Last week my friend LLB and I wrote an article about live coding. Or rather, given what the task consisted in, it would be more accurate to say that we copy-pasted the answers of six interviewees until the order felt right.
In their comments, they remember how and when they’ve discovered live coding and got involved, explain how they prepare for a competition, talk about their state of mind during a match, share their esteem for fellow live coders, and reflect on this new kind of e-sport.
Over the last few months I have been trying to push my understanding of Physically Based Shading, by actively exploring every corner and turning over every stone, to uncover any area where I lack knowledge. Although this is still an ongoing process and I still have a lot to do, I thought I could already share some of what I have learned in the process.
Last weekend the Easter demoparty event Revision took place, as an online version due to the current pandemic situation. There, I presented a talk on Physically Based Shading, in which I went into electromagnetism, existing models, and an brief overview of a prototype I am working on.
The presentation goes into a lot of detail about interaction of light with matter from a physics point of view, then builds its way up to the Cook-Torrance specular BRDF model. The diffuse BRDF and the Image Based Lighting were skipped due to time constraints. I am considering doing a Part 2 to address those topics, but I haven’t decided anything yet.
In the mean time, please leave a comment or contact me if you notice any mistake or inaccuracy.
How do you implement a Physically Based Shading for your demos yet keep the possibility to try something completely different without having to rewrite everything? In this talk we will first get an intuitive understanding of what makes matter look the way it looks, with as much detail as we can given the time we have. We will then see how this is modeled by a BRDF (Bidirectional Reflectance Distribution Function) and review some of the available models. We will also see what makes it challenging for design and for real-time implementation. Finally we will discuss a possible implementation that allows to experiment with different models, can work in a variety of cases, and remains compatible with size coding constraints.
And finally here is the recording of the talk, including a quick demonstration of the prototype:
Here is the shader used during the presentation to illustrate light interaction at the interface between to media:
Thanks again to Alan Wolfe for reviewing the text, Alkama for the motivation and questions upfront and help in the video department, Scoup and the Revision crew for organizing the seminars, Ronny and Siana for the help in the sound department, and everyone who provided feedback on my previous article on Physically Based Shading.
FWIW – I think the model of refraction by the electromagnetic field causing electrons to oscillate is the better one. This explains not only refraction but reflection as well, and even total internal reflection. Feynman does out the wave calculations: https://feynmanlectures.caltech.edu/II_33.html
It also explains better IMO why a light wave keeps its direction in a material. If an atom absorbs and re-emits the photon there is no reason why it should be going in the same direction as before (conservation of momentum is maintained if the atom recoils). Besides which, the lifetime of an excited atomic state is many orders of magnitude longer than the time needed for a light wave to propagate across the diameter of the atom (even at an IOR-reduced speed).
Moreover, in the comments of the shader above, CG researcher Fabrice Neyret mentioned a presentation of his from 2019, which lists interactions of light with matter: Colors of the universe. Quoting his summarized comment:
In short: the notion of photons (and their speed) in matter is a macroscopic deceiving representation, since it’s about interference between incident and reactive fields (reemitted by the dipoles, at least for dielectrics).
Last week I was lucky enough to attend SIGGRAPH 2018, in Vancouver. My colleagues and I were presenting on a booth the work we had done, a VR story with a distinctive comic book look. I was also invited to participate to a panel session on demoscene, where I shared some lessons learned while making the 64k intro H – Immersion. The event brought a certain sense of conclusion to this work, aside from filling me with inspiration and motivation to try new things.
It has been a long time since I last posted anything here. For the last two years the majority of my spare time went into making that 64k intro. In fact the last post, “Intersection of a ray and a cone”, was related to it. I was implementing volumetric lighting for the underwater scenes, and wanted to resolve cones of light with ray tracing, before marching inside those cones. LLB and I have talked about the creation process in two making-of articles: “A dive into the making of Immersion”, and “Texturing in a 64kB intro”.
During that time, a lot of new things have happened in the computer graphics community. It has been difficult to keep track of everything. The last topic I started experimenting with is point cloud and mesh capture from photos; I might expend on it here in the future. I also want to experiment with DIY motion capture. Anyway, it’s time to resume posting here.
Last Fall, the French demogroup Cocoon uncovered this beautiful ambient demo: Insight In An Unseizable World. Its technical features, including real-time fluid dynamics or screen space reflections, manage to stay humble a leave the full stage to the superb direction. The special attention given to transition is outstanding, and I invite you to see by yourselves.
Three years ago, the German demoscene group, Still, was releasing an experiment at shaping some of the work of late painter Victor Vasarely as animated figures in a tribute demo: Beta. The unusual style from a demoscene standpoint, extrapolating what his work would have been if it were animated, was a success.
Last week Still released another demo with a similar geometric style and a brilliant direction: Intrinsic Gravity. It serves as an invitation to the demoparty NVScene, to take place in San Jose, California, this March.
I recommend you these two demos, they are a pleasure to watch.
Revision is a big demoparty held each year at Easter, in Saarbrücken, Germany. Whenever possible, it is a custom in the demoscene to release a production dedicated to officially announce upcoming parties: an invitation.
Last weekend at the Ultimate Meeting, the invitation to Revision 2014 was presented. The quality of invitations can vary wildly, from rushed and uninspired to works of art (Kings of the playground or You Should are two examples that come to mind); this new invitation is rather on the higher end of the spectrum. Aiming for epic feeling, and nailing it, it imagines a time when the mostly unheard off sub culture has become a dominant one and the reason for a major Super Bowl like event in a Tron like set.