TL;DR: The concept of "solid texture" to the field of CGI is introduced and used to create very convincing representations of clouds, fire, water, stars, marble, wood, rock, soap films and crystal.
Abstract: We introduce the concept of a Pixel Stream Editor. This forms the basis for an interactive synthesizer for designing highly realistic Computer Generated Imagery. The designer works in an interactive Very High Level programming environment which provides a very fast concept/implement/view iteration cycle.Naturalistic visual complexity is built up by composition of non-linear functions, as opposed to the more conventional texture mapping or growth model algorithms. Powerful primitives are included for creating controlled stochastic effects. We introduce the concept of "solid texture" to the field of CGI.We have used this system to create very convincing representations of clouds, fire, water, stars, marble, wood, rock, soap films and crystal. The algorithms created with this paradigm are generally extremely fast, highly realistic, and asynchronously parallelizable at the pixel level.
TL;DR: A point rendering and texture filtering technique called surface splatting which directly renders opaque and transparent surfaces from point clouds without connectivity based on a novel screen space formulation of the Elliptical Weighted Average (EWA) filter is described.
Abstract: Modern laser range and optical scanners need rendering techniques that can handle millions of points with high resolution textures. This paper describes a point rendering and texture filtering technique called surface splatting which directly renders opaque and transparent surfaces from point clouds without connectivity. It is based on a novel screen space formulation of the Elliptical Weighted Average (EWA) filter. Our rigorous mathematical analysis extends the texture resampling framework of Heckbert to irregularly spaced point samples. To render the points, we develop a surface splat primitive that implements the screen space EWA filter. Moreover, we show how to optimally sample image and procedural textures to irregular point data during pre-processing. We also compare the optimal algorithm with a more efficient view-independent EWA pre-filter. Surface splatting makes the benefits of EWA texture filtering available to point-based rendering. It provides high quality anisotropic texture filtering, hidden surface removal, edge anti-aliasing, and order-independent transparency.
TL;DR: Two deficiencies in the original Noise algorithm are corrected: second order interpolation discontinuity and unoptimal gradient computation, resulting in Noise both looks better and runs faster.
Abstract: Two deficiencies in the original Noise algorithm are corrected: second order interpolation discontinuity and unoptimal gradient computation. With these defects corrected, Noise both looks better and runs faster. The latter change also makes it easier to define a uniform mathematical reference standard.
TL;DR: Part I Basics 1. Rendering polygonal objects 2. Theoretical Foundations 3. The theory and practice of light/object interaction 4. parametric representation techniques 5. Shadow generation techniques 6. mapping techniques: texture and environment mapping
Abstract: Part I Basics 1. Rendering polygonal objects Part II Theoretical Foundations 2. The theory and practice of light/object interaction 3. The theory and practice of parametric representation techniques 4. The theory and practice of anti-aliasing techniques Part III Advanced Rendering Techniques: Approaches, Applications and Algorithms 5. Shadow generation techniques 6. Mapping techniques: texture and environment mapping 7. Procedural texture mapping and modelling 8. Ray tracing I: basic recursive ray tracing 9. Ray tracing II: practical ray tracing 10. Ray tracing III: advanced ray tracing models 11. Radiosity methods 12. Global illumination models 13. Volume rendering techniques 14. Advanced rendering interfaces: shading languages and RenderMan Part IV Advanced Animation 15. Overview and low-level motion specification 16. Animating articulated structures 17. Soft object animation 18. Procedural animation Reference Index
TL;DR: A new basis function is presented which complements Perlin noise, based on a partitioning of space into a random array of cells, to produce textured surfaces resembling flagstone-like tiled areas, organic crusty skin, crumpled paper, ice, rock, mountain ranges, and craters.
Abstract: Solid texturing is a powerful way to add detail to the surface of rendered objects. Perlin’s “noise” is a 3D basis function used in some of the most dramatic and useful surface texture algorithms. We present a new basis function which complements Perlin noise, based on a partitioning of space into a random array of cells. We have used this new basis function to produce textured surfaces resembling flagstone-like tiled areas, organic crusty skin, crumpled paper, ice, rock, mountain ranges, and craters. The new basis function can be computed efficiently without the need for precalculation or table storage.