Lighting, part 2

1. Lighting, part 2 CSE167: Computer Graphics Instructor: Steve Rotenberg UCSD, Fall 2005

2. Triangle Rendering • The main stages in the traditional graphics pipeline are: • Transform • Lighting • Clipping / Culling • Scan Conversion • Pixel Rendering

3. Lighting • Lighting is an area of the graphics pipeline that has seen no limits to its complexity and continues to promote active research • Many advanced lighting techniques very complex and require massive computational and memory resources • New algorithms continue to be developed to optimize various pieces within these different areas • The complexity of lighting within the context of photoreal rendering completely dwarfs the other areas of the graphics pipeline to the point where it can almost be said that rendering is 99% lighting • The requirements of photoreal lighting have caused radical modifications to the rendering process to that point that modern high quality rendering has very little resemblance to the processes that we’ve studies so far • For one thing, so far, we’ve talked about rendering triangle-by-triangle, whereas photoreal rendering is generally done pixel-by-pixel, but we will look at these techniques in more detail in a later lecture

4. Basic Lighting & Texturing • So far, we have mainly focused on the idea of computing lighting at the vertex and then interpolating this across a triangle (Gouraud shading), and then combining it with a texture mapped color to get the final coloring for a pixel • We also introduced the Blinn reflection model which treats a material reflectivity as having a sum of diffuse and specular components • We saw that zbuffering is a simple, powerful technique of hidden surface removal that allows us to render triangles in any order, and even handle situations where triangles intersect each other • We also saw that texture mapping (combined with mipmapping to fix the shimmering problems) is a nice way to add significant detail without adding tons of triangles • We haven’t covered transparency or fog yet, but we will in just a moment • This classic approach of ‘Blinn lit, Gouraud shaded, z-buffered, mipmapped triangles with transparency and fog’ essentially forms the baseline of what one needs to achieve any sort of decent quality in a 3D rendering • The biggest thing missing is shadows, but with a few tricks, one can achieve this as well as a wide variety of other effects

5. Blinn-Gouraud-zbuffer-mipmap-fog-transparency • This was the state of the art in software rendering back around 1978, requiring only a couple hours to generate a decent image (on a supercomputer) • This was the state of the art in realtime graphics hardware in 1988, allowing one to render perhaps 5000 triangles per frame, at 720x480 resolution, at 60 frames per second (assuming one could afford to spend $1,000,000+ for the hardware) • By the late 1990’s, consumer hardware was available that could match that performance for under $200 • The Sony PS2 essentially implements this pipeline, and can crank out maybe 50,000 triangles per frame at 60 Hz • The XBox was the first video game machine to progress beyond this basic approach, and high end PC graphics boards were starting to do it a couple years before the Xbox (maybe around 2000) • Modern graphics boards support general purpose programmable transformation/lighting operations per vertex, as well as programmable per-pixel operations including Phong shading, per-pixel lighting, and more, but still operate on one triangle at a time, and so still fall within the classification of traditional pipeline renderers

6. Per Vertex vs. Per Pixel Lighting • We can compute lighting per vertex and interpolate the color (Gouraud shading) • Or we can interpolate the normals and compute lighting per pixel (Phong shading) • The two approaches compute lighting at different locations, but still can use exactly the same techniques for computing the actual lighting • In either case, we are still just computing the lighting at some position with some normal

7. Classic Lighting Model • The classic approach to lighting is to start by defining a set of lights in the scene • There are a variety of simple light types, but the most basic ones are directional and point lights • Each light in the scene needs to have its type specified as well as any other relevant properties (color, position, direction…). Geometric properties are usually specified in world space, although they may end up getting transformed to camera space, depending on the implementation • And a set of materials • Materials define properties such as: diffuse color, specular color, and shininess • And then a bunch of triangles • Each triangle has a material assigned to it • Triangles can also specify a normal for each vertex • Then we proceed with our rendering: • When we render a triangle, we first apply the lighting model to each vertex • For each vertex, we loop through all of the lights and compute how that light interacts with the position, normal, and unlit color of the vertex, ultimately computing the total color of the light reflected in the direction of the viewer (camera) • This final color per vertex value is interpolated across the triangle in the scan conversion and then combined with a texture color at the pixel level

8. Lighting Point light Directional light c2 Camera c3 c=? l2 c1 n l3 e Point light l1 v material

9. Incident Light • To compute a particular light’s contribution to the total vertex/pixel color, we start by computing the color of the incident light • The incident light color clgt represents the actual light reaching the surface in question • For a point light, for example, the actual incident light is going to be the color of the source, but will be attenuated based on the inverse square law (or some variation of it) • We also need to know the incident light direction. This is represented by the unit length vector l (that’s supposed to be a lower case L) • Computing the incident light color & direction is pretty straightforward, but will vary from light type to light type

10. Reflection Models • Different materials reflect light in different patterns • The way a particular material reflects light is referred to as a reflection model (or sometimes as a lighting model, shading model, local illumination model, scattering model, or BRDF) • The reflection model takes the direction and color of the incident light coming from a particular light source and computes what color of light is going to be reflected in the direction of the camera • Perfect diffuse reflectors reflect light uniformly in every direction, and so we don’t even need to know where the camera is. However, almost any other type of material is going to scatter light differently in different directions, so we must consider the camera direction • The Lambert reflection model treats the material as an ideal diffuse reflector • The Blinn reflection model treats the material as having a sum of diffuse and specular components. Each is computed independently and simply added up

11. Diffuse Reflection • The diffuse lighting is going to follow Lambert’s law and be proportional to the cosine of the angle between the normal and the light direction (in other words, n·l) • It will also be proportional to the diffuse color of the material, mdif, giving a final diffuse color of • This is the Lambert reflection model • Also, if the dot product is negative, indicating that the light is on the wrong side of the surface, we clamp it to zero • Note that the product mdif*clgt is computed by performing component-by-component multiplication (not a dot or cross product) clgt n l mdif

12. Specular Highlights • We assume that the basic material is specularly reflective (like a metal), but with a rough surface that causes the actual normals to vary at a small scale • We will say that the surface at a microscopic scale is actually composed of many tiny microfacets, which are arranged in a more or less random fashion

13. Specular Highlights • The surface roughness will vary from material to material • With smooth surfaces, the microfacet normals are very closely aligned to the average surface normal • With rougher surfaces, the microfacet normals are spread around more, but we would still expect to find more facets close to the average normal than far from the average • Smooth surfaces have sharp highlights, while rougher surfaces have larger, more blurry highlights Polished: Smooth: Rough: Very rough:

14. Specular Highlights • To compute the highlight intensity, we start by finding the unit length halfwayvector h, which is halfway between the vector l pointing to the light and the vector e pointing to the eye (camera) n h clgt e l mdif

15. Specular Highlights • The halfway vector h represents the direction that a mirror-like microfacet would have to be aligned in order to cause the maximum highlight intensity n h clgt e l mdif

16. Specular Highlights • The microfacet normals will point more or less in the same direction as the average surface normal, so the further that h is from n, the less likely we would expect the microfacets to align • In other words, we want some sort of rule that causes highlights to increase in brightness in areas where h gets closer to n • The Blinn lighting model uses the following value for the highlight intensity: Where s is the shininess or specular exponent

17. Specular Highlights • h·n will be 1 when h and n line up exactly and will drop off to 0 as they approach 90 degrees apart • Raising this value to an exponent retains the behavior at 0 and 90 degrees, but the dropoff increases faster as s gets higher, thus causing the highlight to get narrower

18. Blinn Reflection Model • To account for highlights, we simply add a specular component to our existing diffuse equation: • This is essentially the Blinn reflection model. It appears in a few slightly different forms and in a wide variety of notations…

19. Multiple Lights • To account for multiple lights, we just sum up the contribution from each individual light • We have also included the cheezy ambient term mamb*camb that approximates uniform background light

20. Classic Lighting Model • This classic lighting model is a decent place to start, as it allows for a few simple light types and for a reasonable range of material properties • There are several obvious things that would need to be modified, however, to improve the overall quality of the lighting

21. Shadows • Adding shadows to the model requires determining if anything is between the light source and the point to be lit • If something is blocking it, then that particular light source is skipped, and doesn’t contribute to the total lighting • In a sense, we could say that the lighting model already includes this, since the incident light would just be 0 in this case • Conceptually, this is a trivial modification to the actual lighting model itself, however to implement this requires considerable changes to the way we’ve been thinking about rendering so far • To implement shadows this way would require some type of function that takes two points in space (representing the position of the vertex and the position of the light source) and tests to see if the line segment between the two points intersects any triangle within the entire scene • Assuming we had such a function, it is pretty clear that we would want to compute shadows pixel by pixel, instead of simply at the vertices, if we expect to get sharp shadows cast onto low detail geometry

22. Direct/Indirect Light • One obvious problem stems from the fact that the model only considers light coming directly from light sources (called direct light) and drastically simplifies bounced light (called indirect light) in the ambient term • In reality, light will be shining onto a surface from every direction in the hemisphere around the surface • True, the light is most likely to be strongest in the direction of the light sources, but properly handling issue is important to high quality rendering • To modify the model to account for light coming from every direction, we start by dropping the ambient term, and replacing the summation over light directions to an integration over the hemisphere of directions. This leads to the advanced rendering topic of global illumination

23. Photoreal Rendering • Two key components to photoreal rendering are: • Local illumination: accurate modeling of light scattering at surfaces (what we have been calling the reflection model) • Global illumination: accurate modeling of light propagation throughout a complex environment • Implementing these two things requires several additional complex systems that bear little direct resemblance to the two components listed

24. Photoreal Rendering Features • Model local material properties: • Diffuse/specular scattering • Transparency, refraction, absorbtion • Subsurface scattering (translucency) • Volumetric scattering • Simulate global lighting behavior: • Shadows • Diffuse interreflection (soft lighting, color bleeding…) • Specular interreflection & caustics • Model light sources • Accurate handling of color • Accurate modeling of light emission geometry • Area & volumetric light sources • Cameras • Simulate camera & lens effects (focus, blooming, halos, lens flares…) • Simulate behavior of CCD/film/retina exposure & color compensation • Handle high dynamic range color information • Simulate shutter & motion blur effects • etc.

25. Reflection Models • There is a lot to say about reflection models • The Blinn reflection model is a very simple example. In fact, it has been shown to violate some very important physical laws and so can’t be used in photoreal renderers • There have been many advanced ones designed to model the optical behavior of a wide range of materials • However, a truly useful reflection model must satisfy a wide range of complex mathematical and user interface requirements and it has proven very difficult to come up with powerful, general purpose ones • This continues to be an active area of research in modern computer graphics

26. Cook-Torrance • An early attempt at a more physically plausible reflection model is the Cook-Torrance model • The book spends some time talking about this and it is worth reading • However, the Cook-Torrance model has its share of mathematical problems and isn’t very popular in modern rendering • It was, however, one of the first of a long chain of reflection models that have been proposed in graphics literature over the years

27. Transparency • Transparency is another important feature which is implemented at the pixel rendering stage • Photoreal renderers treat transparency and translucency in very sophisticated ways • For now, we will just look at some simple approaches that are compatible with the traditional graphics pipeline

28. Alpha • We need some sort of way to define the transparency of an object • The most common approach is to add an additional property to material colors called alpha • Alpha actually represents the opacity of an object and ranges from 0 (totally invisible) to 1 (fully opaque). A value between 0 and 1 will be partially transparent • Alpha is usually combined with rgb colors (red, green, blue) so that colors are actually represented as rgba • The alpha value can usually be represented with an 8 bit quantity, just like red, green, and blue, so we can store colors as a 32 bit rgba value. This is convenient, as many processors use 32 bit quantities as their basic integer size • Texture maps often store alpha values per texel so that the opacity can vary across the surface of a triangle • Alpha is also generally specified per vertex as well, so that we can extend our Vertex class to store a color as a Vector4 (rgba) value, and use glColor4f() to pass it to GL • If alpha is not stored or specified, it is assumed to be 1.0 (fully opaque)

29. Transparency Draw Order • Transparency requires a little special handling to fit it into the traditional graphics pipeline • Because of the zbuffer, we can generally render triangles in any order without affecting the final image • With transparency, however, we actually need to render transparent surfaces in a back to front (far to near) order • This is required because the transparent surface will modify the color already stored at the pixel • If we have a blue tinted glass in front of a brick wall, we render the brick wall first, then when we render the blue glass, we need to apply a blue tinting to the brick pixels already in the framebuffer • At a minimum, we should render all opaque surfaces in a scene before rendering the transparent surfaces. For best quality, the transparent triangles should be sorted back to front, which can be an expensive operation

30. Computing Transparency • When we are scan converting a transparent triangle, we end up with an alpha quantity per pixel • This might come from the interpolated alpha per vertex, or it might be specified as the alpha component of a texture map, or a combination of both. We refer to this as the source alpha • We also end up with a color value per pixel which comes from the Gouraud interpolated color per vertex, or the texture map, or both. We refer to this as the source color • We can also read the color value already stored in the pixel. We call this the destination color • The final color we render into the pixel will be a linear blend of the source color and destination color. The alpha quantity controls how much we blend each one

31. Alpha Blending • This alpha blending equation is very simple and fast and is often implemented with 8 bit fixed point operations in hardware • Many other alpha blending operations exist to achieve a wide variety of visual effects

32. Alpha Effects • Alpha blending can be useful for a variety of effects, and rendering systems often support several alpha blending options • Some of the most useful alpha blending modes include: • No blending: • Transparency: • Modulate: • Add: • Subtract:

33. Fog & Depth Cueing • Another feature built into many classic rendering pipelines is per-pixel fog or depth cueing • Depth cueing refers to the visual cues from which one can determine an object’s distance (depth) • For example, as an object recedes in the fog, its color gradually approaches the overall fog color until it disappears entirely beyond some distance • Fog is implemented in classic renderers at the pixel stage, as one has access to the depth value already being interpolated for zbuffering • Fogging is usually applied after the texture color has been looked up and combined with the Gouraud interpolated vertex color • The fogged color is a blend between the texture/Gouraud color and the fog color. The blend factor is determined by the z distance value • After we have our fogged color, we can apply transparency if desired

34. Pixel Rendering • If we are lighting at the vertices, we still have several final computations to perform per pixel to end up with our final colors • The input to our pixel rendering phase is the output of the scan conversion phase, namely a set of interpolated properties (color, depth, texture coords…) for each pixel in the triangle • The classic features that take place per pixel include: • Test the zbuffer to see the pixel should be rendered at all • Perform texture lookups (this may involve mipmapping, or bilinear sampling, for example) • Multiply the texture color with the Gouraud interpolated color (including the alpha component) • Blend this result with the fog color, based on the pixel z depth • Blend this result with the existing color in the framebuffer, based on the alpha value • Write this final color, as well as the interpolated z depth into the framebuffer/zbuffer • This represents a reasonable baseline for pixel rendering. One could certainly do more complex things, such as re-evaluate the entire lighting model per pixel, or more • Older graphics hardware was hardwired to perform these baseline tasks. Modern hardware allows programmable pixel shaders

35. Texturing Combining • There are many cases where one would want to apply more than one texture map to a triangle and combine them in some way • For example, if a character walks in front of a slide projector, we might want to combine the texture map of his shirt with the texture map of the projected slide image • Both software and hardware rendering systems typically allow support for several textures per triangle • One can apply several different texture maps, each with its own set of texture coordinates, and then define various rules on how they are combined to get the final color • The texture combining operations tend to be similar to the alpha blending operations • Texture combining enables a wide range of possibilities for tricks and special effects…

36. Pixel Shaders • As people learned about the things that could be done by combining textures, there was a trend towards allowing more and more generality at the pixel stage of the pipeline • The concept of texture maps can be generalized to the mapping of any number of arbitrary values across the surface of triangles that can then be combined in any arbitrary way to come up with the final pixel color • The term shader has been used to refer to a user programmable coloring function that can be assigned to a surface • Many software & hardware renderers allow some sort of programmable shaders, but different systems allow different levels of flexibility

37. Procedural Textures • Lets say we want a texture map of some bricks on the side of a building • We could go photograph a brick wall and use it as a texture map • Alternately, we could use a procedural texture to generate it on the fly • A 2D procedural texture takes a 2D texture coordinate and returns a color • In this sense, it is a lot like a texture map, except instead of simply storing an image, a procedural texture can be programmed to implement any function desired • Procedural textures offer the potential advantage of effectively infinite resolution and freedom from tiling artifacts • They also allow for broader user flexibility and control • Plus, they can be animated…

38. Noise Functions