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Perlin Noise
Next: About this document ... Up: gradient Previous: Laplacian of Gaussian (LoG) Similar to Laplace of Gaussian, the image is first smoothed by convolution with Gaussian kernel of certain width
Difference of Gaussian
TechFest 2008: Real Time Rendering of Smoke Animation | Tina Woo
One would think that Real Time Rendering of Smoke Animation in this technological era would be a cake walk. Well, it isn't and here's why: Rendering of smoke presents a challenging problem in computer graphics because of its complicated effects on light propagation. Within a smoke volume, light undergoes absorption and scattering interactions that vary from point to point because of the spatial non-uniformity of smoke. In static participating media, the number and the complexity of scattering interactions lead to a substantial expense in computation. For a dynamic medium such as smoke, the intricate volumetric structure of which changes with time, the computational costs can be prohibitive.The light piercing the fog in the top image is smooth, realistic and computationally light-weight thanks to a new method for gathering light for computer graphics via photon mapping. This UC San Diego work will be presented at Europe’s premier computer graphics conference, Eurographics on April 17, 2008. In the bottom image, the very same scene was generated using the conventional light gathering approach. Both images consumed the same computational resources. San Diego, CA, April 15, 2008 -- UC San Diego computer scientists have created a fog and smoke machine for computer graphics that cuts the computational cost of making realistic smoky and foggy 3-D images, such as beams of light from a lighthouse piercing thick fog. By cutting the computing cost for creating highly realistic imagery from scratch, the UCSD computer scientists are helping to pull cutting edge graphics techniques out of research labs and into movies and eventually video games and beyond.
Computer Science Fog Machine Improves Computer Graphics [Jacobs
The color of water is influenced by a very large number of factors, especially by sky color and light conditions, so it's radically different on a sunny day vs. an overcast day. The approach is intended to produce scenes of ponds whose surface reacts to perturbations introduced by the user or controlled by the computer, like drizzle or the stirring of a finger. From the abstract: Describes realtime physics-based simulation and realistic rendering of rivers using Smoothed Particle Hydrodynamics. Claims their method of generating the surface is far faster than the Marching Cubes. approach, and is well suited for rendering. The demo video shows very tiny shallow streams of water, which look rather unstable and artificial. The larger area demos (for a valley and flooding) also looks unstable and less realistic than a simple water heightfield.
Water Simulation
High Contrast Shaders hen drawing inside polygons using a GPU shader, if your shader outputs areas containing high contrast sloping lines, those lines will be aliased. Multisampling does nothing to fix the aliasing, as multisampling only serves to smooth the edges of geometry and not their interior fills. Determine the arc width θ of your smoothing distance, for example the arc across a pixel by diving your field of view by the number of vertical pixels in your scene. Convert θ to foreshorten ratio ω using the equation ω = 1 / sin(θ). If your scene's resolution and aspect ratio won't change, this value ω may be held in a constant.
High Contrast Shaders
Steep Parallax Mapping
Abstract. We propose Steep Parallax Mapping, a new bump mapping scheme that can produce parallax, self-occlusion, and self-shadowing for arbitrary bump maps. It uses existing data formats, is a straightforward extension to the state-of-the-art parallax mapping, and can shade every pixel at 1024 x 768 at 30fps with 4x FSAA, making it practical for games.