Guillaume Abadie, S. McAuley, Evegenii Golubev, S. Hill, Sébastien Lagarde
{"title":"Advances in real-time rendering in games","authors":"Guillaume Abadie, S. McAuley, Evegenii Golubev, S. Hill, Sébastien Lagarde","doi":"10.1145/3214834.3264541","DOIUrl":"https://doi.org/10.1145/3214834.3264541","url":null,"abstract":"","PeriodicalId":107712,"journal":{"name":"ACM SIGGRAPH 2018 Courses","volume":"15 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-08-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124823841","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
/60 INTRODUCTION • Digital Typography • Font Types & Formats • Text Rendering Pipeline PART I : TEXTURE BASED • Rasterization • Fast & Versatile (but ugly) • Fast & Beaufitul (but only 2D) PART II : DISTANCE BASED • Signed Distance Fields • Single Channel • Arc approximation • Multiple Channels PART III : GEOMETRY BASED • Bézier curves & glyphs • GPU friendly • GPU only CONCLUSION • Beyond this course • Questions & answers TheLazy DIGITAL TYPOGRAPHY
{"title":"Digital typography: 25 years of text rendering in computer graphics","authors":"N. Rougier, B. Esfahbod","doi":"10.1145/3214834.3214837","DOIUrl":"https://doi.org/10.1145/3214834.3214837","url":null,"abstract":"/60 INTRODUCTION • Digital Typography • Font Types & Formats • Text Rendering Pipeline\u2028 PART I : TEXTURE BASED • Rasterization • Fast & Versatile (but ugly) • Fast & Beaufitul (but only 2D) \u2028 PART II : DISTANCE BASED • Signed Distance Fields • Single Channel • Arc approximation • Multiple Channels\u2028 PART III : GEOMETRY BASED • Bézier curves & glyphs • GPU friendly • GPU only\u2028 CONCLUSION • Beyond this course • Questions & answers TheLazy DIGITAL TYPOGRAPHY","PeriodicalId":107712,"journal":{"name":"ACM SIGGRAPH 2018 Courses","volume":"89 15","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-08-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"120825259","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This course presents a conceptual framework for procedural animation (CFPA) that defines and describes common language for a fundamental timing definition that can be used to design and drive procedural animation. The course will use both test and real production cases to illustrate these concepts. By following the CFPA, users can set up procedural animation rigs and tools in a highly organized and modularized way to facilitate authoring and reuse.
{"title":"A conceptual framework for procedural animation (CFPA)","authors":"D. Byun","doi":"10.1145/3214834.3214835","DOIUrl":"https://doi.org/10.1145/3214834.3214835","url":null,"abstract":"This course presents a conceptual framework for procedural animation (CFPA) that defines and describes common language for a fundamental timing definition that can be used to design and drive procedural animation. The course will use both test and real production cases to illustrate these concepts. By following the CFPA, users can set up procedural animation rigs and tools in a highly organized and modularized way to facilitate authoring and reuse.","PeriodicalId":107712,"journal":{"name":"ACM SIGGRAPH 2018 Courses","volume":"29 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-08-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127429661","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Physics-based animation has emerged as a core area of computer graphics finding widespread application in the film and video game industries as well as in areas such as virtual surgery, virtual reality, and training simulations. This course introduces students and practitioners to fundamental concepts in physics-based animation, placing an emphasis on breadth of coverage and providing a foundation for pursuing more advanced topics and current research in the area. The course focuses on imparting practical knowledge and intuitive understanding rather than providing detailed derivations of the underlying mathematics. The course is suitable for someone with no background in physics-based animation---the only prerequisites are basic calculus, linear algebra, and introductory physics. We begin with a simple, and complete, example of a mass-spring system, introducing the principles behind physics-based animation: mathematical modeling and numerical integration. From there, we systematically present the mathematical models commonly used in physics-based animation beginning with Newton's laws of motion and conservation of mass, momentum, and energy. We then describe the underlying physical and mathematical models for animating rigid bodies, soft bodies, and fluids. Then we describe how these continuous models are discretized in space and time, covering Lagrangian and Eulerian formulations, spatial discretizations and interpolation, and explicit and implicit time integration. In the final section, we discuss commonly used constraint formulations and solution methods.
{"title":"An introduction to physics-based animation","authors":"Adam W. Bargteil, Tamar Shinar","doi":"10.1145/3214834.3214849","DOIUrl":"https://doi.org/10.1145/3214834.3214849","url":null,"abstract":"Physics-based animation has emerged as a core area of computer graphics finding widespread application in the film and video game industries as well as in areas such as virtual surgery, virtual reality, and training simulations. This course introduces students and practitioners to fundamental concepts in physics-based animation, placing an emphasis on breadth of coverage and providing a foundation for pursuing more advanced topics and current research in the area. The course focuses on imparting practical knowledge and intuitive understanding rather than providing detailed derivations of the underlying mathematics. The course is suitable for someone with no background in physics-based animation---the only prerequisites are basic calculus, linear algebra, and introductory physics. We begin with a simple, and complete, example of a mass-spring system, introducing the principles behind physics-based animation: mathematical modeling and numerical integration. From there, we systematically present the mathematical models commonly used in physics-based animation beginning with Newton's laws of motion and conservation of mass, momentum, and energy. We then describe the underlying physical and mathematical models for animating rigid bodies, soft bodies, and fluids. Then we describe how these continuous models are discretized in space and time, covering Lagrangian and Eulerian formulations, spatial discretizations and interpolation, and explicit and implicit time integration. In the final section, we discuss commonly used constraint formulations and solution methods.","PeriodicalId":107712,"journal":{"name":"ACM SIGGRAPH 2018 Courses","volume":"24 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-08-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128502851","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Chris Wyman, Shawn Hargreaves, P. Shirley, Colin Barré-Brisebois
Modern graphics APIs such as DirectX 12 expose low-level hardware access and control to developers, often resulting in complex and verbose code that can be intimidating for novices. In this chapter, we hope to demystify the steps to set up and use DirectX for ray tracing.
{"title":"Introduction to DirectX raytracing","authors":"Chris Wyman, Shawn Hargreaves, P. Shirley, Colin Barré-Brisebois","doi":"10.1145/3214834.3231814","DOIUrl":"https://doi.org/10.1145/3214834.3231814","url":null,"abstract":"Modern graphics APIs such as DirectX 12 expose low-level hardware access and control to developers, often resulting in complex and verbose code that can be intimidating for novices. In this chapter, we hope to demystify the steps to set up and use DirectX for ray tracing.","PeriodicalId":107712,"journal":{"name":"ACM SIGGRAPH 2018 Courses","volume":"64 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-08-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133812422","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
A device you can wear or keep in your pocket has less power and thermal budget than a typical desktop device by several orders of magnitude, but with similar user experience expectations. Wearable VR and AR headsets accentuate these challenges while also increasing the demand for computation. To meet these graphical demands while keeping within a mobile form factor requires scrutiny of all aspects of modern graphics, from hardware design and associated graphics APIs, to OS and system considerations, to the algorithms and techniques employed. This half-day course provides a technical introduction to mobile graphics spanning the hardware-software spectrum and explores the state of the art with practitioners at the forefront of their field. We look at the impact of XR on hardware, software and OS, quantified best practices in real-time rendering and computer vision research on mobile devices.
{"title":"Moving mobile graphics","authors":"Sam Martin","doi":"10.1145/3214834.3214857","DOIUrl":"https://doi.org/10.1145/3214834.3214857","url":null,"abstract":"A device you can wear or keep in your pocket has less power and thermal budget than a typical desktop device by several orders of magnitude, but with similar user experience expectations. Wearable VR and AR headsets accentuate these challenges while also increasing the demand for computation. To meet these graphical demands while keeping within a mobile form factor requires scrutiny of all aspects of modern graphics, from hardware design and associated graphics APIs, to OS and system considerations, to the algorithms and techniques employed. This half-day course provides a technical introduction to mobile graphics spanning the hardware-software spectrum and explores the state of the art with practitioners at the forefront of their field. We look at the impact of XR on hardware, software and OS, quantified best practices in real-time rendering and computer vision research on mobile devices.","PeriodicalId":107712,"journal":{"name":"ACM SIGGRAPH 2018 Courses","volume":"39 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-08-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131765368","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This course has been designed for technical directors, artists, animators, modelers, programmers, and designers whose work is essential in making "the story" come to life. This information can be particularly useful when communicating with screenwriters, directors, producers, and supervisors. This course answers the question "what is story?" (and you don't even have to take a course in screenwriting). Entertaining with numerous clips to show how this has been used in animation and VFX. The purpose is to take the mystery out of "what is story" for those programmers, artists, and game designers whose work is essential in making Animation, VFX, and Games successful. The attendees will know the basic elements of story, so the next time a producer or director talk about what they want for the story, they will know what specific story benchmarks the producer/director are trying to meet in connecting emotionally with an audience. This course will build from the knowledge that story "is a sequence of events (acts) that builds to a climax...." and then lays out the universal elements of story that make up plot, character development, and narrative structure. This course emphasizes story elements in context (i.e. theme, character, setting, conflict etc.) and their relationship to classic story structure (i.e. setup, inciting incident, rising action, climax, resolution etc.). It analyzes conflict (i.e. internal, external, environmental), turning points, cause & effect, archetype vs stereotypes, inciting incident, and how choice defines character. In all stories there must be questions raised: What is at stake (i.e. survival, safety, love, esteem, etc.)? What is going to motivate (inciting incident) the main character (protagonist)? Will that be enough to move them from the ordinary (where they are comfortable) to go out into a different world (where the action takes place), and How will the character "change"(necessary for all dramatic stories)? These are just a few of the storytelling elements necessary to structure a solid story. This course is for all whose work makes the story better but their job isn't creating the story.
{"title":"Story: it's not just for writers... anymore!","authors":"C. Caldwell","doi":"10.1145/3214834.3214839","DOIUrl":"https://doi.org/10.1145/3214834.3214839","url":null,"abstract":"This course has been designed for technical directors, artists, animators, modelers, programmers, and designers whose work is essential in making \"the story\" come to life. This information can be particularly useful when communicating with screenwriters, directors, producers, and supervisors. This course answers the question \"what is story?\" (and you don't even have to take a course in screenwriting). Entertaining with numerous clips to show how this has been used in animation and VFX. The purpose is to take the mystery out of \"what is story\" for those programmers, artists, and game designers whose work is essential in making Animation, VFX, and Games successful. The attendees will know the basic elements of story, so the next time a producer or director talk about what they want for the story, they will know what specific story benchmarks the producer/director are trying to meet in connecting emotionally with an audience. This course will build from the knowledge that story \"is a sequence of events (acts) that builds to a climax....\" and then lays out the universal elements of story that make up plot, character development, and narrative structure. This course emphasizes story elements in context (i.e. theme, character, setting, conflict etc.) and their relationship to classic story structure (i.e. setup, inciting incident, rising action, climax, resolution etc.). It analyzes conflict (i.e. internal, external, environmental), turning points, cause & effect, archetype vs stereotypes, inciting incident, and how choice defines character. In all stories there must be questions raised: What is at stake (i.e. survival, safety, love, esteem, etc.)? What is going to motivate (inciting incident) the main character (protagonist)? Will that be enough to move them from the ordinary (where they are comfortable) to go out into a different world (where the action takes place), and How will the character \"change\"(necessary for all dramatic stories)? These are just a few of the storytelling elements necessary to structure a solid story. This course is for all whose work makes the story better but their job isn't creating the story.","PeriodicalId":107712,"journal":{"name":"ACM SIGGRAPH 2018 Courses","volume":"72 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-08-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116302501","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
"Vulcan is the god of fire including the fire of volcanoes, metalworking, and the forge in ancient Roman religion and myth. Vulcan is often depicted with a blacksmith's hammer.The Vulcanalia was the annual festival held August 23 in his honor. His Greek counterpart is Hephaestus, the god of fire and smithery. In Etruscan religion, he is identified with Sethlans.
{"title":"Introduction to the Vulkan Graphics API","authors":"M. Bailey","doi":"10.1145/3214834.3214848","DOIUrl":"https://doi.org/10.1145/3214834.3214848","url":null,"abstract":"\"Vulcan is the god of fire including the fire of volcanoes, metalworking, and the forge in ancient Roman religion and myth. Vulcan is often depicted with a blacksmith's hammer.The Vulcanalia was the annual festival held August 23 in his honor. His Greek counterpart is Hephaestus, the god of fire and smithery. In Etruscan religion, he is identified with Sethlans.","PeriodicalId":107712,"journal":{"name":"ACM SIGGRAPH 2018 Courses","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-08-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128426427","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Getting started with webGL and three.js","authors":"Edward Angel, Eric Haines, D. Shreiner","doi":"10.1145/3214834.3214861","DOIUrl":"https://doi.org/10.1145/3214834.3214861","url":null,"abstract":"","PeriodicalId":107712,"journal":{"name":"ACM SIGGRAPH 2018 Courses","volume":"9 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-08-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130045999","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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