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"计算机图形学中的辐射度量学经典书籍"
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Radiosity - A Programmer's Perspective(辐射度量学:程序员视角)是一本经典的计算机图形学书籍,由Heart Consultants Limited出版。该书旨在为计算机程序员和图形学爱好者介绍辐射度量学的理论和实践知识。这本书于2002年首次出版,版权归Heart Consultants Limited所有。 作者Ian Ashdown介绍了辐射度量学的基本概念和相关算法,并提供了大量实用的编程技巧和示例。该书的内容涵盖了辐射度量学在计算机图形学中的应用,特别是在光照和阴影模拟方面。通过深入的理论分析和实际案例,读者可以深入了解辐射度量学的原理和计算方法,掌握在实际项目中应用这一技术的技能。 Radiosity - A Programmer's Perspective是一本具有实用性和指导性的专业书籍,对于那些对计算机图形学和图形渲染技术感兴趣的人来说,是一本不可多得的参考读物。该书的出版对于推动计算机图形学领域的技术发展和应用具有重要意义。如果想要了解更多关于该书的信息,可以联系Heart Consultants Limited,或者访问他们的官方网站。原版于1994年由John Wiley出版。
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Introduction 3
________________________________________________________________________
[The program] shall be implemented such that the display device and environment dependencies are
minimized. Wherever possible, these dependencies shall be encapsulated in clearly defined and well-
documented C++ classes.
Most of the code in this book is written in draft ANSI C++. More importantly, it was expressly
designed for ease of porting to other computer environments. It compiles without any errors or warnings
for both 16-bit (Windows 3.1) and 32-bit (Windows NT and Win32s) target environments. The goal was to
develop a radiosity renderer that could be implemented on any platform that supports bitmap graphics
displays. HELIOS explicitly supports this design philosophy.
The real challenge is to you. This book provides an abundance of radiosity algorithms and
implementations. Some features are discussed but not implemented. Others are implemented but not
incorporated in HELIOS. They range from small but significant performance enhancements to major
software development projects. While HELIOS is a fully functional program, it lacks some of the bells and
whistles we normally associate with a commercial product. Thes are opportunities; you can enhance
HELIOS and learn while you do so.
First, however, it might be a good idea to explain what radiosity is …
I.1 Capturing Reality
Think of an empty and darkened room. It has a fluorescent light fixture mounted on the ceiling and a
table sitting on the floor underneath it. The light fixture is turned off. There are no windows, open doors or
any other source of illumination. Now, turn on the light.
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4 Introduction
________________________________________________________________________
Figure I.1 - Modeling the flow of light in a room
We all know what happens next. Light flows from the light fixture, filling every corner of the room at
the speed of … well, light. It directly illuminates the walls, floor and table top. The sides of the table are in
shadow, and the ceiling is not directly illuminated. Depending on the surface reflectances, some of the light
will be reflected back into the room; the rest will be absorbed. The reflected light will “bounce” from
surface to surface until it is completely absorbed. In the process, it indirectly illuminates the entire room,
including the table sides and ceiling.
Within this simple model is the realm of our visual experience. Of this light, an almost infinitesimal
portion will find its way to our eye’s retina. Converted into electrochemical signals, it provides visual
images to our brain: we perceive the room in all its visual complexity.
Note the term “perceive”. This is an important but often neglected point. We visually see light that
impinges on our retina; electrochemical reactions generate nerve impulses that travel along the optic nerves
to the visual cortex in our brain. From this, we consciously perceive the information that it conveys.
If you think about it for a moment, we are surrounded by a three-dimensional field of light that we can
never directly perceive. A flashlight beam is invisible until it is reflected by a surface, shines through
translucent glass, or passes through smoke or airborne dust. We can only experience those material objects
that direct light towards our eye; the light itself is an invisible agent in this process.
We commonly think in terms of rays of light that are emitted by a light source. Each ray follows a
straight line through space, possibly bouncing from surface to surface, until it is either completely absorbed
or enters our eye (Fig. I.2). Those rays we see are focused by the cornea onto the retina; together, they
form an image of the objects we perceive.
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Introduction 5
________________________________________________________________________
Figure I.2 - Perceiving objects through rays of light
From this, it should be evident that we can look at a photograph and perceive the objects it portrays. If
each ray of light reflected from the photograph towards our eye exactly mimics those rays we see from the
original scene, then we should not be able to tell the difference between the photograph and the original
objects.
Of course, nature is rarely so kind. Our binocular vision immediately tells us that the photograph is a
two-dimensional surface with no perceptual depth. The relative positions of the objects in the photograph
remain unchanged as we move our heads. These and a thousand other visual cues tell us that a photograph
is a photograph and not the objects it portrays.
Nevertheless, we appreciate these images and value them for both their aesthetic and informational
content. They take us to places where we cannot go, remind us of past events and convey images of reality
we cannot see or otherwise imagine. More recently, they have shown us images of virtual realities–
photorealistic renditions of imaginary worlds that exist only as bits of information in the memory of our
computers.
We value these images most when they portray the world as we think it should be. A view of an
architectural interior should exhibit all the characteristics of the real world. Specular reflections from glass
and polished wood, diffuse reflections from matte finishes, fine details and textures in every object and
realistic shadows are but a few of these. Capturing these nuances is a considerable challenge to the
computer scientist and artist alike. While much progress has been made since the first crude line drawings
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6 Introduction
________________________________________________________________________
were displayed on the cathode ray tube screen of MIT’s WhirlWind I computer in 1950 (Newmann and
Sproull [1979]), the current state of the art reveals that we still have far to go.
In the meantime, we have the knowledge and computing power to synthesize photorealistic images
using nothing more than our artistic sense and a personal desktop computer. We might say that these
images allow us to capture reality. It will take several hundred pages of higher mathematics and some
rather convoluted source code to explain how, but the results will be rewarding and extremely satisfying.
I.2 Rays of Light
The first attempts to capture reality in the form of photorealistic images relied on the basic principles of
geometric optics. Using Figure I.1 as an example, each ray of light emitted by the light source was
faithfully followed as it traversed the room (Whitted [1980]). At each point where it intersects a surface,
the physical properties of that surface determine how much of the ray is absorbed and the direction and
color of the remainder. A black surface will obviously reflect much less light than a white one. Similarly, a
red surface will reflect mostly red light, even though the color of the light source may have been white. A
transparent object behaves in the same manner, except that the remaining light is transmitted through its
volume rather than reflected from its surface.
The problem with this approach is that it is shockingly inefficient. Most of the rays will be fully
absorbed before they ever reach our eye. Why follow them if they cannot be seen? This leads to the
concept of backwards ray tracing. Knowing how a ray is reflected or transmitted by each object it
encounters on its path from the light source to our eye, we can trace it backwards through space and time
from our eye (Fig. I.3). We then have to consider only those rays that we can actually see.
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Introduction 7
________________________________________________________________________
Figure I.3 - Backwards ray tracing
Unfortunately, this leads to a second problem. Figures I.2 and I.3 show a single ray being reflected
from the surface, but this is a gross simplification. Physical surface finishes vary from microscopically
smooth to roughly textured. A smooth and polished surface acts much like a mirror–it is a specular
reflector of light. A single ray of light incident on the surface will be reflected as a single ray. This is a
trivial event for a ray tracing program, since the angle of reflection can be calculated very easily.
More often, however, physical surfaces will act as semi-specular and diffuse reflectors (Fig. I.4). Here,
an incident ray is reflected as an infinite number of rays. The intensity of each reflected ray will vary,
depending on the angle of the incident ray, the angle of the reflected ray and the surface reflectance
properties. This makes ray tracing somewhat more difficult, to say the least.
Specular Semi-specular Diffuse
Figure I.4 - Reflection from specular and diffuse surfaces
The overall effect of light being repeatedly reflected from semi-specular and diffuse surfaces is to fill
the room with rays going in every direction. This fill light, to use the artist’s term for it, provides the soft
shadows and subtle shadings we associate with realistic images. Without it, most shadows are black and
featureless.
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