Visual realism
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This document discusses advanced computer graphics and realistic image generation techniques. It covers topics like modeling objects, lighting, rendering, visible surface determination, shading, textures, shadows, transparency, camera models, and anti-aliasing. Realism involves modeling objects and lighting conditions, determining visible surfaces, calculating pixel colors based on light reflection, and supporting animation. Rendering techniques like line drawings, shading, and shadows add information to convey depth. Anti-aliasing reduces jagged edges by using techniques like supersampling and weighted area sampling.
Visual realism
- 1. Advance Computer Graphic (CP222) Prepared by Harsora Vinay E-mail: vinay.rkcet@gmail.com Department of Computer Engineering School of Engineering RK University
- 2. Teaching Scheme Subject Code Subject Name Theory Tutorial Practical Credits CE222 Advanced Computer Graphics 3 0 2 4 Evaluation Scheme Subject Code Subject Name Theory CIE Theory SEE Total Practical CIE Practical SEE Total CE222 Advanced Computer Graphics 50 50 100 25 25 50
- 3. Visual Realism Prepared by Harsora Vinay
- 4. Introduction • What is realistic image? – A picture that capture many of the effect of light interacting with real physical object. – A continuum and speak freely of pictures, and of the techniques used to create them, as being more or less realistic is called realistic images. – At one end of the continuum are examples of what is often called photographic realism – These pictures attempt to synthesize the field of light intensities that would be focused on the film plane of a camera aimed at the objects depicted.
- 5. Cont. • Realistic picture is not necessarily a more desirable, the ultimate goal of picture is to convey information, then a picture that is free of the complications of the shadows and reflections may well be more successful than a photographic realism.
- 6. Cont. Creating a realistic pictures involves following stages: 1) Model of the object. 2) Viewing specifications and lighting conditions, 3) Visible surface determination. 4) Color determination of each pixel is a function of the light reflected and transmitted by the objects. 5) Animated sequence:- time varying changes in the models lighting and viewing specifications must be defined. The process of creating realistic images from models is called rendering.
- 7. Application of realistic pictures 1. Simulation 2. Design of 3D object such as automobiles, airplanes etc. 3. Entertainment and advertisement 4. Research and education 5. Command and control
- 8. Difficulties • Total visual realism is the complexity of the real world. observe the richness of your environment. • Solution: – Achieved sub goal of realism: to provide sufficient information to let the viewer understand the 3 D spatial relationships among several objects.
- 9. Cont. • Line drawing of two house: – Simple line drawing, suffices to persuade us that one building is partially behind the other. • Most display devices are 2D therefore, 3D objects must be projected into 2D, with considerable attendant loss of information which can sometimes create ambiguities in the image.
- 10. • Example. (A) (B) (C)
- 11. Stairway being viewed from above or from below?
- 12. Rendering Techniques for line drawing • Multiple orthographic views: – The projection plane is perpendicular to a principal axis, depth information is discarded. – Training and experience sharpen one’s interpretive power. • Axonometric and oblique projections: – A point ‘s Z coordinate influences its x and y coordinates in the projection. – These projections provide constant foreshorting, and therefore lack the convergence of parallel line and decreasing size of object with increasing distance.
- 13. Cont. • Perspective projections: – An object’s size is scaled in inverse proportion to its distance from viewer. – Cube example Perspective projection of a cube
- 14. Cont. – If we view a picture in which an elephant is the same size as a human, we assume that the elephant is further away since we know that elephants are larger than humans. • Depth cueing: – The depth can be represented by the intensity of the image. parts of the objects that are intended to appear farther from the viewer are displayed at lower intensity, this effect is know as depth cueing. – In vector displays, depth cueing is implemented by interpolating the intensity of the beam along a vector as a function of its starting and ending z coordinates. – Distant object appear dimmer than the closer objects
- 15. Cont. • Depth clipping: – The back clipping plane is placed so as to cut through the objects being displayed. By allowing the position of one or both planes to be varied dynamically, the system can convey more depth information to the viewer. – in depth cueing intensity is a smooth function of z, in depth clipping it is a step function. Highlighting all points on the object intersected by some plane. This technique is effective when the slicing plane is shown moving through the object dynamically.
- 16. Cont. • Texture: – Texture may be applied to an object, textures follow the shape of an object and delineate it more clearly. – Texturing one of a set of otherwise identical face can clarify a potentially ambiguous projection. • Color: – Color may used symbolically to distinguish one object from another, color can also be used in line drawing to provide other information.
- 17. Cont. • Visible –line Determination – Determine visible lines. Only surfaces bounded by lines can obscure other lines. So objects that are to block others must be modeled either as collections of surfaces or as solids. – Hidden-line removed views convey less depth information so instead of removing that can be shown as dashed lines.
- 18. Rendering techniques for Shaded Images • Visible-surface Determination: – Hidden surface removal – Displaying only those parts of surfaces that are visible to the viewer. – If surfaces are rendered as opaque areas, then visible-surface determination is essential for the picture to make sense.
- 19. Cont. • Illumination and shading – Problem with Visible surface determination each object appears as flat. – So, next step of realism is to shade the visible surfaces. – Each surface’s appearance should depend on the types of light sources illuminating it, it properties(color, texture, reflectance), and it’s position and orientation with respect to the light sources, viewer and other surface.
- 20. Cont. • Types of light source – Point source: rays emanate from a single point, can approximate a small bulb. – Ambient light: ambient light impinges from all directions. • Its easiest kind of light source to model. • Assumed to produce constant illumination on all surface, regardless of their position or orientation.
- 21. Cont. – Directional source: whose rays all come from the same direction e.g. sun • Modeling this source requires additional work because their effect depend on the surface’s orientation. • The surface is normal (perpendicular) to the incident light rays, it is brightly illuminated; more oblique the surface is to the light rays, the less its illumination. – Distributed and extended source: whose surface area emits light comes from neither a single direction nor a single point. • Fluorescent lights • Even more complex to model.
- 22. Cont. • Interpolated shading: – Shading information is computed for each polygon vertex and interpolated across the polygons to determine the shading at each pixel. – Shading information computed at each vertex can be based on the surface’s actual orientation at that point and is used for all of the polygons that share that vertex. – Interpolating among these values across a ploygon approximates the smooth changes in shade that occur across a curved. – Ground shading e.g.
- 23. Cont. • Material properties: – Realism is further enhanced if the material properties of each object are taken into account when shading is determined – Dull and disperse reflected light about equally in all direction (diffuse reflection), – Shiny reflected light only in certain directions relative to the viewer and light source like mirror (speculr reflection) E.g. mirror.
- 24. • Texture – Object texture not only provide additional depth cues but also can mimic the surface detail of real objects. • Shadows – Further realism can be added by reproducing shadows cast by objects on one another.
- 25. – This is the technique in which the appearance of an object’s visible surfaces is affected by other objects. – Shadows enhance realism and provide additional depth cues: If object A casts a shadow on surface on surface B, then we know that A is between B and a direct or reflected light source. – A point light source casts sharp shadows, because from any point it is either totally visible or invisible. – Extended light source casts soft shadows, since there is a smooth transition from these points that see all of the light source, through those that see only part of it, to those that see none of it.
- 26. • Transparency and reflection – So far we have considered surface as opaque. Now we consider transparent surface. – Simple models of transparency do not include the refraction (bending) of light through a transparent solid. – More complex models include refraction, diffuse transparency and the attenuation of light with respect to distance. Also consider diffuse and specular reflection . – It requires knowledge of other surfaces besides the surface being shaded.
- 27. – It requires objects actually modeled as solids rather than just as surfaces. We should also know something about the materials through which a light ray passes and the distance it travels to model its refraction property. – The amount of light from a light source illuminating a surface is inversely proportional to the square of the distance from the light source to the surface. Hence, surfaces of an object that are further from the light source are darker (shading), which gives cues of both depth and shape. – Shadows cast by one object on another (shadowing) also give cues to relative position and size.
- 28. • Improved Camera Models –So far we have consider camera model with a pinhole lens and an infinitely fast shutter: all objects are in sharp focus and represent the world at one instance in time. –It is possible to model more accurately the way that we and cameras see the world.
- 29. – e.g. by modeling the focal properities of lenses ,we can produce pictures that show depth of field.: some parts of objects are in focus, whereas closer and farther parts are out of focus. – Moving objects look different from stationary objects in a picture taken with a regular still or moving camera. Because the shutter is open for a finite period of time, visible parts of moving objects are blurred across the film plane. This effect , called motion blur.
- 30. • Other ways of realism • Dynamics: We mean changes that spread across a sequence of pictures, including changes in position ,size, material, properties ,lighting and viewing specification – Most popular kind of dynamics is motion ranging from simple transformation to animation. – If a series of projections of same object, from a slightly different viewpoint around the object, is displayed in rapid succession then the object appears to rotate. – Object in motion can be rendered with less detail
- 31. • Stereopis –Look at your desk or table top first with one eye, then with the other. –The two views differ slightly because our eyes are separated from each other by a few inches. –The binocular disparity caused by this separation provides a power depth cue called stereopis or stereo vision .
- 32. –Our brain fuses the two separate images into one that is interpreted as being in 3D. The two images are called a stereo pair. They are used today in the common toy, .The view master. –You can fuse the two images into one 3D image by viewing them such that each eye sees only one image. E.g. by placing a stiff piece of paper between the two images perpendicular to the page.
- 33. – A variety of other techniques exists for providing different images of each eye, including glasses with polarizing filters and holography. – Some of these techniques make possible 3d images that occupy space, rather than being projected on a single plane. These display can provide an additional 3D depth cue : Closer objects are closer, just as in real life, so the viewer’s eyes focus differently on different objects, depending on each object’s proximity.
- 34. • Improved displays – Improvement in displays themselves have heightened the illusion of reality. – But still not possible to achieve the contrast and color of a well printed professional photograph. – Limited display resolution makes it impossible to produce extremely fine detail
- 35. Cont. • Interacting with our other senses – Final step towards realism is the integration of realistic imagery with information to our senses. – e.g. Head –worn simulator monitors head motion ,making possible another important 3D depth cue called head-motion parallax: whne the user moves her head from side to side perhaps to try to see more a partially hidden object the views changes as it would in real life.
- 36. Aliasing and Anti-Aliasing • The primitives of graphics have common problem : jagged edges • It is also know as staircasing. • Jaggies are an instance of phenomenon know as aliasing. • The application of techniques that reduce or eliminate aliasing is referred to as antialiasing • Primitive or image produced using these techniques are called antialiased.
- 37. Cont. • Signal: which is a function that conveys information, it is function of time. • Signal can equally well be functions of other variables. • Image as intensity variations over space, • Image signals in the spatial domain (as function of spatial coordinates) rather then the temporal domain (as function of time).
- 38. Cont. • Signal can be classified by whether or not they have values at all points in the spatial domain. • Continuous signal is defined at continuum of positions in space • Discrete signal is defined at a set of discrete points in space. • The process of selecting a finite set of values from a signal is known as sampling. • And selected values are called samples • Recreating original continuous signal from samples, this process is know as reconstruction.
- 39. Cont. • Point sampling: – Select one point for each pixel, evaluate the original signal at this point and assign its value to pixel. – Points are arranged in gird. – More sample we collect from signal, more we know about it. – Value of each pixel determine by combining several adjacent sample. – Taking more then one sample for each pixel and combining them is known as super-sampling.
- 40. Cont. • Area Sampling: – Integrating the signal over a square centered about each gird point, dividing by the square’s area and using this average intensity as that of the pixel. This techniques called unweighted area sampling. – Each object’s projection, no matter how small, contributes to those pixels that contain it, in strict proportion to the amount of each pixel’s area it covers, without regarding the location of that area in the pixel.
- 41. Cont. • Unweighted area sampling has drawback – The object crossover into an adjoining pixel, the value of the original pixel and the adjoining pixel are both affected. – The object causes the image change only when it crosses pixel boundaries. • Weighted area sampling allows us to assign different weights to different parts of pixel. • Weighted function of adjacent pixels should overlap.