Base jumper Subterminallyill posted on his Vimeo page a very impressive, immersive (seemingly a helmet mounted GoPro) slow motion footage of his last jump off a cliff, which as it happens didn’t go well at all. As the seconds slowly pass by, the moment almost feels like a soft, skimming interaction. But as soon as the actual speed is revealed, it shows a brutal, violent accident happening in a split second.
The compressive sensing blog Nuit-Blanche reports this publication: First-photon imaging. The technique allows to capture depth and (limited) reflectivity information using only a small number of photons (virtually in the dark).
Imagers that use their own illumination can capture 3D structure and reflectivity information. With photon-counting detectors, images can be acquired at extremely low photon fluxes. To suppress the Poisson noise inherent in low-flux operation, such imagers typically require hundreds of detected photons per pixel for accurate range and reflectivity determination. We introduce a low-flux imaging technique, called first-photon imaging, which is a computational imager that exploits spatial correlations found in real-world scenes and the physics of low-flux measurements. Our technique recovers 3D structure and reflectivity from the first detected photon at each pixel. We demonstrate simultaneous acquisition of sub-pulse duration range and 4-bit reflectivity information in the presence of high background noise. First-photon imaging may be of considerable value to both microscopy and remote sensing.
In this (slightly over) one hour talk, 1½ hour including Q&A, John Carmack walks through the physics of light, the early days of rendering, the current state of the art, and the direction it is headed at. In short: until we can afford path tracing, we’re approximating it.
The Art of Rendering (April 2012)
A description of the different techniques used in high end rendering and the major engines.
The State of Rendering (July 2013): part 1, part 2
A lengthy overview of the state of the art in high end rendering, comparing the different tools and rendering solutions available, their approach and design choices, strengths and weaknesses as well as the consequences in terms of quality, scalability and render time.
(Brace yourselves for the massive tag list hereafter.)
This articles describes the lighting rig I use when doing such tiny computer graphics experiments with landscapes. It’s basically made of 3 or 4 directional lights, one shadow, some (fake or screen space) ambient occlusion, and a fog layer. These few elements tend to behave nicely and even look fotoreal-ish if balanced properly.
Setting up lights is not an easy task, so this article is a very welcomed insight. I especially like the trick of using an opposite directional light to fake global illumination. I also very much agree on using actual fill lights. Constant ambient alone is not enough, as you lose any sense of volume in the shadowed parts.
I am not too fond of the shadow penumbra trick though, which he described previously already. I must admit it indeed gives a warm look, but it doesn’t make any physical sense. So I suspect this should rather belong to the tone mapping part of the rendering, just like the square root he used to apply to the diffuse fall-off really was really working around the lack of gamma correction.
The recommendation to keep albedo near 0.2 is an interesting one. Indeed, your typical rock and grass albedo is nowhere near the albedo of snow (a quick look at Wikipedia gives this comparison chart). But if it is stored in a texture in a typical rendering pipeline, the question of precision lingers. I wonder how big game studios typically address this.
Rendering from compressed textures, Beers et al., proceedings of SIGGRAPH 1996 “This one (out of 3) of the 1st texture compression papers ever! Uses VQ so probably not something you want today, but major eye opener!”
Here comes the spoiler: according to this article, it was created from photos of the subject and her family relatives who shared most face similarities. The photos were then animated and morphed together. Like the article points out, the animation still falls within the uncanny valley, but pause at any time and all you see is an real face.