MAPPING TEXTURE ONTO 3D FACE MODEL Name: Xiang, Changsheng APPROVED BY: John S. Loomis, Ph.D. Russell Hardie, Ph.D. Advisor Committee Chairman Committee Member Professor, Department of Electrical Professor, Department of Electrical and Computer Engineering and Computer Engineering Raul´ Ordo´nez,˜ Ph.D. Committee Member Professor, Department of Electrical and Computer Engineering John G. Weber, Ph.D. Eddy M. Rojas, Ph.D., M.A.,P.E. Associate Dean Dean, School of Engineering School of Engineering ii c Copyright by Changsheng Xiang All rights reserved 2015 ABSTRACT A NEW WAY FOR MAPPING TEXTURE ONTO 3D FACE MODEL Name: Xiang, Changsheng University of Dayton Advisor: Dr. John S. Loomis Adding texture to an object is extremely important for the enhancement of the 3D model’s visual realism. This thesis presents a new method for mapping texture onto a 3D face model. The complete architecture of the new method is described. In this thesis, there are two main parts, one is 3D mesh modifying and the other is image processing. In 3D mesh modifying part, we use one face obj file as the 3D mesh file. Based on the coordinates and indices of that file, a 3D face wireframe can be displayed on screen by using OpenGL API. The most common method for mapping texture onto 3D mesh is to do mesh parametrization. -
Finally There Are Output Variables, Defining Data Being Passed Onto the Next Stages
Projekt Resumé I 2016 udgav The Khronos Group Vulkan APIen, med det formål at øge hastigheden på grafikapplikationer, der er CPU-begrænsede. En grafikapplikation er CPU-begrænset, som er når GPUen udfører instrukser hurtigere end CPUen kan sende dem til GPUen. I mod- sætning til tidligere grafik-APIer, så har Vulkan et lavere abstraktionsniveau, og ifølge vores tidligere forskning gør dette APIen svær at anvende. Vi præsenterer PapaGo APIen, der forsøger at øge Vulkans abstraktionsniveau, mens den anvender førnævnte API som sin backend. Vores mål er at skabe en API, hvis abstrak- tionsniveau ligner OpenGLs. Samtidig ønsker vi dog at bibeholde Vulkans statelessness, dens eksplicitte kontrol af GPU-ressourcer samt dens GPU command buffers. Sidstnævnte anvendes til at sende kommandoer til GPUen, og de er centrale i at øge hastigheden af CPU-kode, da de kan genbruges over flere frames og kan optages til i parallel. Vi evaluerer PapaGo’s brugbarhed, hvormed vi introducerer en ny opgavebaseret API- evalueringsmetode baseret på en forgrening af Discount Evaluation. Vores evaluering viser, at vores deltagere, der er mere vante til at programmere med OpenGL eller lignende, hurtigt indpassede sig med vores API. Vi oplevede også at vores deltagere var hurtige til at udføre opgaverne givet til dem. Et performance benchmark blev også udført på PapaGo ved brug af en testapplika- tion. Testapplikationen blev kørt på to forskellige systemer, hvor den første indeholder en AMD Sapphire Radeon R9 280 GPU, imens den anden har en mere kraftfuld NVIDIA GeForce GTX 1060 GPU. I det CPU-begrænsede tilfælde af testen, blev hastigheden af ap- plikationen øget på begge systemer når kommandoer optages i parallel. -
Graphics Controllers & Development Tools GRAPHICS SOLUTIONS PRODUCT OVERVIEW GRAPHICS SOLUTIONS
PRODUCT OVERVIEW GRAPHICS SOLUTIONS Graphics Controllers & Development Tools GRAPHICS SOLUTIONS PRODUCT OVERVIEW GRAPHICS SOLUTIONS Copyright © 2008 Fujitsu Limited Tokyo, Japan and Fujitsu Microelectronics Europe This brochure contains references to various Fujitsu Graphics Controller products GmbH. All Rights Reserved. under their original development code names. Fujitsu does not lay any claim to the unique future use of these code names. The information contained in this document has been carefully checked and is believed to be entirely reliable. However Fujitsu and its subsidiaries assume no Designed and produced in the UK. Printed on environmentally friendly paper. responsibility for inaccuracies. The information contained in this document does not convey any licence under the copyrights, patent rights or trademarks claimed and owned by Fujitsu. Fujitsu Limited and its subsidiaries reserve the right to change products or ARM is a registered trademark of ARM Limited in UK, USA and Taiwan. specifications without notice. ARM is a trademark of ARM Limited in Japan and Korea. ARM Powered logo is a registered trademark of ARM Limited in Japan, UK, USA, and Taiwan. No part of this publication may be copied or reproduced in any form or by any means ARM Powered logo is a trademark of ARM Limited in Korea. or transferred to any third party without the prior consent of Fujitsu. ARM926EJ-S and ETM9 are trademarks of ARM Limited. CONTENTS Introduction to Graphics Controllers 2 Introduction to Business Unit Graphics Solutions 3 MB86290A ‘Cremson’ -
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USOO7034828B1 (12) United States Patent (10) Patent No.: US 7,034.8289 9 B1 Drebin et al. (45) Date of Patent: Apr. 25, 2006 (54) RECIRCULATING SHADE TREE BLENDER 4,601,055 A 7/1986 Kent FOR A GRAPHCS SYSTEM (Continued) (75) Inventors: Robert A. Drebin, Palo Alto, CA (US); FOREIGN PATENT DOCUMENTS Timothy J. Van Hook, Atherton, CA (US); Patrick Y. Law, Milpitas, CA CA 2070934 12/1993 (US); Mark M. Leather, Saratoga, CA CA 2147846 3, 1995 (US); Matthew Komsthoeft, Santa E. o: A2 3. 2. Clara, CA (US) EP O 837 429. A 4, 1998 EP 1 O74945 2, 2001 (73) Assignee: Nintendo Co., Ltd., Kyoto (JP) EP 1 O75 146 2, 2001 EP 1 081 649 3, 2001 (*) Notice: Subject to any disclaimer, the term of this JP 9-330230 12/1997 patent is extended or adjusted under 35 JP 1105.358O 2, 1999 U.S.C. 154(b) by 271 days. (Continued) (21) Appl. No.: 09/722,367 OTHER PUBLICATIONS (22) Filed: Nov. 28, 2000 Photograph of Sony PlayStation II System. Related U.S. Application Data Photograph of Sega Dreamcast System. (60) Provisional application No. 60/226,888, filed on Aug. 23, Photograph of Nintendo 64 System. 2000. Whitepaper: 3D Graphics Demystified, Nov. 11, 1999 (51) Int. Cl www.nvidia.com. Whitepaper: “Z& G Buffering, Interpolation and More G06T IS/60 (2006.01) W Buffering”. Doug Rogers, Jan. 31, 2000, www.nvidia. CO. (52) U.S. Cl. ....................... 345/426; 34.5/506; 34.5/582: 345/589; 34.5/519; 345/552 (Continued) (58) Field of Classification Search ................