Download presentation

Presentation is loading. Please wait.

1
CM30075: Computer Graphics Peter Hall

2
!! Warning !! These slides do not replace text book reading

3
L01: about this course Aim: to teach the elements of Computer Graphics Traditional 3D photorealism Modern use of images, and non-photorealism Method: traditional forms lectures personal reading personal practical work Assumptions: knowledge of analytic mathematics vectors and matrices integration and differentiation

4
curriculum 1. Traditional Photorealism 1.1 Modelling B-rep (02,09) CSG (10) Voxels (10) Texture Maps(11) 1.2 Lighting Simple reflection models (05) Advanced reflection and refraction, BRDF (07) The lighting equation (08) 1.3 Rendering Cameras and Projection (03) Ray tracing (06) Hidden surfaces and Cast Shadows (04) Radiosity (08) 1.4 Animation Animation Basics(12) Articulated figures(13) Soft objects and Fluids(14) Fire and Smoke(15) 2. Modern Topics 2.1 Interaction with photographs Compositing(16) Making panoramas (17) Intelligent scissors (18) Texture propagation (19) 2.2 Non-photorealistic Rendering From 3D models (20) From images and video (21) Generalised Cameras (22) A. Mathematical Appendix A.1 Useful geometry of points, lines and planes.(04)

5
Lecture number / curriculum indexTopicLearning objective 01 / 1 Introduction to CM30075 And Compuer Graphics Pointers to course materials given., Traditional Graphics outlined briefly. Traditional Computer Graphics 02 / 1.1.1Modelling – BrepThe B-rep modelling scheme is introduced as just one way to build objects. 03 / 1.3.1Rendering – cameras and projectionCamera models introduced. Points are projected, so that objects models can be rendered as wire-frames. 04 / A.1Rendering – ray-castingLines intersected with planar polygons, result used as a basis for ray-casting. Now objects can be rendered to look solid. 05 / 1.2.1Simple reflection modelsPoint light sources are introduced; Lambertian and Specular reflection so objects can be shaded. 06 / 1.3.2Rendering – ray tracingCast shadows, reflection and refraction amongst many objects. Ray-tracing as a tree. Milestone: material for advance practical work is now covered 07 / 1.2.2Advance lighting and reflectionThe BRDF is introduced. Physical models of reflection and refraction. 08 / 1.2.3The Lighting Equation; Radiosity The full complexity of lighting is revealed; radiosity and ray-tracing are seen as specific solutions. 09/ 1.1.1Modelling revisited – advanced B-repUse of spline surfaces as B-rep models; how to define them and how to render them 10/ 1.1.2Modelling revisited – CSG and VoxelsVoxel models and Volume Rendering 11 / 1.1.3Texture maps.Texture maps introduced as things to be rendered that relieve the burden of modelling. Aliasing issue is mentioned. Milestone: static images now (mostly) covered 12 / 1.4.1Animation basicsThe basics of animation are introduced from both technical and artistic points of view. 13 / 1.4.2Articulated figuresModelling bodies and hierarchies of transforms; inverse kinematics/dynamics is discussed 14 / 1.4.3Soft Objects and FluidsElastic properties – use of physics – to model cloth, putty and such like, including fluids. 15 / 1.4.5Fire and FluidsUse of dynamic textures and particles to model animate objects with no definitive boundary. Milestone: Traditional Computer Graphics material covered Modern Computer Graphics: Photograph editing and non-photorealistic rendering 16 / 2.1.1CompositingHow images layer to make a whole; simple methods for making panoramas from holiday snaps. 17 / 2.1.2Panoramic ViewsHow to make panoramas from holiday snaps – and from video too. 18 / 2.1.3Intelligent scissorsCutting and pasting objects in pictures; so more on compositing 19 / 2.1.4Texture PropagationFilling in holes in images, maybe left by cutting. 20 / 2.2.1NPR from 3D modelsWhy is photorealism the aim? People paint! How to paint, not photograph from models. 21 / 2.2.2NPR from photosHow can photographs be processed to look like a painting? Why is this difficult? 22 / 2.2.3Generalised CamerasThe eye of Art is often not a real camera! Milestone: course content fully introduced 23 revision 24 revision

6
Reading Lecture Slides are NOT intended to replace text book reading. Standard texts Watt, 3D Computer Graphics, Addison Wesley. Foley et al, 3D Computer Graphics, Addison Wesley. Watt and Watt, Advanced Computer Graphics, Addison Wesley. For the interested. SIGGRAPH proceedings (published as journal special issue; Transactions on Graphics) Eurographics proceedings IEEE Transactions on Visualization and Computer Graphics Computer Graphics Forum

7
Practical Aim: You are to write a simple ray-casting / ray-tracing program. The practical work is broken into three stages ray-caster with self-shading cast-shadows full ray-tracer. You should spend no more than 15 hours on this component; including time to prepare the documents needed for your assessment.

8
Assessment Assessment will cover all material given in lectures, in assigned reading and in practical work. 75%Sat Examination Questions usually comprise 4 parts: a) Basic knowledge (3 rd class) b) Moderate knowledge, basic understanding (2.2 nd class) c) Good knowledge / moderate understanding (2.2 nd class) d) Good understanding – can solve new problems (1 st class) 25%practical work Already explained

9
Computer Graphics Basics focus window objectcamera point (pixel) Traditional: What colour is this pixel?

10
Rendering Pipeline Make 3D models transform models into place illuminate models project models clip invisible parts raterization display The rendering pipeline shows the flow of information uses and the processes needed to synthesise an image. In fact, there are many rendering pipelines. The order of processes can change depending, for example, on whether rendering time or rendering quality is more important. These different pipelines differ only in details – the general flow of information from 3D model to 2D image is always the same.

11
Modern approaches point (pixel) target imagesource image What colour is this pixel?

12
The B-rep modelling scheme is introduced as just one way to build objects. L02: B-rep basics pointspoints and linespoints, lines, and polygons

13

14
B-rep basics Brep = Boundary Representation Start with a set of M pointsp = { (x, y, z) i : i = 1…M } Make a set of N lines from pointsL = { (i, j) k : k = 1…N } Make a set of m polygons from linesB = { (k 1, k 2, …, k n } l : l = 1…m } A model is three-dimensional (3D), if the points are 3D (as above).

15
Different information supports different rendering points only dots (used in Chemistry, also in modern Point based Rendering) lines Wire-frame rendering, good for quick tests in animation, say polygons shaded surfaces pointspoints and linespoints, lines, and polygons

16
x1x1 y1y1 z1z1 x2x2 y2y2 z2z2 xixi yiyi zizi xMxM yMyM zMzM 2i 2k ** point tableline table polygon table !! ALWAYS INDEX POINTS !! Practical Issues avoids repeated points, so more efficient avoids numerical error when animating

17
Different tables can be used x1x1 y1y1 z1z1 x2x2 y2y2 z2z2 xixi yiyi zizi xMxM yMyM zMzM point table triangle table Triangles are the most common polygon, because triangles are always flat. But triangles are expensive – many of them; so other polygons used for modelling are often decomposed into triangles for rendering.

18

19
A Minor Complication !! POINT ORDER MATTERS !! anti-clockwise clockwise The ordering gives the polygon a front and back. eh! which side is which?

20
The normal of a triangular polygon The normal of a polygon is used in lighting calculations (and in other calculations too). Suppose a triangle has points, p, q, r, each point in 3D. The normal direction is n = (p-q) x (q-r) where x is the vector cross product. Exercise: Show that reversing the order of points also reverses the direction of the normal.

21
build a table of triangles from these points Exercise: The points are randomly numbered. From the view given, point 4 is at the back of the cube, point 5 is the nearest corner. Build a table of triangles in which vertices are consistently ordered clockwise, when each face of the cube is viewed from the outside.

22
B-rep basics: summary B-rep = boundary representation Models objects with points, lines, polygons Points are ordered around a polygon Best to index into tables The form of tables dictates rendering algorithms Exercise: Build a 3D cube from well ordered triangles, render it as a wire-frame. See L03 for projection methods.

23

24
Camera models introduced. Points are projected, so that objects models can be rendered as wire-frames. L03: Cameras and Projection

25
The Linear Camera In a linear camera rays of light travel in straight lines from a object the camera captures all rays passing through a single focus intersect a planar window to make the image the normal from the plane to the focus is the optical axis focus window object image ray optical axis

26
The Linear Camera focuswindow object image Two variants exist: the physical model – shown in the previous slide has the focus between the object and the window, in which the image is inverted the mathematical model – which we use, is shown below has the window between the object and focus leaving the image the right way up

27
Basic Perspective Projection Uses similar triangles to compute the height of the image object image focus

28
3D is almost as easy as 2D In the canonical camera, focal length (f) is taken as 1.

29
Homogeneous Points Make projection easy and convenient 3D point (x, y, z) written as (x,y,z,1) homogeneous point (x, y, z, ) maps to real point 1/ (x, y, z) The homogeneous points p = (x,y,z,1) and q = (sx, sy, sz, s) differ only by a scale factor s; this makes them equivalent in homogenous space. Notice (x,y,z) and (sx,sy,sz) are two points on the same straight line passing through the origin. This makes them equivalent – they represent the same line! In homogeneous space, lines and points are dual concepts!

30
object point image point straight line (a ray of light) focus: at the origin a particular line – the optical axis – passes normally through the window and through the focus. This line has the image of the focus – a vanishing point. the set of all rays project normally onto the window to make a pattern of spokes A little homogeneous geometry window a scaled version of the image a scaled version of the object

31
Projection with a matrix Using homogeneous coordinates, projection can be written as a matrix we do need to divide by homogeneous depth,, after this Compare this to with f = 1.

32
The camera as a matrix Using a matrix for projection is very convenient in many ways. 1.It means we can model the camera as a matrix, C, say. Now projection of a homogenous point p is just q = pC and we know that the homogeneous image point q is just a scale factor away from being correct – and all we need do is scale it by its depth (last element). 2.It means we can move the camera about in space just by pre-multiplying by a matrix transform q = pMC 3.It means we can change the internals of the camera (focal length, aspect ratio, etc) by post-multiplying by a matrix q = pMCK 4.We can do all of this at once! just set A = MCK, now A is a linear camera q = pA

33
Some Examples Setting using rotates then translates the camera before projection. Notice this is equivalent to applying M -1 to the point.

34
Another example To change focal length, set now post-multiply

35
All at once Define a new linear projective camera in a new place and with a new focal length It is easy to use this camera… Of course, you can set M and K as you please – not just rotate and translate and new focal length! Exercise: See notes for an exercise

36
Rendering with a Projection Matrix 1.Project all points using the projection matrix 2.Keep all points that lie within the window bounds 3.Connect points in the picture that are connected in 3D If we had a model built just of points (no lines, planes etc) then we could make a simple images using this simple technique: This produces a wire frame picture – easy, and fast! If all pixels inside a projected triangle can be identified, then they too can be coloured. This is the basis of scan-conversion.

37
Lines are intersected with planar polygons. The result used as a basis for ray-casting. Now objects can be rendered to look solid. L04: Ray-Casting

38
Ray-casting algorithm For each pixel Cast a ray from the focus through the pixel Compute all intersections with all polygons Find the nearest polygon Colour pixel with polygon colour Actually, the polygon colour is modified to create the effect of shading, as on a sphere.

39
Ray Casting Basics One ray per pixel, cast into the scene Look for nearest intersection Colour pixel accordingly Expensive part: computing the intersection of a ray with a polygon focus pixel window scene of objects camera

40
Line / Polygon intersection p r x(s) c n an infinitely wide plane an infinitely long line compute scale factor Given the scale factor, the intersection is easy to get

41
Point Inside Triangle? inside outside all three turns are anti-clockwise some turns are anti-clockwise, others are clockwise direction of turn: p1p1 p2p2 p3p3 x parallel direction of turn, s ij > 0:

42
A practical problem The frame buffer is in the computer. We imagine casting rays thru pixel centres i j The window is in space; where are pixel centres in space?

43
Solution: recall the camera as a matrix, C = MPK y = xC = ((xM)P)K external parameters M locates the camera in space M is a 4x4 matrix, (eg rotation) notice M maps a model point in space use the inverse of M to move camera! a projection P maps 3D points, to the window P is rank degenerate can be (4x3) but usually is (4x4) internal parameters, maps window points to frame-buffer transform confined to the plane a matrix K (a 3x3 will do!)

44
K x y i j The internal parameters transform the pixels centres from frame buffer coordinates to window coordinates. There is no single answer – here Ive mapped a rectangular frame buffer to a window which is square, so pixels get stretched into rectangles – but you may keep pixels square. pixel is typically at (j,i) point is at (x,y) It is very common (almost universal) to flip coordinates so pixel (j,i) maps to location (x,y); and notices row (j) increase going DOWN - take care when designing K! K -1

45
The external parameters transforms the canonical camera in camera space to the desired camera in world space. M -1 M

46
Ray-casting takes a long time Why does ray-casting take so long? Because every ray is compared to every polygon. Is this necessary? What are bounding spheres? Homework question: what is a BSP tree?

47
Point light sources are introduced. Lambertian and Specular reflection, so objects can be shaded. L05: Simple Reflection

48
Point light sources A point light source is, er, a point (x,y,z) that emits light. Actually the point light can be at infinity (think of the sun), in which case (x,y,z) is its direction. Most point lights sources are often at infinity in computer graphics. This makes shading/reflection efficient to compute because the direction of the light is the same for every intersection point.

49
Basic Reflection Model mirror direction light direction surface normal Mirror reflection - specular reflection – Phong reflection Diffuse refection – Lambertian reflection

50
Diffuse/Lambertian Reflection A beam of light spreads over an area, and is reflected equally in all directions. So here weve not drawn any reflected direction The energy in the light is spread out more over the wider area. So, the area will appear less bright. over a narrow area over a wide area these beams are of equal width

51
Functional analogy: the sun warms the earth more near the equator than the pole w h h = w/cos( ) w The light energy in the beam of width w is spread over a length h = w/cos ( ). Energy density in beam: I/w Energy density on ground: I/h = Icos( )/w

52
Lambertian reflection in Graphics I out = I light cos( ) The cosine we need is the dot (inner) product of the unit normal and unit vector pointing to the light. We know that light from the source strikes a surface, to be spread equally in all directions. So, only the angle between the light direction and the surface is important. I out = I light n.l BUT the surface can absorb some light, so only a fraction c is reflected I out = cI light n.l The diffuse reflection coefficient c depends on the surface material.

53
Diffuse reflection in colour R out = c red R light n.l To handle colour is easy: just do the same calculation for each colour channel B out = c blue B light n.l G out = c green G light n.l For white light, R light = G light = B light. The coefficients c are often thought of as the colour of the material.

54
Specular Reflection mirror direction, r light direction, l surface normal, n eye direction, e How much light is reflected in a particular direction? Intuitively, the angle between the mirror and eye directions is important. Homework: The eye direction is a given, what is the mirror direction?

55
Phong Reflection Phongs specular reflection model I out = kI light (r.e) n Notice how the cosine (r.e) is used. k is the specular reflection coeffiecient for the surface. Phong reflection works for colour in just the same sort of way as Lambertian reflection

56
A complete but simple reflection model I out = aI amb + cI light n.l + kI light (r.e) n A complete model (for a single colour channel) is We see the diffuse and specular terms are added up. There is an additional term for ambient light - this is light that comes equally from every direction - ambient light allows us see the very darkest regions of a picture Specular highlights often look white, (just look around at things to see this) so k is often given the same value in every colour channel

57
Ray-tracing is a global lighting method. Cast shadows Reflection and refraction amongst many objects. Ray-tracing as a tree. L06: Ray-tracing

58
Cast Shadows Is the box resting on the table ?

59
Is a point in shadow? point light point A point is in shadow if the line between it and a light is blocked by an object

60
How can we tell? The point to light ray is a line Look for intersections of the this line with any object This is almost an exact repetition of the ray-casting, except intersections need not be ordered, just finding one is enough

61
Reversibility of light Ray tracing relies on a physical principle: a ray of light can be traced in either direction So, if a ray of light splits into two parts then its energy is divided. But we can run this backwards and add up the energy in the divided rays to get the energy in the original. The paths of the light rays are identical, backwards or forwards.

62
Ray tracing extends ray casting eye window ray object reflected ray intersection refracted ray

63
Ray tracing tree A ray/object intersection generate a new (reflected, refracted) pair of rays. These new rays also intersect to generate new rays, hence a tree original ray from eye thru pixel intersection reflected refracted intersection reflected refracted intersection reflected refracted Stop when a ray leaves the scene, or a set depth intersection a leaf the root a parent ray when going UP the tree

64
Using the tree in a simple way The ray-tracing tree is used bottom up, from the leaves to the root. There are no reflected or refracted rays at a leaf. You can work out the light to the parent using the simple lighting model. But now the direction to the eye is in fact the direction of the parent ray. The leaf contributes some energy to its parent, this parent receives light contributions from both its children. Now work out the simple light model for the parent, as if it was a leaf, Add this to the contributions from its children. And so on.

65
A detail of the tree surface normalto light mirror direction to parent leaf intersection local light only surface normal to light mirror direction to parent leaf intersection local light only surface to parent non-leaf intersection local light + child rays

66
Whitted ray-tracing Turner Whitted produced the first ray-racer (1980). It was the first global illumination model. It includes Hidden surface removal Self shading (as in diffuse/specular reflection) Cast shadows Reflection and refraction (making the model global) The full coursework is to write a Whitted ray-tracer. A restriction is to not include reflection and refraction, which is advanced ray casting. A further restriction include self-shading only, which is simple ray-casting, and the minimum required to make a picture of some kind.

67
The BRDF is introduced. Physical models of reflection and refraction are considered. L07: Advanced Reflection and Refraction

68
Overall energy transfer incident light E in reflected light, E refl refracted light, E refr schematically E in = E refl + E refr + E abs conservation of energy

69
Recall the simple lighting model c = k a I a + Ik d (n.l) + Ik s (r.e) This takes into account ambient light diffuse reflection specular reflection n l r e The energy in the colour depends on where the viewer is, e, compared to the reflection r – and hence the light direction l.

70
A visualisation Suppose we set I a = 0, I = 1, k d = 1, k s =1, and n.l = 1 Furher, fix r. Now the lighting depends only on e and. In fact c = 1 + e.r to get a picture of how the energy depends on point of view

71
A more general idea The light energy depends on the direction of the incident light the direction of view

72
Diffuse/Specular lighting diffuse to diffusediffuse to specular specular to diffuse specular to specular

73
The BDRF BDRF = bi-directional reflectance function f( f the fraction of light energy transferred from an incident light ray at ( 1, 2 ) to viewing direction ( 1, 2 ) In the simple model this is (e.r) in which r depends on input direction l. (Recall computing r from l is a homework!) A full BDRF is even more complicated – wavelength, polarization…!

74
The importance of the BDRF The BDRF controls the kind of material an object appears to be made from, for example plastic metal ceramic The simple model tends to make things look plastic.

75
Where do we get a BRDF from? BRDF can be measured from the real thing; not easy! In graphics, micro-surfaces can be used to estimate BRDF. Look up Torrance Sparrow model. see, eg flat surface …under a microscope a perfect mirror each micro-facet a perfect mirror but overall surface is not!

76
The full complexity of global lighting radiosity in brief radiosity and ray-tracing as specific solutions L08: The rendering equation See: Watt & Watt, Advanced Animation and Rendering, subsec 12.2

77
Global Lighting Every object reflects light (otherwise, it would look like a black hole) So, every object can be reflected in every other ! This makes global lighting very complicated. what colour is the light coming out? light in light out

78
Scattering, Shadows and refraction complicate further still ! light in light out and real cases are still more complicated !

79
Kajyas rendering equation The light transported from point y to point x g(x,y) is the visibility function, 0 if x is in shadow wrt y, 1/|y-x| 2 otherwise. (x,y) is the transfer directly from y to x (x,y,z) is BDRF (scattered light) toward x by y given light source at z S is the set of all points in the scene Important: I(.,.) appears both sides.

80
Use of Rendering Equation Different lighting models are special-case solutions: The local-model Ray-tracing Radiosity

81
rewrite as with R an integral operator Now hence Solving the rendering equation

82
consider first term – direct (local) lighting: x is the eye, y a point subsequent terms account for scattering from other points

83
Ray-tracing Forward ray-tracing (from the eye to lights) –specular to specular : bounces, Phong term –specular to diffuse: Lambertian –diffuse to diffuse (but badly!): Ambient Backward ray-tracing (to the eye from lights) –diffuse to specular

84
Radiosity Diffuse to Diffuse This is the (badly modelled) ambient term in local models light falls onto a patch from all others light radiates to all other patches

85
The light energy per unit area is called radiosity total energy at a patch is its radiosity x its area and energy is conserved, so at a patch radiosity x area = emitted energy + reflected energy

86
In a closed environment the energy transfer between patches will reach an equilibrium. If we use a discrete environment (ie a finite model), then we can use a discrete form of the radiosity equation The form factors are correlated: so that, on division by A i we get the basic equation used:

87
the radiosity equation in matrix form the hard part is computing the form factors. (See a standard text for how to do this) Once they are at hand, solve the system for the B. then render with a scan converter.

88
Spline surfaces as B-rep models How to define them How to render them L09: Brep with curves

89
Many real world objects are curved. But so far, we have used flat modelling primitives. Here, we learn how to use curved primitives. We first look at curve lines in space, and then at curved surfaces in space.

90
Both curves and surfaces are collections of points in space. The points are related to one another by some function or other. In principle the curves and surfaces contain an infinite number of points, but in practice we are forced to use finitely many points. And we can think of surfaces as a collection of curves

91
There are many ways to define curves and surfaces Implicit: balances a points coordinates Unit Circle… x 2 + y 2 = 1 Unit sphere: x 2 + y 2 + z 2 = 1 We will use implicit forms in CSG modelling. Here we will use parametric forms. Parametric forms allow you to compute points directly. This is much better for Brep models.

92
Parametric forms allow you to compute points directly. This is much better for Brep models. Parametric curves require one parameter, u. x(u) is a point in 3D, on the curve. Parametric surfaces require two parameters x(u,v) is a point in 3D, on the surface.

93
Formally x(u) is a mapping from the real line, R, to a subset of R 3. Its as if the real line (x axis) is bent into the shape of the curve. x(u,v) is a mapping from the real plane, R 2, to a subset of R 3. Its as if the real plane (xy-plane) is bent into the shape of the curve. u u v x(u) x(u,v)

94
Curves: An easy way to specify a curve is with a polynomial; most modellers use cubics: x(u) = a + bu + cu 2 + du 3 = [u 3 u 2 u 1][d c b a] The coefficients a, b, c, d specify the curve. But this is not the most convenient way, because its hard to control. So the cubic is usually specified in some other way. This is an abuse of notation!

95
Bezier Curves and Surfaces are just one of the many alternatives x(u) = UMP U = [u 3 u 2 u 1] M = [ ] P = [p 0 p 1 p 2 p 3 ] the Bezier matrix parameter vector 4 control points

96
Examples of Bezier curves control points Bezier curve

97
Bezier surfaces analogous issues over control of surfaces argue in favour of, say, Bezier surfaces; again one of may controllable forms. x(u,v) = UMPM t V t The M is the Bezier matrix, U and V parameter vectors, P is now a 4x4 matrix of control points.

98
A Bezier surface example

99
Rendering curved surfaces Can compute intersection of ray/patch but this is difficult and expensive. More often, the surface is broken into many small triangles; the approximation error is carefully controlled. Homework: read and summarise (for yourself) one method for decomposing a surface into triangles.

100
Computing normals of surfaces Could use normal from a triangle. Better to get the normal at a point directly. compute partials (only one is shown) get normal direction

101
Issues not considered here: Stitching patches together to make a bigger surface. Continuity issues constrain the points around the joins. The differential geometry of curves and surfaces Frenet frames Gaussian curvature

102
Construct Solid Geometry basics Voxel models L10: CSG and Voxels

103
CSG basics Brep is not the only way to represent objects. CSG is another common way. CSG is models define sets of points via inequalities. Example A straight line, y = mx+c, divides the plane: setf(x,y) = mx + c – y thenf(x,y) > 0 are points above the line f(x,y) = 0 are points on the line f(x,y) < 0 are point below the line

104
More generally if f(x,y,z) is any scalar function of 3 spatial variables then it can be used to partition space points, using the sign of f(x,y,z). More examples: unit sphere: f(x,y,z) = x^2 + y^2 + z^2 – 1 unit cylinder: f(x,y,z) = x^2 + y^2 – 1

105
Lets write f(x) in place of f(x,y,z); x has become a vector, x = (x,y,z,1). Now suppose f(x) = x x , a sphere And suppose M is a transform, then f(xM) is a mapped version of the sphere; is an ellipse – maybe with a new centre. Creating new shapes

106
Combining shapes CSG primitives are just sets of points. So they are easy to combine into more complex shapes. plane(.) tetrahedron(.) AND sphere(.) cylinder(.) DIF doughnut(.) Any set operation can be used to combine primitives Any new shapes can be combined too.

107
Rendering CSG Ray tracing could be suitable – the CSG plane is already used by us! and bounding spheres are CSG models! We just have to be clever about following the model tree when deciding if a ray strikes an object (eg dougnut example). And (partial) differentiating gives normals; Homework: show the normal at a point x on the unit sphere is 2x.

108
CSG vs Brep CSG B-rep points implicit point explicit sets easy to handle sets hard to handle goodish to ray trace hard for radiosity hardish to ray-trace good for radiosity easy to combine hard to combine hard to get from lifeeasier to get from life NB: This list is my personal view based on vast non-experience.

109
Voxel Models A pixel is a picture element – an area of colour A voxel is a volume element – a volume of colour Voxels are often (partially) transparent. Voxels (typcally) come from medical data: CAT - bones MRI – soft tissue

110
a single voxel many voxels voxels are arranged into a brick; each brick can contain hundreds – thousands – of voxels in each direction

111
Typical rendering: CAT scans CAT scan data produces voxels with a density, so is a scalar field f(x,y,z). 1.Use the scalar field to assign colour and opacity 2.Compute a normal at each voxel Use finite differences for this 3.Shoot a ray through a pixel into the volume, compute lighting at each voxel integrate colour and opacity over the ray f colour

112
Example – taken from Wikipedia

113
Texture maps Variations Two problems L11: Texture maps

114
Texture maps: what and why A texture map is a picture: a carpet a label on a can of food the earth …many other examples Texture maps are used where the level detail needed make standard modelling inefficient / impossible.

115
The idea is to wrap or warp a flat picture onto a 3D surface In this example, a texture of the earth is mapped onto a sphere + =

116
Variations on a theme Bump mapping Environment mapping Procedural mapping

117
Two problems 1. Flat pictures will not map onto many (most) surfaces: toroids bunnies etc 2. Aliasing – the texture map is made of pixels the pixels can show up and the texture is squashed / stretched to fit the surface making the problem worse

118
x (sort of) solving problem 1 Use intermediate shapes, typically sphere cylinder cube x is a point on the object c is the object centre y is the project of x on the im-shape y c

119
Basic algorithm has two steps: 1.Map the 2D texture (u,v) to the 3D surface (x,y,z): x = x(u,v), y = y(u,v), z = z(u,v) T(u,v) -> T(x,y,z) This is called the S-mapping 2.Map the object to the same 3D surface x = x(xo,yo,zo) y = y(xo,yo,zo) z = z(xo,yo,zo) T(x,y,z) -> T(xo,yo,zo) This is called the O-mapping

120
Other O-mappings from the object to im-surface exist xxxx centroid object normal surface normal reflected ray this one makes reflect the environment

121
simple bump opacity environment 3D textures (procedural)

122
(sort of) solving problem 2 Recall: Aliasing of textures solution : mip-mapping mip = multim im parvo "many things in a small space The texture is scaled and filtered BEFORE use

123
1. The texture is scaled and filtered 2. In use, the program selected the correct section of the mipmap, according to distance

124
Animation as an art Animation of solid bodies Camera motion L12: Animation Basics

125
Animation as an art technically, animation is motion artistically it means bring to life

126
Traditional animators use many tricks to bring their characters to life – to animate them. All tricks break Physics streak-lines ghosting squash-and-stretch rubber inertia

127

128
Animation of solid bodies This is easy – the same transform is applied to all points The transform is usually a matrix, but does not have to be. The transform can be differential x(t+dt) = f[ x(t) ] but this often leads to numerical error; so the transform is more often absolute x(t) = f[ x(0) ] The set of point {x(0)} is – conveniently – the canonical object

129
Examples RiTiRiTi TiRiTiRi

130
Camera motion Cameras often follow a path through a scene. The path is often defined by a cubic curve. But this just says where the camera is, we need to know: * where it points * and control the camera speed. We must return to the differential geometry of a curve...

131
To control speed and acceleration along the curve we need Arc-Length Parameterisation Recall the Brep curves; x(u) = U*P is a point on the curve u is a natural parameter parameterisation is arbitrary define c(u) as the length of the arc

132

133
To control viewing direction along the curve we need Frenet Frames

134
Model Specifications Hierarchies of transforms Inverse kinematics/dynamics L13: Articulated Figures

135

136
Model specifications Articulated models comprise a set of limbs joints that link the limbs methods to move the limbs plus appearance information (colour etc)

137
Here the limbs are just rectangles; limbs that are rigid bodies are much easier to handle in which case rectangles are OK to use. So we can think about the joints. These are specified in many different ways. Here a joint is just a point the limbs move around the point Often within a constrained angle (In 3D, within a constrained solid angle)

138
rotation angle parent frame The way angles are measured must be carefully specified. A frame is needed. Here the x axis runs between joints. X-axis rotation is, then, angle moved.

139
Hierarchies of Transforms Simple articulated models have a tree-like structure head right upper arm right lower armleft lower arm left upper armleft upper leg left lower leg left foot right upper leg right lower leg right foot body neck This tree is used to locate the whole body first, then the next layer of limbs, and so on. In this tree the feet are placed last of all.

140
Placing a transform at each node in the tree is a very common method to make the object move. We already know how to orient the limb inside its frame, so all we do is move the frame! Which way around is correct? y = xM body M upper M lower M foot or y = xM foot M lower M upper M body orwill either do? does it matter?

141

142

143
Problem: in the modified video, why does the foot not goes though the floor?

144
Inverse kinematics/dynamics Kinematics – the location of the limbs at any given time. Dynamics – the motion of the limbs at any given time.

145
IK method Put the puppet into a poses at various times. The computer works out how to move from one pose to the next, in the time available. The solution has to be subject to some constraints, typically minimisation of some energy measure. The method is hard, and tedious – too much so for these note. See Watt & Watt, section 16.4 for details.

146
Non-physical models Physical models; elasticity etc for cloth, putty Water and fluids L14: Soft Objects and Fluids

147
Soft Objects and Physics Animation of rigid bodies is easy to achieve; Animation of articulated figures benefits from inverse kinematics and inverse dynamics. Animation of soft objects all but requires the use of physics.

148
Non-physics approaches Parametric transforms Spline surfaces Free-form deformations Parametric transforms, eg angle of turn about z depend s on z: R( theta(z) ) Or could animate splines; eg. Bezier surfaces are easy to move – just move the control points !

149
Free form deformations FFDs move the space. FFDs are tricubic Bezier patches: Q(u,v,w) = sum sum sum p(i,j,k) Bi(u) Bj(v) Bk(w) Any point on any object and (u,v,w) maps to the point Q.

150
Physics models Simple use of physics; i)Use Newtons second law F = m d 2 x/dt 2 write as a set of first order ODES F = m du/dt u = dx/dt ii)Integrate the differential equations over time; setting boundary conditions at time = 0;

151
Elasticity is a well used model Soft objects are stretchy !! Force = -k * stretch Thus given a form for F, motion is determined.

152
Different variants can be – and are - used Bending forces (twisting forces)

153
Water and fluids The atom and force model is good for soft solids But liquids as best modelled in other ways Again, though, physics is the basis of all the models

154
Not given in 2008 L15: Fire and Smoke

155
Why is photorealism the aim? People paint! What is NPR? NPR issues L16: NonPhotorealistic Rendering

156
Why photorealism? people paint! Why photorealism ? Physics provides starting point for models Photographs provide a foil to test against But people paint ! Artwork shows off important regions better Photography is just one depictive style amongst many

157
Which is the simplest to understand?

158
What is NPR? NPR is a sub-branch of Computer Graphics that studies making images that do not look photographic. NPR is said to have started around Several sub-divisions exist –paint-boxes –rendering 3D models –rendering from photographs and/or video

159
Paint boxes from the simple……to the complex

160
Rendering 3D models Breslav et al, SIGGRAPH 2007

161
Rendering from photographs and/or video

162
NPR issues NPR depends on perception and interpretation –drawing implies seeing –models are much more complex –interaction is common Mark making –What kind of mark? –Where to mark? No single foil to test against –there is no correct drawing

163
NPR depends on Perception and Interpretation

164
No single foil to test against

165
Mark making: what and where? What: Emulate real media pencil, oil paint, chalk, ….. physical models possible can test for quality of a given mark What: Produce new media Can the computer be used to make marks not made before? Where:Should marks be made locally, globally, or both? How to decide where to place marks? Where: How can marks be made stable in animations?

166
The problems Some solutions L17: NPR from models

167
The problems Consider a pencil drawing, marks are used to depict: object boundaries and other contours shadows and shading texture

168
Apparent ridges Judd et al, SIGGRAPH 2007

169
For apparent ridges we need: differential geometry of surfaces projection The curvature at a surface point S(x,y) – how curved is the surface? Use the Hessian, H, which is a 2x2 matrix of 2 nd order partials of S. The EVD of H = UKU T principle directions, U = [u 1 u 2 ], principle curvature, K = [k 1 k 2 ] Ridges and valleys where k 1 is an extremum in direction u 1. Project the local surface geometry (tangents, normals n all), Look for extremum in this observed geometry.

170

171
Shadows and shading Shading lines – cross hatches etc Can be based in image space………or in object space Again, curvature can be used, this time to direct pencil lines.

172
Other methods use solid texture maps, that adapt to local lighting and geometry

173
Marks make textures too… With NPR, even the marks can be animated (look at the sea)

174
L18: NPR from images

175
L18: Smart cut-and-paste

176
L19: Texture Propagation

177
L21: NPR from images

178
L22: Generalised Cameras

Similar presentations

© 2017 SlidePlayer.com Inc.

All rights reserved.

Ads by Google