GPU编程技术：全球光照效果实现深度解析

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MOCL002-FM MOBKXXX-Sample.cls April 24, 2008 21:8

xvi LIST OF FIGURES

6.26 The Space Station game rendered with the discussed reﬂection, refraction, and

caustic method in addition to computing diffuse interreﬂections (left), and

compared to the result of the local illumination model (right). 145

7.1 At diffuse or glossy surfaces light paths split. 147

7.2 A single iteration step using random hemicube shooting from y

. 151

7.3 Random texel selection using mipmapping. 152

7.4 The two passes of the radiance update. The ﬁrst pass generates a depth map to

identify points visible from the shooter. The second pass transfers radiance to

these points. 154

7.5 Images rendered with stochastic hemicube shooting. All objects are mapped to

a single texture map of resolution 128 × 128, which corresponds to processing

16 000 patches. 157

7.6 Application of a light map. 158

7.7 Diffuse/glossy ﬁnal gathering. Virtual lights correspond to cube map texels.

These point lights are grouped to form large area lights by downsampling the

cube map. At shaded point x, the illumination of the area lights is computed

without visibility tests. 160

7.8 Solid angle in which a surface is seen through a cube map pixel. 161

7.9 Notations of the evaluation of subtended solid angles. 162

7.10 A diffuse (upper row) and a glossy (lower row) skull rendered with the

discussed method. The upper row compares the results of approximations in

equations (7.6) and (7.7). The lower row shows the effect of not visiting all

texels but only where the BRDF is maximal. 163

7.11 Diffuse bunny rendered with the classical environment mapping (left column)

and with distance cube maps using different map resolutions. 165

7.12 Glossy Buddha (the shininess is 5) rendered with the classical environment

mapping (left column) and with distance cube maps using different map

resolutions. 166

7.13 Glossy dragon (the shininess is 5) rendered with the classical environment

mapping (left column) and with distance cube maps using different map

resolutions. 166

7.14 Glossy objects and a knight rendered with the distance map-based ﬁnal

gathering algorithms. 167

7.15 Scientist with indirect illumination obtained by the distance map-based method

(left) and by the classic local illumination method (right) for comparison. 167

8.1 Light paths sharing the same light and viewing rays. 170

MOCL002-FM MOBKXXX-Sample.cls April 24, 2008 21:8

LIST OF FIGURES xvii

8.2 The basic idea of principal component analysis. Points in a high-dimensional

(two-dimensional in the ﬁgure) space are projected onto a lower,

D-dimensional subspace (D = 1 in the ﬁgure, thus the subspace is a line), and

are given by coordinates in this low-dimensional subspace. To deﬁne these

coordinates, we need a new origin M and basis vectors B

,...,B

in the

lower-dimensional subspace. The origin can be the mean of original sample

points. In the example of the ﬁgure there is only one basis vector, which is the

direction vector of the line. 174

8.3 The simpliﬁed block diagram of Direct3D PRT. The transfer function

compression results in cluster centers M

and cluster basis vector B

, while

lighting processing results in vector L. In order to evaluate equation (8.4), the

CPU computes scalar products L · M

and L · B

andpassesthemtothe

shader as uniform parameters. The varying parameters of the mesh vertices are

transfer vector coordinates w

. 180

8.4 A diffuse object rendered with PRT. In the left image only single light bounces

were approximated with 1024 rays, while the right image contains light paths

of maximum length 6. The pre-processing times were 12 s and 173 s,

respectively. The resolution of the environment map is 256 ×256. The order

of SH approximation is 6. 182

8.5 A diffuse object rendered with PRT. Only single light bounces were

approximated with 1024 rays. The resolution of the environment map is

256 × 256. The order of SH approximation is 6. Pre-processing time was 723 s. 182

8.6 Overview of the preprocessing phase of the light path map method. Entry

points are depicted by •, and exit points by ×. The LPM is a collection of

(entry point •, exit point ×, illumination S

) triplets, called items. 183

8.7 Overview of the rendering phase of the light path map method. The irradiance

of the entry points are computed, from which the radiance of the exit points is

obtained by weighting according to the LPM. 184

8.8 Notations used in the formal discussion. The CPU is responsible for building a

random path starting at the entry point. The visited points of the random path

are considered as virtual point light sources. The GPU computes the

illumination of virtual lights at exit points. 185

8.9 Representation of an LPM as an array indexed by entry points and exit points.

A single element of this map is the LPM item, a single row is the LPM pane. 189

8.10 LPM stored as 2D textures. 189

8.11 A few tiles of an LPM texture used to render Figure 8.15. Illumination

corresponding to clusters of entry points is stored in tiled atlases. 190

MOCL002-FM MOBKXXX-Sample.cls April 24, 2008 21:8

xviii LIST OF FIGURES

8.12 Entry points generated randomly. 191

8.13 Comparison of local illumination and the light path map method. The lower

half of these images has been rendered with local illumination, while the upper

half with the light path map. 191

8.14 The chairs scene lit by a rectangular spot light. The rest is indirect illumination

obtained with the light path map method at 35 FPS on an NV6800GT and

close to 300 FPS on an NV8800. 192

8.15 Escher staircases scenes lit by moving lights. 192

8.16 Indirect illumination computed by the light path map method in the Space

Station game (left) and the same scene rendered with local illumination (right)

for comparison. Note the beautiful color bleeding effects produced by the light

path map. 193

9.1 Modiﬁcation of the radiance of a ray in participating media. 196

9.2 The lobes of Henyey–Greenstein phase function for different g values. The

light direction points upward. 197

9.3 Billboard clipping artifact. When the billboard rectangle intersects an opaque

object, transparency becomes spatially discontinuous. 199

9.4 Billboard popping artifact. Where the billboard crosses the front clipping

plane, the transparency is discontinuous in time (the ﬁgure shows two adjacent

frames in an animation). 199

9.5 Computation of length s the ray segment travels inside a particle sphere in

camera space. 200

9.6 The accumulated density of a ray (left) and its seen opacity (right) as the

function of the distance of the ray and the center in a unit sphere with constant,

unit density. 201

9.7 The accumulated density of a ray as the function of the distance of the ray and

the center in a unit sphere assuming that the density function linearly decreases

with the distance from the particle center. 202

9.8 Particle system rendered with planar (left) and with spherical (right) billboards. 203

9.9 Final gathering for a block. 204

9.10 Comparison of participating media rendering with spherical billboards and the

discussed illumination method (left) and with the classic single scattering

model (right) in the Space Station game. Note that the classic method does not

attenuate light correctly and exhibits billboard clipping artifacts. 205

9.11 High albedo dust and low albedo smoke. 206

9.12 Images from real smoke and ﬁre video clips, which are used to perturb the

billboard fragment opacities and temperatures. 207

MOCL002-FM MOBKXXX-Sample.cls April 24, 2008 21:8

LIST OF FIGURES xix

9.13 Black body radiator spectral distribution. 208

9.14 Black body radiator colors from 0 K to 10,000 K. Fire particles belong to

temperature values from 2500 K to 3200 K. 208

9.15 Explosion rendering algorithm. 210

9.16 Rendered frames from an explosion animation sequence. 211

9.17 Two directions of the visibility network. 213

9.18 A single particle in the illumination and visibility networks. 213

9.19 Storing the networks in arrays. 214

9.20 Notations in the fragment shader code. 216

9.21 A cloud illuminated by two directional lights rendered with different iteration

steps. 216

9.22 Globally illuminated clouds of 512 particles rendered with 128 directions. 216

10.1 The cathedral rendered with the scalar obscurances algorithm and also by the

standard ambient + direct illumination model (right) for comparison. 221

10.2 Comparison of spectral obscurances (right) to scalar obscurances (left). Note

the color bleeding that can only be rendered with spectral obscurances. 222

10.3 A tank and a car rendered with the spectral obscurances algorithm and also by

the standard ambient + direct illumination model (right) for comparison. 223

10.4 Billboard trees rendered with obscurances. In the left image the obscurances are

applied to the left tree, but not to the right one to allow comparisons. 223

10.5 Digital Legend’s character rendered with ambient illumination (left),

obscurances map (middle), and obscurances and direct illumination (right). 224

10.6 Two snapshots of a video animating a point light source, rendered by spectral

obscurances. To increase the realism the obscurance of a point is weighted by

the distance from the light sources. 224

10.7 Different sampling techniques to generate cosine distributed rays. 225

10.8 Depth peeling process. 226

10.9 Six different image layers showing depth information for each pixel for the

Cornell Box scene. 227

11.1 The idea of the exploitation of the bi-linear ﬁltering hardware. 233

11.2 The glow effect. 237

11.3 The temporal adaptation process in three frames of an animation. 240

11.4 Tone mapping results. 242

11.5 Image creation of real lens. 243

11.6 Depth of ﬁeld with circle of confusion. 246

11.7 The Moria game with (left) and without (right) the depth of ﬁeld effect. 247

12.1 The model of shader management in scene graph software. 251

MOCL002-FM MOBKXXX-Sample.cls April 24, 2008 21:8

xx LIST OF FIGURES

12.2 A simpliﬁed global illumination model for games. 256

12.3 A knight and a troll are ﬁghting in Moria illuminated by the light path map

algorithm. 257

12.4 A bird’s eye view of the Moria scene. Note that the hall on the right is

illuminated by a very bright light source. The light enters the hall on the left

after multiple reﬂections computed by the light path map method. The troll

and the knight with his burning torch can be observed in the middle of the

dark hall. 258

12.5 Tone mapping with glow (left) and depth of ﬁeld (right) in Moria. 258

12.6 Shaded smoke in Moria with spherical billboards and simpliﬁed multiple

scattering. 259

12.7 Fireball causing heat shimmering in Moria. 259

12.8 Snapshots from the RT car game. Note that the car body specularly reﬂects the

environment. The wheels are not only reﬂectors but are also caustic generators.

The caustics are clearly observable on the ground. The giant beer bottles reﬂect

and refract the light and also generate caustics. Since the car and the bottle

have their own distance maps, the inter-reﬂections between them are also

properly computed. 260

12.9 The car not only specularly but also diffusely reﬂects the indirect illumination,

which is particularly signiﬁcant when the car is in the corridor. 260

12.10 Explosions with heat shimmering in RT car demo game. 261

12.11 Indirect diffuse illumination in the Space Station game. The self illumination

of the space station is computed by the light path maps method. The indirect

illumination of the space station onto the scientist character is obtained by

diffuse or glossy ﬁnal rendering. The eyeglasses of the character specularly

reﬂects the environment. Shadows are computed with the variance shadow map

algorithm. 261

12.12 The space station rendered with scalar obscurances only. 262

12.13 A deforming glass bubble generates reﬂections, refractions, and caustics

(upper row). The bubble is surrounded by smoke (lower row). 262

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