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14.1 Si23_03 SI23 Introduction to Computer Graphics Lecture 14 – Polygon Shading Techniques.

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Presentation on theme: "14.1 Si23_03 SI23 Introduction to Computer Graphics Lecture 14 – Polygon Shading Techniques."— Presentation transcript:

1 14.1 Si23_03 SI23 Introduction to Computer Graphics Lecture 14 – Polygon Shading Techniques

2 14.2 Si23_03 Reflection Models n We have seen how the reflected intensity at a point may be calculated n A reminder of the Phong reflection model...

3 14.3 Si23_03 Phong Reflection Model light source N L R V eye surface I( ) = K a ( )I a ( ) + ( K d ( )( L. N ) + K s ( R. V ) n ) I*( ) / dist In practice, we evaluate I RED, I GREEN, I BLUE for red, green, blue intensities: I RED = K a RED I a RED + ( K d RED ( L. N ) + K s ( R. V ) n ) I* RED /dist dist = distance attenuation factor

4 14.4 Si23_03 Phong Reflection Model n Remember calculation depends on: – surface normal at a point – light source intensity and position – material properties – viewer position n L.N and R.V constant if L, V taken to be far away

5 14.5 Si23_03 Viewing Polygons n We have also seen how a 3D polygon can be projected to screen space via a sequence of transformations This lecture looks at how we shade the polygon, using our reflection model

6 14.6 Si23_03 Constant (or Flat) Shading n Calculate normal (how?) n Assume L.N and R.V constant (light & viewer at infinity) n Calculate I RED, I GREEN, I BLUE using Phong reflection model n Project vertices to viewplane n Use scan line conversion to fill polygon N light viewer

7 14.7 Si23_03 2D Graphics - Filling a Polygon n Scan line methods used to fill 2D polygons with a constant colour – find ymin, ymax of vertices – from ymin to ymax do: – find intersection with polygon edges – fill in pixels between intersections using specified colour – See lecture 6 for details of algorithm with edge tables etc See also Hearn&Baker, Ch 3

8 14.8 Si23_03 Polygonal Models n Recall that we use polygonal models to approximate curved surfaces Constant shading will emphasise this approximation because each facet will be constant shaded, with sudden change from facet to facet

9 14.9 Si23_03 Flat Shading

10 14.10 Si23_03 Gouraud Shading n Gouraud shading attempts to smooth out the shading across the polygon facets n Begin by calculating the normal at each vertex N

11 14.11 Si23_03 Gouraud Shading averaging n A feasible way to do this is by averaging the normals from surrounding facets intensities n Then apply the reflection model to calculate intensities at each vertex N

12 14.12 Si23_03 Gouraud Shading linear interpolation n We use linear interpolation to calculate intensity at edge intersection P I P RED = (1- I P1 RED + I P2 RED where P divides P1P2 in the ratio n Similarly for Q P4 P2 P1 P3 P Q 1-

13 14.13 Si23_03 Gouraud Shading n Then we do further linear interpolation to calculate colour of pixels on scanline PQ P2 P1 P3 P Q

14 14.14 Si23_03 Gouraud Shading

15 14.15 Si23_03 Henri Gouraud n Henri Gouraud is another pioneering figure in computer graphics

16 14.16 Si23_03 Gouraud Shading Limitations - Specular Highlights n Gouraud shading gives intensities within a polygon which are a weighted average of the intensities at vertices – a specular highlight at a vertex tends to be smoothed out over a larger area than it should cover – a specular highlight in the middle of a polygon will never be shown

17 14.17 Si23_03 Gouraud Shading Limitations - Mach Bands n The rate of change of pixel intensity is even across any polygon, but changes as boundaries are crossed Mach banding n This discontinuity is accentuated by the human visual system, so that we see either light or dark lines at the polygon edges - known as Mach banding

18 14.18 Si23_03 Phong Shading n Phong shading has a similar first step, in that vertex normals are calculated - typically as average of normals of surrounding faces N

19 14.19 Si23_03 Phong Shading n However rather than calculate intensity at vertices and then interpolate intensities as we do in Gouraud shading... n In Phong shading we interpolate normals at each pixel... P4 P2 P1 P3 P Q N2 N1 N

20 14.20 Si23_03 Phong Shading n... and apply the reflection model at each pixel to calculate the intensity - I RED, I GREEN, I BLUE P4 P2 P1 P3 P Q N2 N1 N

21 14.21 Si23_03 Phong Shading

22 14.22 Si23_03 Phong versus Gouraud Shading n A major advantage of Phong shading over Gouraud is that specular highlights tend to be much more accurate – vertex highlight is much sharper – a highlight can occur within a polygon n Also Mach banding greatly reduced n The cost is a substantial increase in processing time because reflection model applied per pixel n But there are limitations to both Gouraud and Phong

23 14.23 Si23_03 Gouraud versus Phong

24 14.24 Si23_03 Interpolated Shading Limitations - Perspective Effects n Anomalies occur because interpolation is carried out in screen space, after the perspective transformation n Suppose P2 much more distant than P1. P is midway in screen space so gets 50 : 50 intensity (Gouraud) or normal (Phong) n... but in world coordinates it is much nearer P1 than P2 P4 P2 P1 P3 P Q

25 14.25 Si23_03 Interpolated Shading Limitations - Averaging Normals n Averaging the normals of adjacent faces usually works reasonably well n But beware corrugated surfaces where the averaging unduly smooths out the surface

26 14.26 Si23_03 Wall Lights

27 14.27 Si23_03 Wall Lights with Fewer Polygons

28 14.28 Si23_03 Final Note on Normals n If a sharp polygon boundary is required, we calculate two vertex normals for each side of the joint N LEFT N RIGHT

29 14.29 Si23_03 Simple Shading - Without Taking Account of Normals

30 14.30 Si23_03 Constant or Flat Shading - Each Polygon has Constant Shade

31 14.31 Si23_03 Gouraud Shading

32 14.32 Si23_03 Phong Shading

33 14.33 Si23_03 Phong Shading with Curved Surfaces

34 14.34 Si23_03 Better Illumination Model

35 14.35 Si23_03 Further Study n Hearn and Baker, section 14-5 n Think about the relative computational costs of flat, Gouraud and Phong

36 14.36 Si23_03 Acknowledgements n Thanks again to Alan Watt for the images n The following sequence is the famous Shutterbug from Foley et al

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