GPU Gems: Programming Techniques, Tips and Tricks for Real-Time Graphics

783 Pages·2004·71.283 MB·English

by  Randima Fernando

Natural Effects
Effective Water Simulation Rendering Water Caustics Skin in the "Dawn" Demo Animation in the
from Physical Models Juan Guardado (NVIDIA) Curtis Beeson and "Dawn" Demo
Mark finch (Cyan Worlds) and Daniel Sanchez-Crespo Kevin Bjorke (NVIDIA) Curtis Beeson {NVIDIA)
{Universitat Pompeu Fabra
/Novarama Technology)
Implementing Improved Fire in the "Vulcan" Demo Rendering Countless Simulating Diffraction
Perlin Noise Hubert Nguyen {NVIDIA) Blades of Waving Grass Jos Stam {Alias Systems)
Ken Perlin (New Yor1< University) Kurt Pelzer (Piranha
Managing Visibility for
Per-Pixel lighting
John O'Rorke
(Monolith Productions)
Efficient Shadow Cinematic lighting Shadow Map Antiatiasing
Volume Rendering Fabio Pellacini and Michael Bunnell {NVIDIA)
Morgan McGufre Kiril Vidimce (Pixar and Fabio Pellilcini
{Brown University) Animation Studios) (Pixar Animation Studios)
Omnidirectional Generating Soft Shadows Perspective Shadow Maps: Texture Bombing
Shadow Mapping Using Occlusion Interval Care and feeding R. Steven Glanville
Philipp S. Gerasimov Maps Simon Kozlov (NVIDIA)
(iXBT.~0_111/ V1.'Hliam Donnelly (Softlab-NSK)
(University of Waterloo)
and Joe Demers (NV!OIA)
Real:ri:APPioicimations ArTl.bie;t0cc1Usi~ Spatial BROfs Image-Based lighting
to Subsurface Scattering-~ Mat-t- P-h-~arr and David McAllister (NVIDIA) Kevin Bjorke (NVIDIA)
...,S_ im_o_n _Gr_ee "n! 1(-NjaV'\J,O_~IA )'' Simon Green'.(N,_V_IO IA)
Image Processing
f' :~
.,l--:-
f .
6ri_ • ·,. ,.
Real-Time Glow Color Controls Depth of Field: High-Oualily Filtering
Greg James (NVIDIA) Kevin Bjorke (NVIDIA) A Survey of Technique, Kevin Bjorke (NVIDIA)
and John O'Rorke Joe Demers (NVIDIA)
(Monolith Productions)
· i .l. ,,
_j::: " ~-/;~
Fast Filter Width The OpenEXR File Format A Framework for tm;1ge Leveraging High-Quality
Estimates with Texture Florian Kainz, Rod Bogart, Processing Software Rendering Effects
Map, and Drew Hess Frank Jargstorff (NVIDIA) in Real-Time Applications
Matt Pharr (NVIDIA} (Industrial Light & Magic) Alexandre Jean Claude and
Marc Stevens (Softimage)
Performance and Practicalities
F· M -
i?'J\.fji~~ ,:;r ,J
i~ 1!i-~;,;.;i.· -...1 ~~
.4', -~ ..~ 'flll.1 •',
:;-~~r-,:~r;;iJ
•a k l •:• ),~ .l
Efficient Occlusion Culling Using FX Composer Converting Production Integrating Hardware
Dean Sekulic (Croteam) Christopher Maughan RenderMan • Shaders to Shading into Cinema 40
(NVIDIA} Real-Time JOrn loviscach
Steve Marshall (Sony (Hochschule Bremen)
Pictures lmageworks}
Graphics Pipeline
Performance Lfi~,?
Cem Cebenoyan Beyond Triangles
(NVIDIA) A Toolkit for
Computation on GPUs U .:~
tan Buck and Tim Purcell
The Design of (Stanford University)
FX Composer fast fluid Oyn.imics
Christopher Maughan Simulation on the GPU Real-Time Stereogranis(
(NVIDIA) Mark J. Harris (University of Fabio Poticarpo (Paratelo
North Carolina at Chapel Hill) Computa~ao Lida.) ~ ....
I l l
An Introduction to
Shader Interfaces
Matt Pharr (NVIDIA) Volume Rendering
Techniques
Milan tkits, Joe Kniss,
Integrating Shaders and Charles Hansen
Applying Real-Time Shading to oe!~~_ers_, -~
Jinothon AOp'Rploirckaet ions A(Uarnoinv eLrseiftoyh on f (UUtnaihv)e,r sity . T3h0i lUakltar a.s-s.Uo.ru.Mn.ad r liVW'iesu'ea(al"i'z ation E(Uugneivneer sdi'tEyo nof~ Wa"terlo'o)
(Monolith Productions) of California, Davis),
(Siemen~ Med!cal Solutions USA),
,
-
GPU Gems
GPU Gems
Programming Techniques, Tips, and Trick
for Real-Time Graphics
Edited by Randima Fernando
-."-. Addison-Wesley
- - -
Boston • San Francisco • New York • Toronto • Montreal
London • Munich • Paris • Madrid
Capcrown • Sj'dney • Tokyo • Singapore • Mexico Cicy
Abo11t th, Cover: The Vulca11 character was created by the NVIDIA Demo T,am to showcase tht rendering
pou.,,. ofr he CeForre FX 5900 GPU The demo shows ojf,,.aJistic fire, smoke, and gfntu using volumetric texrur
'"t, "1111,r-ro-rexture cechniques, andp ost-pmcessmg. as well as next-gena11tio11 lighting and shadowing with
"'""'I'/, bghr sourm,
"Aan,· uf chc designations used by manufacturers and ~tiers ro distinguish their products are claimed as
,nd<nu,ks. \\'here those designations appear in this book, and Addison-Wesley was aware of a trademark
d.a..1n. the designations have been printed wich initial capital letters or in aU capitals.
Th, auchors and publisher have taken can, in the preparation of this book. but make no expressed or
1mpLed warranty of any kind and assume no responsibility for errors or omissions. No liability is assumed
fo.-incidental or consequential damages in cunnection with or arising out of the use of the information or
programs contained herein.
The publisher offers discounts on chis book when ordered in quantity for bulk purchases and special sales.
For more information, please contact:
U.S. Corporate and Government Sales
[phone]
corpsales@pear"mtcchgroup.com
For sales outside of the U.S .. please contact:
International Sales
(317) ~81-J793
[email protected]
Visit Addison-Wesley on rhe Web: www.awprofessional.com
Lib.-ary of Congress Control Number: 200411)0582
Geforce~ and NV1DlA Quadro"' are tradernarl<s or registered trademarks of NVIDIA Corporation.
RenderMan@ is a registered trademark of Pixar Animacion Studios.
"Shadow Map Antialiasing" © 2003 NVIDIA Corporation and Pixar Animanoa Studios.
"Cinemaric Lighting" © 2003 Pixar Animation Studios.
Dawn images© 2002 NVIDIA Corporation. Vulcan images © 2003 NVIDIA Corporation
Copyright© 2004 by Nv1DlA Corporation.
All rights re.served. No part of this publication may be reproduced, stored in a retrieval system, or transrnin«l,
in any forrn. or by any means. electronic, mechanical, photocopying, recording, or ocherwise, without the
prior consent of the publisher. Printed in the United Stat« ofA merica. Published simultaneously in Canada.
For information on obtaining pemussion for use of material from chis work, please submJt a written
request to:
Pearson Education. Inc.
Rights and Contraa> Department
75 Arlingtun Strea. Suite 300
Boston, MA 02 I 16
Fax: (6 I 7) 848-7047
ISB1' 0-321-22832-4
Tex, primed on recycled paper
I 2 3 4 5 6 7 8 9 IO-WCT-0807060504
hr,;r printing, 1'Aarch 2004
To those who have brought us where we are,
and to those who will take us where we are going
Contents
Foreword ••••••••.•••••••.••..••••••..••..••.•••••••••••••••• xxvii
Preface •••••••••••••••••••••••••••••••••••••••••••••••••••••• xxix
Contributors ••••••••••••••••••••••••••••••••••••••••••••••••• xxxiii
PART I NATURAL EFFECTS 1
Chapter 1
Effective Water Simulation from Physical Models •......••••••••• 5
Mark Finch, Cyan Worlds
1.1 Goals and Scope ........................................... 5
1.2 The Sum of Sines Approximation .............................. 7
1.2.1 Selecting the Waves ................................. 7
1.2.2 Normals and Tangents ............................... 9
1.2.3 Geometric Waves .................................. 11
1.2.4 Texture Waves .................................... 15
1.3 Authoring ............................................... 18
1.3.1 Using Depth ..................................... 19
1.3.2 Overrides ........................................ 21
1.3.3 Edge-Length Filtering .............................. 21
1.3.4 Texture Coordinates ............................... 22
1.4 Runtime Processing ........................................ 23
1.4.1 Bump-Environment Mapping Parameters ............... 23
1.4.2 Vertex and Pixel Processing .......................... 27
1.5 Conclusion .............................................. 28
1.6 References ............................................... 28
_____ _____________ _
- _
.
_, ........ ,
Contents vii
Chapter 2
Rendering Water Caustics .•.••.•.......•.••..•.••.•..••••• , , 31
Juan Guardado, NVIDIA
Daniel Sanchez-Crespo, Universitat Pompeu Fobra/Novaromo Technology
2.1 lncroducrion . . . .................... ___ .............. 31
2.2 Computing Caustics ....................................... 32
2.3 Our Approach ............................................ 35
2.4 Implementation Using OpenGL .............................. 37
2.5 Implementation Using a High-Level Shading Language ............ 38
2.6 Conclusion .............................................. 44
2.7 References ............................................... 44
Chapter3
Skin in the "Dawn" Demo •••.•••••..••.•..•.......•••••••••• 45
Curtis Beeson, NVIDIA
Kevin Bjorke, NVIDIA
3.1 Introduction ............................................. 45
3.2 Skin Shading ............................................. 45
3.3 Lighting the Scene ......................................... 47
3.3.1 A High-Dynamic-Range Environment ................. 47
3.3.2 The Occlusion Term ............................... 49
3.4 How Skin Responds to Light. ................................ 50
3.5 Implementation ........................................... 51
3.5.1 The Vertex Shader ................................. 52
3.5.2 The Fragment Shader .............................. 58
3.6 Conclusion .............................................. 61
3.7 References ............................................... 61
Chapter 4
Animation in the "Dawn" Demo ••••.••.....•.•...•.•••.•••••• 63
Curtis Beeson, NVIDIA
4.1 Introduction ............................................. 63
4.2 Mesh Animation .......................................... 63
4.3 Morph Targets ............................................ 65
4.3.1 Morph Targets in a High-Level Language ............... 65
4.3.2 Morph Target Implementation. ....................... 67
4.4 Skinning ................................................ 69
4.4.1 Accumulated Matrix Skinning ........................ 71
4.5 Conclusion .............................................. 72
4.6 References ............................................... 72
-----------------------111-.,-•---1...:-•,t---l
viii Contents
Chapter 5
Implementing Improved Perlin Noise ..••.•.•••••••••••••....• 73
Ken Perlin, New York University
5.1 The Noise Function .............................. -.... -... 73
5.2 The Original Implementation ................................ 74
5.3 Deficiencies of the Original Implementation ..................... 75
5.4 Improvements ro Noise ..................................... 78
5.5 How to Make Good Fake Noise in Pixel Shaders ................. Bo
5.6 Making Bumps Without Looking at Neighboring Venices .......... 82
5.7 Conclusion .............................................. 84
5.8 References ............................................... 85
Chapter6
Fire in the "Vulcan" Demo .•••••.•.•..•••.••...•.......•.•.. 87
Hubert Nguyen, NVIDIA
6.1 Creating Realistic Flames .................................... 87
6.2 Implementing Animated Sprites .............................. 89
6.2.1 Animating Flames and Smoke ........................ 90
6.2.2 Adding Variety ro the Flames ......................... 92
6.2.3 Sroring the Animation .............................. 94
6.2.4 Blending Flames and Smoke ......................... 94
6.3 Particle Motion .......................... , ................ 94
6.4 Performance ............................................. 96
6.4.1 Layer Composition ................................ 97
6.4.2 Custom Sprites ................................... 97
6.5 Post-Rendering Effects ..................................... 99
6.5.1 Glow ........................................... 99
6.5.2 Heat Shimmer ................................... 101
6.5.3 Grain .......................................... 101
6.5.4 The Final Program ................................ 104
6.6 Conclusion ............................................. 105
Chapter 7
Rendering Countless Blades of Waving Grass ...•.•......••.•.• 107
Kurt Pelzer, Piranha Bytes
7.1 Introduction ............................................ 107
7.2 Overview ............................................... 107
7.3 Preparation of the Grass Objects ............................. 108
7.3.1 Grass Texture .................................... 109
7.3.2 Grass Objects .................................... 109
Contents