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首页> 外文期刊>IEEE transactions on visualization and computer graphics >Modeling, animating, and rendering complex scenes using volumetrictextures
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Modeling, animating, and rendering complex scenes using volumetrictextures

机译：使用体积纹理对复杂场景进行建模，动画处理和渲染

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Complex repetitive scenes containing forests, foliage, grass,nhair, or fur, are challenging for common modeling and rendering tools.nThe amount of data, the tediousness of modeling and animation tasks, andnthe cost of realistic rendering have caused such kind of scene to seenonly limited use even in high-end productions. The author describes hownthe use of volumetric textures is well suited to such scenes. Thesenprimitives can greatly simplify modeling and animation tasks. Morenimportantly, they can be very efficiently rendered using ray tracingnwith few aliasing artifacts. The main idea, initially introduced bynKajiya and Kay (1989), is to represent a pattern of 3D geometry in anreference volume, that is tiled over an underlying surface much like anregular 2D texture. In our contribution, the mapping is independent ofnthe mesh subdivision, the pattern can contain any kind of shape, and itnis prefiltered at different scales as for MIP-mapping. Although thenmodel encoding is volumetric, the rendering method differs greatly fromntraditional volume rendering. A volumetric texture only exists in thenneighborhood of a surface, and the repeated instances (called texels) ofnthe reference volume are spatially deformed. Furthermore, each voxel ofnthe reference volume contains a key feature which controls thenreflectance function that represents aggregate intravoxel geometry. Thisnallows for ray tracing of highly complex scenes with very few aliasingnartifacts, using a single ray per pixel (for the part of the scene usingnthe volumetric texture representation). The major technicalnconsiderations of our method lie in the ray-path determination and innthe specification of the reflectance function
机译：对于常见的建模和渲染工具而言，包含森林，树叶，草丛，毛发或毛皮的复杂重复场景是具有挑战性的。n数据量，建模和动画任务的乏味性以及逼真的渲染的成本使得这种场景只能被看到。即使在高端产品中也使用受限。作者描述了如何使用体积纹理非常适合此类场景。超原语可以大大简化建模和动画制作任务。更重要的是，可以使用光线跟踪非常有效地渲染它们，而不会产生混淆现象。主要思想最初由nKajiya和Kay（1989）提出，目的是在参考体积中表示3D几何图形，该图形平铺在底层表面上，非常类似于规则2D纹理。在我们的贡献中，映射与网格细分无关，图案可以包含任何形状，并且可以对MIP映射以不同的比例进行预过滤。尽管模型编码是体积编码，但是渲染方法与传统的体积渲染有很大不同。体积纹理仅存在于表面附近，并且参考体积的重复实例（称为纹理像素）在空间上变形。此外，参考体积中的每个体素都包含一个关键功能，该功能控制表示整体体素内部几何形状的反射函数。这允许使用很少的混叠伪像来对高度复杂的场景进行光线跟踪，每个像素使用单个光线（对于使用体积纹理表示的场景部分）。我们方法的主要技术考虑在于射线路径的确定和反射函数的规格

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