Perspective-Driven Radiosity on Graphics Hardware

Radiosity is a global illumination algorithm used by artists, architects, and engineers for its realistic simulation of lighting. Since the illumination model is global, complexity and run time grow as larger environments are provided. Algorithms exist which generate an incremental result and provide weighting based on the user's view of the environment. This thesis introduces an algorithm for directing and focusing radiosity calculations relative to the user's point-of-view and within the user's field-of-view, generating visually interesting results for a localized area more quickly than a traditional global approach. The algorithm, referred to as perspective-driven radiosity, is an extension of the importance-driven radiosity algorithm, which itself is an extension of the progressive refinement radiosity algorithm. The software implemented during research into the point-of-view/field-of-view-driven algorithm can demonstrate both of these algorithms, and can generate results for arbitrary geometry. Parameters can be adjusted by the user to provide results that favor speed or quality. To take advantage of the scalability of programmable graphics hardware, the algorithm is implemented as an extension of progressive refinement radiosity on the GPU, using OpenGL and GLSL. Results from each of the three implemented radiosity algorithms are compared using a variety of geometry

Real-Time Global Illumination for VR Applications

Real-time global illumination in VR systems enhances scene realism by incorporating soft shadows, reflections of objects in the scene, and color bleeding. The Virtual Light Field (VLF) method enables real-time global illumination rendering in VR. The VLF has been integrated with the Extreme VR system for realtime GPU-based rendering in a Cave Automatic Virtual Environment

GPGPU origins and GPU hardware architecture

By now GPUs have become powerful general purpose processors that found their way not only into desktop systems but also supercomputers. To use GPUs efficiently one needs to understand their basic architecture and their limitations. We take a look at how GPUs evolved and how they differ from CPUs to gain a deeper understanding of the workloads well suited for GPUs

Hierarchical N-Body problem on graphics processor unit

Galactic simulation is an important cosmological computation, and represents a classical N-body problem suitable for implementation on vector processors. Barnes-Hut algorithm is a hierarchical N-Body method used to simulate such galactic evolution systems. Stream processing architectures expose data locality and concurrency available in multimedia applications. On the other hand, there are numerous compute-intensive scientific or engineering applications that can potentially benefit from such computational and communication models. These applications are traditionally implemented on vector processors. Stream architecture based graphics processor units (GPUs) present a novel computational alternative for efficiently implementing such high-performance applications. Rendering on a stream architecture sustains high performance, while user-programmable modules allow implementing complex algorithms efficiently. GPUs have evolved over the years, from being fixed-function pipelines to user programmable processors. In this thesis, we focus on the implementation of Barnes-Hut algorithm on typical current-generation programmable GPUs. We exploit computation and communication requirements present in Barnes-Hut algorithm to expose their suitability for user-programmable GPUs. Our implementation of the Barnes-Hut algorithm is formulated as a fragment shader targeting the selected GPU. We discuss implementation details, design issues, results, and challenges encountered in programming the fragment shader

Realistic Visualization of Animated Virtual Cloth

Photo-realistic rendering of real-world objects is a broad research area with applications in various different areas, such as computer generated films, entertainment, e-commerce and so on. Within photo-realistic rendering, the rendering of cloth is a subarea which involves many important aspects, ranging from material surface reflection properties and macroscopic self-shadowing to animation sequence generation and compression. In this thesis, besides an introduction to the topic plus a broad overview of related work, different methods to handle major aspects of cloth rendering are described. Material surface reflection properties play an important part to reproduce the look & feel of materials, that is, to identify a material only by looking at it. The BTF (bidirectional texture function), as a function of viewing and illumination direction, is an appropriate representation of reflection properties. It captures effects caused by the mesostructure of a surface, like roughness, self-shadowing, occlusion, inter-reflections, subsurface scattering and color bleeding. Unfortunately a BTF data set of a material consists of hundreds to thousands of images, which exceeds current memory size of personal computers by far. This work describes the first usable method to efficiently compress and decompress a BTF data for rendering at interactive to real-time frame rates. It is based on PCA (principal component analysis) of the BTF data set. While preserving the important visual aspects of the BTF, the achieved compression rates allow the storage of several different data sets in main memory of consumer hardware, while maintaining a high rendering quality. Correct handling of complex illumination conditions plays another key role for the realistic appearance of cloth. Therefore, an upgrade of the BTF compression and rendering algorithm is described, which allows the support of distant direct HDR (high-dynamic-range) illumination stored in environment maps. To further enhance the appearance, macroscopic self-shadowing has to be taken into account. For the visualization of folds and the life-like 3D impression, these kind of shadows are absolutely necessary. This work describes two methods to compute these shadows. The first is seamlessly integrated into the illumination part of the rendering algorithm and optimized for static meshes. Furthermore, another method is proposed, which allows the handling of dynamic objects. It uses hardware-accelerated occlusion queries for the visibility determination. In contrast to other algorithms, the presented algorithm, despite its simplicity, is fast and produces less artifacts than other methods. As a plus, it incorporates changeable distant direct high-dynamic-range illumination. The human perception system is the main target of any computer graphics application and can also be treated as part of the rendering pipeline. Therefore, optimization of the rendering itself can be achieved by analyzing human perception of certain visual aspects in the image. As a part of this thesis, an experiment is introduced that evaluates human shadow perception to speedup shadow rendering and provides optimization approaches. Another subarea of cloth visualization in computer graphics is the animation of the cloth and avatars for presentations. This work also describes two new methods for automatic generation and compression of animation sequences. The first method to generate completely new, customizable animation sequences, is based on the concept of finding similarities in animation frames of a given basis sequence. Identifying these similarities allows jumps within the basis sequence to generate endless new sequences. Transmission of any animated 3D data over bandwidth-limited channels, like extended networks or to less powerful clients requires efficient compression schemes. The second method included in this thesis in the animation field is a geometry data compression scheme. Similar to the BTF compression, it uses PCA in combination with clustering algorithms to segment similar moving parts of the animated objects to achieve high compression rates in combination with a very exact reconstruction quality.Realistische Visualisierung von animierter virtueller Kleidung Das photorealistisches Rendering realer Gegenstände ist ein weites Forschungsfeld und hat Anwendungen in vielen Bereichen. Dazu zählen Computer generierte Filme (CGI), die Unterhaltungsindustrie und E-Commerce. Innerhalb dieses Forschungsbereiches ist das Rendern von photorealistischer Kleidung ein wichtiger Bestandteil. Hier reichen die wichtigen Aspekte, die es zu berücksichtigen gilt, von optischen Materialeigenschaften über makroskopische Selbstabschattung bis zur Animationsgenerierung und -kompression. In dieser Arbeit wird, neben der Einführung in das Thema, ein weiter Überblick über ähnlich gelagerte Arbeiten gegeben. Der Schwerpunkt der Arbeit liegt auf den wichtigen Aspekten der virtuellen Kleidungsvisualisierung, die oben beschrieben wurden. Die optischen Reflektionseigenschaften von Materialoberflächen spielen eine wichtige Rolle, um das so genannte look & feel von Materialien zu charakterisieren. Hierbei kann ein Material vom Nutzer identifiziert werden, ohne dass er es direkt anfassen muss. Die BTF (bidirektionale Texturfunktion)ist eine Funktion die abhängig von der Blick- und Beleuchtungsrichtung ist. Daher ist sie eine angemessene Repräsentation von Reflektionseigenschaften. Sie enthält Effekte wie Rauheit, Selbstabschattungen, Verdeckungen, Interreflektionen, Streuung und Farbbluten, die durch die Mesostruktur der Oberfläche hervorgerufen werden. Leider besteht ein BTF Datensatz eines Materials aus hunderten oder tausenden von Bildern und sprengt damit herkömmliche Hauptspeicher in Computern bei weitem. Diese Arbeit beschreibt die erste praktikable Methode, um BTF Daten effizient zu komprimieren, zu speichern und für Echtzeitanwendungen zum Visualisieren wieder zu dekomprimieren. Die Methode basiert auf der Principal Component Analysis (PCA), die Daten nach Signifikanz ordnet. Während die PCA die entscheidenen visuellen Aspekte der BTF erhält, können mit ihrer Hilfe Kompressionsraten erzielt werden, die es erlauben mehrere BTF Materialien im Hauptspeicher eines Consumer PC zu verwalten. Dies erlaubt ein High-Quality Rendering. Korrektes Verwenden von komplexen Beleuchtungssituationen spielt eine weitere, wichtige Rolle, um Kleidung realistisch erscheinen zu lassen. Daher wird zudem eine Erweiterung des BTF Kompressions- und Renderingalgorithmuses erläutert, die den Einsatz von High-Dynamic Range (HDR) Beleuchtung erlaubt, die in environment maps gespeichert wird. Um die realistische Erscheinung der Kleidung weiter zu unterstützen, muss die makroskopische Selbstabschattung integriert werden. Für die Visualisierung von Falten und den lebensechten 3D Eindruck ist diese Art von Schatten absolut notwendig. Diese Arbeit beschreibt daher auch zwei Methoden, diese Schatten schnell und effizient zu berechnen. Die erste ist nahtlos in den Beleuchtungspart des obigen BTF Renderingalgorithmuses integriert und für statische Geometrien optimiert. Die zweite Methode behandelt dynamische Objekte. Dazu werden hardwarebeschleunigte Occlusion Queries verwendet, um die Sichtbarkeitsberechnung durchzuführen. Diese Methode ist einerseits simpel und leicht zu implementieren, anderseits ist sie schnell und produziert weniger Artefakte, als vergleichbare Methoden. Zusätzlich ist die Verwendung von veränderbarer, entfernter HDR Beleuchtung integriert. Das menschliche Wahrnehmungssystem ist das eigentliche Ziel jeglicher Anwendung in der Computergrafik und kann daher selbst als Teil einer erweiterten Rendering Pipeline gesehen werden. Daher kann das Rendering selbst optimiert werden, wenn man die menschliche Wahrnehmung verschiedener visueller Aspekte der berechneten Bilder analysiert. Teil der vorliegenden Arbeit ist die Beschreibung eines Experimentes, das menschliche Schattenwahrnehmung untersucht, um das Rendern der Schatten zu beschleunigen. Ein weiteres Teilgebiet der Kleidungsvisualisierung in der Computergrafik ist die Animation der Kleidung und von Avataren für Präsentationen. Diese Arbeit beschreibt zwei neue Methoden auf diesem Teilgebiet. Einmal ein Algorithmus, der für die automatische Generierung neuer Animationssequenzen verwendet werden kann und zum anderen einen Kompressionsalgorithmus für eben diese Sequenzen. Die automatische Generierung von völlig neuen, anpassbaren Animationen basiert auf dem Konzept der Ähnlichkeitssuche. Hierbei werden die einzelnen Schritte von gegebenen Basisanimationen auf Ähnlichkeiten hin untersucht, die zum Beispiel die Geschwindigkeiten einzelner Objektteile sein können. Die Identifizierung dieser Ähnlichkeiten erlaubt dann Sprünge innerhalb der Basissequenz, die dazu benutzt werden können, endlose, neue Sequenzen zu erzeugen. Die Übertragung von animierten 3D Daten über bandbreitenlimitierte Kanäle wie ausgedehnte Netzwerke, Mobilfunk oder zu sogenannten thin clients erfordert eine effiziente Komprimierung. Die zweite, in dieser Arbeit vorgestellte Methode, ist ein Kompressionsschema für Geometriedaten. Ähnlich wie bei der Kompression von BTF Daten wird die PCA in Verbindung mit Clustering benutzt, um die animierte Geometrie zu analysieren und in sich ähnlich bewegende Teile zu segmentieren. Diese erkannten Segmente lassen sich dann hoch komprimieren. Der Algorithmus arbeitet automatisch und erlaubt zudem eine sehr exakte Rekonstruktionsqualität nach der Dekomprimierung

Accelerated volumetric reconstruction from uncalibrated camera views

While both work with images, computer graphics and computer vision are inverse problems. Computer graphics starts traditionally with input geometric models and produces image sequences. Computer vision starts with input image sequences and produces geometric models. In the last few years, there has been a convergence of research to bridge the gap between the two fields. This convergence has produced a new field called Image-based Rendering and Modeling (IBMR). IBMR represents the effort of using the geometric information recovered from real images to generate new images with the hope that the synthesized ones appear photorealistic, as well as reducing the time spent on model creation. In this dissertation, the capturing, geometric and photometric aspects of an IBMR system are studied. A versatile framework was developed that enables the reconstruction of scenes from images acquired with a handheld digital camera. The proposed system targets applications in areas such as Computer Gaming and Virtual Reality, from a lowcost perspective. In the spirit of IBMR, the human operator is allowed to provide the high-level information, while underlying algorithms are used to perform low-level computational work. Conforming to the latest architecture trends, we propose a streaming voxel carving method, allowing a fast GPU-based processing on commodity hardware

Efficient multi-bounce lightmap creation using GPU forward mapping

Computer graphics can nowadays produce images in realtime that are hard to distinguish from photos of a real scene. One of the most important aspects to achieve this is the interaction of light with materials in the virtual scene. The lighting computation can be separated in two different parts. The first part is concerned with the direct illumination that is applied to all surfaces lit by a light source; algorithms related to this have been greatly improved over the last decades and together with the improvements of the graphics hardware can now produce realistic effects. The second aspect is about the indirect illumination which describes the multiple reflections of light from each surface. In reality, light that hits a surface is never fully absorbed, but instead reflected back into the scene. And even this reflected light is then reflected again and again until its energy is depleted. These multiple reflections make indirect illumination very computationally expensive. The first problem regarding indirect illumination is therefore, how it can be simplified to compute it faster. Another question concerning indirect illumination is, where to compute it. It can either be computed in the fixed image that is created when rendering the scene or it can be stored in a light map. The drawback of the first approach is, that the results need to be recomputed for every frame in which the camera changed. The second approach, on the other hand, is already used for a long time. Once a static scene has been set up, the lighting situation is computed regardless of the time it takes and the result is then stored into a light map. This is a texture atlas for the scene in which each surface point in the virtual scene has exactly one surface point in the 2D texture atlas. When displaying the scene with this approach, the indirect illumination does not need to be recomputed, but is simply sampled from the light map. The main contribution of this thesis is the development of a technique that computes the indirect illumination solution for a scene at interactive rates and stores the result into a light atlas for visualizing it. To achieve this, we overcome two main obstacles. First, we need to be able to quickly project data from any given camera configuration into the parts of the texture that are currently used for visualizing the 3D scene. Since our approach for computing and storing indirect illumination requires a huge amount of these projections, it needs to be as fast as possible. Therefore, we introduce a technique that does this projection entirely on the graphics card with a single draw call. Second, the reflections of light into the scene need to be computed quickly. Therefore, we separate the computation into two steps, one that quickly approximates the spreading of the light into the scene and a second one that computes the visually smooth final result using the aforementioned projection technique. The final technique computes the indirect illumination at interactive rates even for big scenes. It is furthermore very flexible to let the user choose between high quality results or fast computations. This allows the method to be used for quickly editing the lighting situation with high speed previews and then computing the final result in perfect quality at still interactive rates. The technique introduced for projecting data into the texture atlas is in itself highly flexible and also allows for fast painting onto objects and projecting data onto it, considering all perspective distortions and self-occlusions

Digital Alchemy: Matter and Metamorphosis in Contemporary Digital Animation and Interface Design

The recent proliferation of special effects in Hollywood film has ushered in an era of digital transformation. Among scholars, digital technology is hailed as a revolutionary moment in the history of communication and representation. Nevertheless, media scholars and cultural historians have difficulty finding a language adequate to theorizing digital artifacts because they are not just texts to be deciphered. Rather, digital media artifacts also invite critiques about the status of reality because they resurrect ancient problems of embodiment and transcendence.In contrast to scholarly approaches to digital technology, computer engineers, interface designers, and special effects producers have invented a robust set of terms and phrases to describe the practice of digital animation. In order to address this disconnect between producers of new media and scholars of new media, I argue that the process of digital animation borrows extensively from a set of preexisting terms describing materiality that were prominent for centuries prior to the scientific revolution. Specifically, digital animators and interface designers make use of the ancient science, art, and technological craft of alchemy. Both alchemy and digital animation share several fundamental elements: both boast the power of being able to transform one material, substance, or thing into a different material, substance, or thing. Both seek to transcend the body and materiality but in the process, find that this elusive goal (realism and gold) is forever receding onto the horizon.The introduction begins with a literature review of the field of digital media studies. It identifies a gap in the field concerning disparate arguments about new media technology. On the one hand, scholars argue that new technologies like cyberspace and digital technology enable radical new forms of engagement with media on individual, social, and economic levels. At the same time that media scholars assert that our current epoch is marked by a historical rupture, many other researchers claim that new media are increasingly characterized by ancient metaphysical problems like embodiment and transcendence. In subsequent chapters I investigate this disparity