Programming assignment #3 - Extending your ray tracer

CS 348B - Computer Graphics: Image Synthesis Techniques
Spring Quarter, 1999
Frank Crow

Demos on Thursday, June 3
Writeups due Monday, June 7

Overview

You are permitted (and encouraged) to form teams of two or three people and partition your planned extensions among the team members. For a team of size N, you must implement at least N extensions. Extra credit will be given for extra work. The division of work among members of the team should be clear; each extension should be assigned to one student. Your README file must list these assignments. Teams may discuss this assignment with other teams, but each team is expected to implement the extensions independently. In particular, code must not be shared between teams.

Approved extensions

• Adaptive stochastic supersampling. Use any sample distribution, subdivision criteria, and reconstruction method you like. Allow interactive control over key parameters of your sampling scheme. In a separate window alongside your rendered image, display a visualization of how many rays were cast per pixel. For extra fun (and credit), develop a "microscopic" visualization (similar to the illustrations in papers on the subject) showing the x,y position of each sample used during the rendering of some subportion of the image.


Even if you don't implement adaptive supersampling, I strongly recommend that you add some kind of supersampling to your ray tracer for this assignment. To properly appreciate (and evaluate) many of these extensions, you'll want some way to minimize the jaggies. At the least, compute a large image and average it down, thereby trivially simulating regular, non-adaptive supersampling.
 

• Distribution ray tracing. Implement semi-diffuse reflections and refractions by distributing the secondary rays emanating from each surface according to a bidirectional reflectance distribution function (BRDF) of your own choosing. Allow slider control over one or more parameters of the BRDF. Stop ray recursion if the weight for a ray's color drops below a slider-selectable threshold. For extra fun (and credit), implement distribution ray tracing of an area light source to simulate penumbrae, or of a finite aperture to simulate depth of field, or of a finite shutter interval to simulate motion blur.
• soft shadows (penumbrae), glossy surfaces
• motion blur, depth of field

 
• Texture mapping. Implement texture mapping for spheres, triangle meshes, and planar quadrilaterals (which you can represent as two triangles). Textures may be 2D or 3D, and may be procedurally generated, optically scanned, or borrowed from a friend. (There are unfortunately no scanners in Sweet Hall. There are two in the multimedia cluster at Meyer Library, one in Tressider, and one in the graphics lab in Gates 3B.) Avoid bilevel, severely quantized, or predithered textures; they will look poor when resampled - even if supersampled. Assuming you avoid extreme perspective views and implement some form of supersampling, you needn't bother with texture filtering at ray-surface intersections; your supersampling should eliminate most aliasing artifacts.


To map a texture onto a surface, you must compute texture indices at each ray-surface intersection. Methods for spheres, quadrilaterals, and triangles are described by Eric Haines in sections 2.5 and 3.3 of chapter 2 in Glassner. A more efficient algorithm for triangles is given by Didier Badouel (Graphics Gems, p. 390). For a triangle mesh, the methods listed above can be combined with a global mapping scheme based on vertex coordinates relative to a corner of the mesh, angles relative to a projection point not located on the mesh, or another scheme.

Use your texture to modulate something besides just reflectance (i.e. color). Experiment with transparency, specularity, or orientation (i.e. bump mapping). Alternatively, try modulating an interpolation between two other textures or between two entirely different shading models. See Cook's Siggraph '84 paper on shade trees and Perlin's Siggraph '85 paper on texture synthesis (FvDFH, p. 1047) for ideas.

For extra fun, implement texture filtering using direct convolution (section 17.4.2 of FvDFH) or prefiltering (using mip maps or summed area tables, section 17.4.3) to yield properly filtered textures without the need for supersampling. This will require comparing the u,v locations of adjacent rays to locally control the filter kernel size. If you implement this addon, you might need to adjust your sample region subdivision criteria in order not to supersample unnecessarily when rendering a textured surface.

• color textures
• color, shininess, and bump textures
• 3D procedural textures
• bump maps created with scanning
• bump maps created with a custom program
• more bump maps created with a custom program

 
• Shading language. Develop a language for programmable shading formulas akin to (but simpler than) RenderMan's language (Hanrahan and Lawson, Siggraph '90). At a minimum, your language should allow the specification of a shade tree that includes mix nodes driven by textures as in Cook's Siggraph '84 paper on shade trees. Don't spend a lot of time on the interpreter - a simple syntax will do. For extra fun, implement (in conjunction with texture mapping) a nontrivial 2D or 3D texture synthesis method. Examples are spot-noise or reaction-diffusion equations (see the two papers on this subject in Siggraph '91).
• complex shading formula
• embedded shading language

 
• Light ray tracing. Model caustics by tracing rays "backwards" from light sources and accumulating incident illumination as a texture on each surface. This one is harder, but we'll reward you suitably. Look at Heckbert's paper on bidirectional ray tracing (Siggraph '90). As an alternative to storing illumination on surfaces, implement Veach's hybrid ray tracer, then try his variance reduction schemes (Siggraph '95).
• specular to diffuse transfer
• caustics (glass)
• caustics (pool)

 
• Volume rendering. Start by implementing spatially inhomogeneous atmospheric attenuation. Divide each ray into intervals. For each interval, interpolate between the ray's color and some constant fog color based on a procedurally computed opacity for that location in space. Experiment with opacity functions. Once you get this working, try defining a solid texture (probably procedurally) that gives color and opacity for each interval. See Perlin and Hoffert's Siggraph '89 paper on solid texture synthesis (Siggraph '89) and Kajiya and Kay's teddy bear paper (Siggraph '89) for ideas. If you want to make your volume renderer fast, use hierarchical spatial subdivision (e.g. an octree).
• volumetric steam
• hypertextured object

 
• Fancy primitives. Implement a class of more complicated primitives from Hanrahan's chapter in Glassner's book. Choose wisely. Quadrics are too easy; deformed surfaces are too hard. Recommended are bicubic patches (display directly or by meshing), CSG models, or fractals. Fractals are relatively easy to implement and fun to use. For extra fun, map textures onto your patches or fractals. For lots of fun, try fur modeled as geometry (as opposed to as a volume).  See Gavin Miller's paper "From Wire-Frame to Furry Animals" (Graphics Interface '88 - Ada Glucksman can make you a copy).
• bilinear patch
• full CSG (legos)
• partial CSG (indentations)
• cone branches

 
• Subsurface scattering. Look at Hanrahan and Krueger's Siggraph '93 paper.
• Exotic wavelength-dependent effects. We can give you some references.
• thin-film interference (CD)
• thin-film interference (prism)

A real object

• Glassner's book. Use noise functions (FvDVH, p. 1047) to simulate the uneven reflection from the cardboard cover, dirt, fingerprints, etc. Use a scanner to input the cover design.
• A pencil. See Plate 17 in Steve Upstill's The RenderMan Companion Do you chew on pencils? Simulate that.
• A key. All my keys are scratched up. What about yours?
• Your hand.

Demos

Bring the object you have modeled with you to the demo. To expedite demos, be prepared to show precomputed images demonstrating the required extensions and a rendering of the object you have modeled. These images should clearly demonstrate your extensions and the object you have modeled. If we can't see it, you haven't done it. Depending on the nature of your extensions, we may also ask you to generate a (small) image during the demo. To facilitate this, your user interface should include a slider for setting image size prior to rendering.

Grading will be based not so much on the amount of work you have done, but on cleverness, creativity, and correctness.

No late demos!

Writeups

No late writeups!

The competition

Entries may be made by individuals or teams, and may consist of any number of images or animations. You are allowed to use only i3dm, Composer, the ray tracer you wrote for this course, any software you wrote for the course (e.g. procedural modeler or shading languages), and tools available on the Sweet Hall workstations. You may not use GL. If you wish to use other tools, you must obtain approval and be prepared to make them available to all competitors. Your entries must be computed on workstations roughly equal in power to those in the Sweet Hall laboratory. You may use multiple workstations only if it does not interfere with other people's work. If you have any question about what constitutes acceptable computing resources, ask us. Finally, you may import (free) textures or models from the web, but be prepared to enumerate your sources honestly during the competition. We don't recommend heavy use of imported content.

The jury will consist of prominent computer graphics experts from academia and industry. Your prof will preside. During the judging, each individual or team will display their entry and briefly explain any exotic techniques used in its creation. This process is expected to take approximately 45 minutes. The winning submission will then be decided in private by the jury and announced to the gathered multitudes.

While grades for the programming project are based solely on "technical merit", the competition will be judged on both "technical merit" and "artistic impression". In particular, the jury will look for photorealism, creativity, and elegance.

There will be one grand prize - an all-expenses-paid trip to Siggraph '99 in Los Angeles, August 9-13, one second-place prize - dinner for two at Il Fornaio in Palo Alto and a copy of the Siggraph '98 Film and Video Show on VHS videotape, and three third-place prizes - a copy of the Siggraph '98 videotape. If the grand prize is won by a team, it must be split among the team members. All other prizes will be duplicated as necessary to cover the team.

The party