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RealTime Dynamic Shadow Algorithms

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... render the scene with diffuse and specular lights in all places that the stencil ... for ambient light then diffuse and specular I use a shading polygon. ... – PowerPoint PPT presentation

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Title: RealTime Dynamic Shadow Algorithms


1
Real-Time Dynamic Shadow Algorithms
  • Evan Closson
  • CSE 528

2
Inspiration
  • Interested in virtual environments which shadows
    are a part of.
  • Shadows are cool.
  • John Carmak

Shadows in the new Doom engine
3
Importance of Shadows in Virtual Environments
  • Youve all seen this distinction before.
  • On the left a scene with no shadows. It is hard
    to determine the spatial location of the models
    and lights.
  • With shadows . . .

4
The Lighting Problem
  • Shadows are a Global Illumination Model problem.
  • Many objects must be taken into consideration
    when calculating the shadow at a specific point.
  • Ray Tracers and Radiosity Techniques handle
    shadows well.

5
Problems With This Model For Real-Time
Applications
  • Speed. Global Illumination Models are slow and
    it is not feasible with current technology to use
    such a model in a real- time virtual environment.

6
Quick Fix
  • Rendering shadows in Real-Time is almost always
    separated from the lighting model and uses
    geometric tricks to approximate the shadows. As
    with most things there is a trade off among these
    tricks between the accuracy/realism of the
    shadows and speed.

7
Real-Time Dynamic Shadow Algorithms
  • Planar Projected Algorithms
  • - Fast
  • - Very limited use
  • Shadow Mapping
  • - Robust
  • - Harder to handle omni directional lights
  • Shadow Volumes
  • - Shadow Volumes are hard to compute efficiently
  • - Handles omni directional lights very well

8
Planar Projected Shadows
  • Very Fast
  • Squishes the Model onto a plane in just one
    matrix multiplication
  • Easy To Implement and with good results when
    casting shadows onto one plane
  • Can extend to cast onto multiple planes, but each
    plane will require another rendering of the
    model.

Cube 8 Lights
9
Shadow Mapping Lance Williams 78
  • Render scene from the point of view of the camera
    with depth test enabled.
  • Result is a shadow map from the lights
    perspective stored in the depth buffer.
  • Next, render scene from cameras point of view and
    determine the pixels (X,Y,Z) coordinates with
    respect to the Lights coordinate system.
  • Compare the Z value of the pixel with the value
    stored at position (X,Y) in the depth map.
  • If the values are equal then the pixel is lit, if
    it is greater then the pixel is shadowed.

10
Shadow Mapping
Pixel in Shadow
Pixel Lit
  • Pixel in Shadow The fragments Z in light space
    is greater then the stored value in the depth map
    at fragments XY position
  • Pixel Lit The fragments Z in light space is
    equal to the value in the shadow map.

11
Shadow Mapping
  • The resolution of the shadow map should be the
    same as the color buffer or aliasing artifacts
    can occur.
  • Must render multiple shadow maps for omni
    directional lights.

12
Shadow Volumes
  • Makes use of the stencil buffer to block out
    areas in which a shadow is cast.

Algorithm
  • First render scene with only ambient light.
  • Compute shadow volume.
  • Render the front facing polygons of the shadow
    volume and increment the stencil buffer for each
    successful stencil test
  • Render the back facing polygons and decrement the
    stencil buffer for successful stencil tests.
  • Finally render the scene with diffuse and
    specular lights in all places that the stencil
    buffer is equal to 0.

13
Shadow Volumes
  • A Shadow Volume is a volume in space for which
    anything within that volume is in shadow.
  • It is formed from the light being blocked by an
    occluder. It is infinite at one end and starts at
    the occluding object. Note here the shadow
    volume is actually capped.
  • Computing the shadow volume is hard work. Lots
    of geometric computations.

14
How The Shadow Volumes Work
  • If you consider a camera at any point outside of
    the shadow and a point being shaded. Shoot a ray
    from the camera to the point.
  • If the point is in the shadow volume it will have
    a positive value since the ray incremented the
    stencil buffer every time it entered the shadow
    volume(front facing), and decremented it when it
    left(back facing).
  • If the camera is within the shadow volume the
    incrementing and decrementing must be reversed.
    This however is extra work for a check to
    determine the location of the camera must be made.

15
The Future of Shadows
  • Shadow Algorithm Specific Hardware Acceleration
  • NVIDIA Shadow Buffer Technology
  • Used in the GeForce3
  • Uses Shadow Map Technique

16
My Implementations
  • Planar Projected Shadows
  • Shadow Volumes

Both of these have two versions one with correct
support for multiple lights, one optimized for
use with one light.
17
Planar Projected Shadows
  • Plane Eq Ax By Cz D 0
  • x, y, z is the difference between the center of
    the model and the light source. Ideally you want
    to use the distance from each vertex. However it
    is not as fast since the matrix will have to be
    computed on a per vertex basis instead of a per
    model basis.
  • The vertices of the model are multiplied by the
    Planar Projection matrix.
  • You can find this matrix in the Red Book.

18
Shadow Volumes
  • There are 2 implementations for shadow volumes.
    One optimized for one light, and one set up for
    multiple lights.
  • My implementations follow the algorithm discussed
    before except instead of rendering a scene once
    for ambient light then diffuse and specular I use
    a shading polygon.
  • Render a polygon that covers the entire scene and
    then blend it wherever the stencil buffer is not
    zero. So all the areas in shadow are blended
    with a shadow polygon. This will save a complete
    rendering of the scene, by merging the lighting
    properties into one pass.
  • Many complications can arise from finding a good
    capping value (the distance it extends towards
    infinity) for the shadow volume. To simplify
    this for myself I just allow the user to change
    the current shadow cap. In practice for
    arbitrary cameras and virtual environments the
    shadow volume should be capped to correspond with
    the clipping planes. However this can lead to
    many artifacts and there are many special cases
    to account for.

19
Shadow Volumes
20
Results A Few More Pictures
Shadow Volumes cast on all objects
An omni directional scene for shadow volumes.
21
Results A Few More Pictures
Notice the self shadowing
Shadow Volumes
Planar Projected Shadows
22
Results A Few More Pictures
Two Lights
Eight Lights
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