OpenGL ES在Android开发中的深度探索

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"Pro OpenGL ES for Android - 一本专注于在Android平台上使用OpenGL ES进行图形开发的专业书籍" 本书详细介绍了在Android开发中应用OpenGL ES的相关知识，涵盖了从基础到高级的各种主题，旨在帮助开发者掌握在移动设备上创建高性能、高质量图形的技术。OpenGL ES是OpenGL的一个轻量级版本，专门针对嵌入式系统，如智能手机和平板电脑，用于渲染2D和3D图形。在书中的各章节中，作者逐步引导读者了解计算机图形学的历史和基本概念，包括： 1. **Chapter 1: Computer Graphics: From Then to Now**：从早期的图形发展到现代的OpenGL ES，探讨了计算机图形学的发展历程和重要里程碑。 2. **Chapter 2: All That Math Jazz**：深入讲解了在图形编程中不可或缺的数学知识，如向量、矩阵运算和几何变换，这些都是理解和实现3D图形的关键。 3. **Chapter 3: From 2D to 3D: Adding One Extra Dimension**：介绍了如何从二维空间过渡到三维空间，以及如何在3D坐标系中表示和操作物体。 4. **Chapter 4: Turning on the Lights**：讨论了光照模型和阴影效果，让3D场景更加真实生动。 5. **Chapter 5: Textures**：讲述了纹理映射技术，用于在3D物体表面添加细节和视觉效果。 6. **Chapter 6: Will It Blend?**：涉及混合和透明度处理，使得多个图层可以平滑地结合在一起。 7. **Chapter 7: Well-Rendered Miscellany**：涵盖其他渲染技术，如雾化、抗锯齿和深度测试，提升图像质量。 8. **Chapter 8: Putting It All Together**：通过实例将前面学到的知识整合起来，展示如何在实际项目中应用OpenGL ES。 9. **Chapter 9: Performance’n’Stuff**：讨论性能优化技巧，如何在有限的硬件资源下最大化图形处理效率。 10. **Chapter 10: OpenGLES2, Shaders, and…**：进入OpenGL ES 2.0及其着色器语言（GLSL），这是现代OpenGL ES的核心部分，允许开发者编写更复杂的图形效果。通过这些章节，读者不仅可以学习到OpenGL ES的基础知识，还能了解到高级特性，如着色器的使用，以及如何在Android环境中高效地实现图形渲染。此外，书中还包含了一些实用的提示、技巧和注意事项，对于想要在Android平台上开发图形密集型应用的开发者来说，是一本非常宝贵的参考书。

CHAPTER 1: Computer Graphics: From Then to Now

A Spotty History of Computer Graphics

To say that 3D is all the rage today is at best an understatement. Although forms of “3D” imagery go

back to more than a century ago, it seems that it has finally come of age. First let’s look at what 3D is

and what it is not.

3D in Hollywood

In 1982 Disney released Tron, the first movie to widely use computer graphics depicting life inside a

video game. Although the movie was a critical and financial flop, it would eventually join the ranks of

cult favorites right up there with The Rocky Horror Picture Show. Hollywood had taken the bite out of

the apple, and there was no turning back.

Stretching back to the 1800s, what we call “3D” today was more commonly referred to as stereo

vision. Popular Victorian-era stereopticons would be found in many parlors of the day. Consider this

technology an early Viewmaster. The user would hold the stereopticon up to their face with a stereo

photograph slipped into the far end and see a view of some distant land, but in stereo rather than a flat

2D picture. Each eye would see only one half of the card, which carried two nearly identical photos

taken only a couple of inches apart.

Stereovision is what gives us the notion of a depth component to our field of view. Our two eyes

deliver two slightly different images to the brain that then interprets them in a way that we understand

as depth perception. A single image will not have that effect. Eventually this moved to movies, with a

brief and unsuccessful dalliance as far back as 1903 (the short L’arrivée du Train is said to have had

viewers running from the theater to avoid the train that was clearly heading their way) and a

resurgence in the early 1950s, with Bwana Devil being perhaps the best known.

The original form of 3D movies generally used the “anaglyph” technique that required the viewers to

wear cheap plastic glasses with a red filter over one eye and a blue one over the other. Polarizing

systems were incorporated in the early 1950s and permitted color movies to be seen in stereo, and

they are still very much the same as today. Afraid that television would kill off the movie industry,

Hollywood needed some gimmick that was impossible on television in order to keep selling tickets, but

because both the cameras and the projectors required were much too impractical and costly, the form

fell out of favor, and the movie industry struggled along just fine.

With the advent of digital projection systems in the 1990s and fully rendered films such as Toy Story,

stereo movies and eventually television finally became both practical and affordable enough to move it

beyond the gimmick stage. In particular, full-length 3D animated features (Toy Story being the first)

made it a no-brainer to convert to stereo. All one needed to do was simply rerender the entire film but

from a slightly different viewpoint. This is where stereo and 3D computer graphics merge.

CHAPTER 1: Computer Graphics: From Then to Now

University of Utah

Recruited by the University of Utah in 1968 to work in its computer science program, Sutherland

naturally concentrated on graphics. Over the course of the next few years, many computer graphics

visionaries in training would pass through the university’s labs.

Ed Catmull, for example, loved classic animation but was frustrated by his inability to draw—a

requirement for artists back in those days as it would appear. Sensing that computers might be a

pathway to making movies, Catmull produced the first-ever computer animation, which was of his

hand opening and closing. This clip would find its way into the 1976 film Future World.

During that time he would pioneer two major computer graphics innovations: texture mapping and

bicubic surfaces. The former could be used to add complexity to simple forms by using images of

texture instead of having to create texture and roughness using discrete points and surfaces, as

shown in Figure 1–5. The latter is used to generate algorithmically curved surfaces that are much

more efficient than the traditional polygon meshes.

Figure 1–5.

Saturn with and without texture

Catmull would eventually find his way to Lucasfilm and, later, Pixar and eventually serve as president

of Disney Animation Studios where he could finally make the movies he wanted to see. Not a bad gig.

Many others of the top names in the industry would likewise pass through the gates of University of

Utah and the influence of Sutherland:

 John Warnock, who would be instrumental in developing a device-independent

means of displaying and printing graphics called PostScript and the Portable

Document Format (PDF) and would be cofounder of Adobe.

 Jim Clark, founder of Silicon Graphics that would supply Hollywood with some of

the best graphics workstations of the day and create the 3D framework now

known as OpenGL. After SGI he cofounded Netscape Communications, which

would lead us into the land of the World Wide Web.

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