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원문: http://http.developer.nvidia.com/GPUGems/gpugems_ch11.html Chapter 11. Shadow Map Antialiasing Michael Bunnell NVIDIA Fabio Pellacini Pixar Animation Studios 11.1 Introduction Shadow mapping is the method of choice for creating shadows in high-end rendering for motion pictures and television. However, it has been problematic to use shadow mapping in real-time applications, such as video..

원문: http://http.developer.nvidia.com/GPUGems/gpugems_ch10.html Chapter 10. Cinematic Lighting Fabio Pellacini Pixar Animation Studios Kiril Vidimce Pixar Animation Studios In this chapter, we present a simplified implementation of uberlight, a light shader that expresses the lighting model described by Ronen Barzel (1997, 1999). A superset of this model was developed over several years at Pi..

원문: http://http.developer.nvidia.com/GPUGems/gpugems_ch09.html Chapter 9. Efficient Shadow Volume Rendering Morgan McGuire Brown University 9.1 Introduction A security guard's shadow precedes him into a vault—enough advance warning to let the thief hide on the ceiling. Ready to pounce on an unwary space marine, the alien predator clings to a wall, concealed in the shadow of a nearby gun tu..

원문: http://http.developer.nvidia.com/GPUGems/gpugems_ch08.html Chapter 8. Simulating Diffraction Jos Stam Alias Systems 8.1 What Is Diffraction? Most surface reflection models in computer graphics ignore the wavelike effects of natural light. This is fine whenever the surface detail is much larger than the wavelength of light (roughly a micron). For surfaces with small-scale detail such as a..

원문: http://http.developer.nvidia.com/GPUGems/gpugems_ch07.html Chapter 7. Rendering Countless Blades of Waving Grass Kurt Pelzer Piranha Bytes 7.1 Introduction To simulate an idyllic nature scene in a realistic fashion, besides detailed trees and bushes, as well as a complex water and sky dome simulation, we need a high-quality grass effect. We must be able to cover large areas of the terrai..

원문: http://http.developer.nvidia.com/GPUGems/gpugems_ch06.html Chapter 6. Fire in the "Vulcan" Demo Hubert Nguyen NVIDIA This chapter talks about the "Vulcan" demo that the NVIDIA demo team created for the launch of the GeForce FX 5900 Ultra. Inspired by the Balrog creature in The Lord of the Rings movies, our goal was to display a monster that would be the source of raging flames, as shown ..

원문: http://http.developer.nvidia.com/GPUGems/gpugems_ch05.html Chapter 5. Implementing Improved Perlin Noise Ken Perlin New York University This chapter focuses on the decisions that I made in designing a new, improved version of my Noise function. I did this redesign for three reasons: (1) to make Noise more amenable to a gradual shift into hardware, (2) to improve on the Noise function's v..

원문: http://http.developer.nvidia.com/GPUGems/gpugems_ch04.html Chapter 4. Animation in the "Dawn" Demo Curtis Beeson NVIDIA 4.1 Introduction "Dawn" is a demonstration that was created by NVIDIA Corporation to introduce the GeForce FX product line and illustrate how a high-level language (such as HLSL or Cg) could be used to create a realistic human character. The vertex shaders deform a high..

원문: http://http.developer.nvidia.com/GPUGems/gpugems_ch03.html Chapter 3. Skin in the "Dawn" Demo Curtis Beeson NVIDIA Kevin Bjorke NVIDIA 3.1 Introduction "Dawn" is a demonstration that was created by NVIDIA to introduce the GeForce FX product line and illustrate how programmable shading could be used to create a realistic human character, as shown in Figure 3-1. The vertex shaders (describ..

원문: http://http.developer.nvidia.com/GPUGems/gpugems_ch02.html Chapter 2. Rendering Water Caustics Juan Guardado NVIDIA Daniel Sánchez-Crespo Universitat Pompeu Fabra/Novarama Technology 2.1 Introduction There is something hypnotic about the way water interacts with light: the subtle reflections and refractions, the way light bends to form dancing caustics on the bottom of the sea, and the..