GPU Gems 3

GPU Gems 3

GPU Gems 3

"GPU Gems 3 contains over 40 chapters and nearly 1000 pages full of the latest GPU programming techniques, and includes hundreds of full-color diagrams and pictures. GPU Gems 3 won the Game Developer Magazine's 2007 Front Line Award.

GPU Gems 3 is now available for free on the NVIDIA Developer Site. Click on the desired section in our navigation window to the right to begin reading!"

Editors

GPU Gems 3 is edited by Hubert Nguyen, Manager of Developer Education at NVIDIA. Hubert is a graphics engineer who worked in the NVIDIA Demo Team before moving to his current position. His work is featured on the covers of GPU Gems (Addison-Wesley, 2004) and GPU Gems

Section Editors include NVIDIA engineers:
Cyril Zeller, Evan Hart, Ignacio Castaño, Kevin Bjorke, Kevin Myers, and Nolan Goodnight.


Visual Table of Contents
Download the detailed .pdf version
 

Table of Contents
Download the detailed .pdf version



Chapter 1: Generating Complex Procedural Terrains Using the GPU
Ryan Geiss, NVIDIA Corporation

Chapter 2: Animated Crowd Rendering
Bryan Dudash, NVIDIA Corporation

Chapter 3: DirectX 10 Blend Shapes: Breaking the Limits
Tristan Lorach, NVIDIA Corporation

Chapter 4: Next-Generation SpeedTree Rendering
Alexander Kharlamov, NVIDIA Corporation
Iain Cantlay, NVIDIA Corporation
Yury Stepanenko, NVIDIA Corporation

Chapter 5: Generic Adaptive Mesh Refinement
Tamy Boubekeur, LaBRI–INRIA, University of Bordeaux
Christophe Schlick, LaBRI–INRIA, University of Bordeaux

Chapter 6: GPU-Generated Procedural Wind Animations for Trees
Renaldas Zioma, Electronic Arts/Digital Illusions CE

Chapter 7: Point-Based Visualization of Metaballs on a GPU
Kees van Kooten, Playlogic Game Factory
Gino van den Bergen, Playlogic Game Factory
Alex Telea, Eindhoven University of Technology



Chapter 8: Summed-Area Variance Shadow Maps
Andrew Lauritzen, University of Waterloo

Chapter 9: Interactive Cinematic Relighting with Global Illumination
Fabio Pellacini, Dartmouth College
Miloš Hašan, Cornell University
Kavita Bala, Cornell University

Chapter 10: Parallel-Split Shadow Maps on Programmable GPUs
Fan Zhang, The Chinese University of Hong Kong
Hanqiu Sun, The Chinese University of Hong Kong
Oskari Nyman, Helsinki University of Technology

Chapter 11: Efficient and Robust Shadow Volumes Using Hierarchical Occlusion Culling and Geometry Shaders
Martin Stich, mental images
Carsten Wächter, Ulm University
Alexander Keller, Ulm University

Chapter 12: High-Quality Ambient Occlusion
Jared Hoberock, University of Illinois at Urbana-Champaign
Yuntao Jia, University of Illinois at Urbana-Champaign

Chapter 13: Volumetric Light Scattering as a Post-Process
Kenny Mitchell, Electronic Arts



Chapter 14: Advanced Techniques for Realistic Real-Time Skin Rendering
Eugene d’Eon, NVIDIA Corporation
David Luebke, NVIDIA Corporation

Chapter 15: Playable Universal Capture
George Borshukov, Electronic Arts
Jefferson Montgomery, Electronic Arts
John Hable, Electronic Arts

Chapter 16: Vegetation Procedural Animation and Shading in Crysis
Tiago Sousa, Crytek

Chapter 17: Robust Multiple Specular Reflections and Refractions
Tamás Umenhoffer, Budapest University of Technology and Economics
Gustavo Patow, University of Girona
László Szirmay-Kalos, Budapest University of Technology and Economics

Chapter 18: Relaxed Cone Stepping for Relief Mapping
Fabio Policarpo, Perpetual Entertainment
Manuel M. Oliveira, Instituto de Informática—UFRGS

Chapter 19: Deferred Shading in Tabula Rasa
Rusty Koonce, NCsoft Corporation

Chapter 20: GPU-Based Importance Sampling
Mark Colbert, University of Central Florida
Jaroslav Kr?ivánek, Czech Technical University in Prague



Chapter 21: True Impostors
Eric Risser, University of Central Florida

Chapter 22: Baking Normal Maps on the GPU
Diogo Teixeira, Move Interactive

Chapter 23: High-Speed, Off-Screen Particles
Iain Cantlay, NVIDIA Corporation

Chapter 24: The Importance of Being Linear
Larry Gritz, NVIDIA Corporation
Eugene d’Eon, NVIDIA Corporation

Chapter 25: Rendering Vector Art on the GPU
Charles Loop, Microsoft Research
Jim Blinn, Microsoft Research

Chapter 26: Object Detection by Color: Using the GPU for Real-Time Video Image Processing
Ralph Brunner, Apple
Frank Doepke, Apple
Bunny Laden, Apple

Chapter 27: Motion Blur as a Post-Processing Effect
Gilberto Rosado, Rainbow Studios

Chapter 28: Practical Post-Process Depth of Field
Earl Hammon, Jr., Infinity Ward



Chapter 29: Real-Time Rigid Body Simulation on GPUs
Takahiro Harada, University of Tokyo

Chapter 30: Real-Time Simulation and Rendering of 3D Fluids
Keenan Crane, University of Illinois at Urbana-Champaign
Ignacio Llamas, NVIDIA Corporation
Sarah Tariq, NVIDIA Corporation

Chapter 31: Fast N-Body Simulation with CUDA
Lars Nyland, NVIDIA Corporation
Mark Harris, NVIDIA Corporation
Jan Prins, University of North Carolina at Chapel Hill

Chapter 32: Broad-Phase Collision Detection with CUDA
Scott Le Grand, NVIDIA Corporation

Chapter 33: LCP Algorithms for Collision Detection Using CUDA
Peter Kipfer, Havok

Chapter 34: Signed Distance Fields Using Single-Pass GPU Scan Conversion of Tetrahedra
Kenny Erleben, University of Copenhagen
Henrik Dohlmann, 3Dfacto R&D



Chapter 35: Fast Virus Signature Matching on the GPU
Elizabeth Seamans, Juniper Networks
Thomas Alexander, Polytime

Chapter 36: AES Encryption and Decryption on the GPU
Takeshi Yamanouchi, SEGA Corporation

Chapter 37: Efficient Random Number Generation and Application Using CUDA
Lee Howes, Imperial College London
David Thomas, Imperial College London

Chapter 38: Imaging Earth’s Subsurface Using CUDA
Bernard Deschizeaux, CGGVeritas
Jean-Yves Blanc, CGGVeritas

Chapter 39: Parallel Prefix Sum (Scan) with CUDA
Mark Harris, NVIDIA Corporation
Shubhabrata Sengupta, University of California, Davis
John D. Owens, University of California, Davis

Chapter 40: Incremental Computation of the Gaussian
Ken Turkowski, Adobe Systems

Chapter 41: Using the Geometry Shader for Compact and Variable-Length GPU Feedback
Franck Diard, NVIDIA Corporation

Content font: http://developer.nvidia.com

GPU Gems 2: Part I - Geometric Complexity

GPU Gems 2: Part I - Geometric Complexity

Online book about computer graphics. The subject of this text is geometric and shapes.

"Today's games are visually more interesting and complex than ever before. Geometric complexity—how many objects are visible and how detailed each looks—is one of the dimensions in which games are making leaps and bounds.
Advances in technology are partly responsible for these leaps and bounds: CPUs, memory, and buses all have become faster, but specifically GPUs are undergoing significant change and are becoming ever more powerful—at a rate faster than Moore's Law.
These GPU changes include incorporating fixed-function processing for the vertex- and pixel-shading units, then generalizing those to be fully programmable. GPUs also have gained more units to process pixels and vertices in parallel: the GeForce 6800 Ultra, for example, incorporates 6 vertex shader units and 16 pixel pipelines.
Despite these performance advances, rendering complex scenes is still more difficult than simply dumping all geometry onto the GPU and forgetting about it. The simple approach tends to fail either because the generated GPU workload turns out to be excessive, or because the associated CPU overhead is prohibitive. This part of the book discusses the challenges today's games face in rendering complex geometric scenes.
Chapter 1, "Toward Photorealism in Virtual Botany" by David Whatley of Simutronics Corporation, provides a holistic view on how to render nature scenes. It explains the multitude of different techniques, from scene management and rendering various plant layers to post-processing effects, that Simutronics' Hero's Journey employs to generate complex and stunning visuals.
Rendering terrain is a good example of why simply dumping all available data to the GPU cannot work: the horizon represents a near-infinite amount of vertex data and thus workload. Arul Asirvatham and Hugues Hoppe of Microsoft Research use vertex texture fetches for a new highly efficient terrain-rendering algorithm. Their technique avoids overloading the GPU even as it shifts most work onto the GPU and away from the CPU, which too often is the bottleneck in modern games. Chapter 2, "Terrain Rendering Using GPU-Based Geometry Clipmaps," provides all the implementation details.
As already mentioned, another way to increase geometric complexity is to increase the number of visible objects in a scene. The straightforward solution of drawing each object independently of the others, however, quickly bogs down even a high-end system. It is much easier to efficiently draw ten objects that are one million triangles each, than it is to draw one million objects that are ten triangles each. Francesco Carucci of Lionhead Studios faces this very problem while developing Black & White 2, the sequel to Lionhead's critically acclaimed Black & White. Chapter 3, "Inside Geometry Instancing," describes his solution: a framework of instancing techniques that applies to legacy GPUs as well as to GPUs supporting DirectX 9's instancing API. Jon Olick of 2015 provides further optimizations to the instancing technique that prove beneficial for 2015's title Men of Valor: Vietnam. Jon describes his findings in Chapter 4, "Segment Buffering."
Also, as games incorporate more and more data—more complex scenes of more complex meshes rendered in multiple, disparate passes supporting the gamut of differing functionality from legacy to current high-end GPUs—managing this glut of data efficiently becomes paramount. Oliver Hoeller and Kurt Pelzer of Piranha Bytes are currently working on Piranha Bytes' Gothic III engine. They share their solutions in Chapter 5, "Optimizing Resource Management with Multistreaming."
The best way to render lots of geometry to create geometric complexity is to avoid rendering the occluded parts. Michael Wimmer and Jirí Bittner of the Vienna University of Technology explore how best to apply that idea in Chapter 6, "Hardware Occlusion Queries Made Useful." Occlusion queries are a GPU feature that provides high-latency feedback on whether an object is visible or not after it is rendered. Unlike earlier occlusion-query culling techniques, Michael and Jirí's algorithm is pixel-perfect. That is, it introduces no rendering artifacts, generates a near-optimal set of visible objects to render, does not put unnecessary load on the GPU, and has minimal CPU overhead.
Similarly, increasing geometric detail only where visible and simplifying it when and where it isn't visible is a good way to avoid excessive GPU loads. View-dependent and adaptive subdivision schemes are an appealing solution that the offline-rendering world already employs to render their highly detailed models to subpixel geometric accuracy. Subdivision surfaces have not yet found a place in today's real-time applications, partly because they are not directly supported in graphics hardware. Rendering subdivision surfaces thus seems out of reach for real-time applications. Not so, says Michael Bunnell of NVIDIA Corporation. In Chapter 7, Michael shows how his implementation of "Adaptive Tessellation of Subdivision Surfaces with Displacement Mapping" is already feasible on modern GPUs and results in movie-quality geometric detail at real-time rates.
Finally, faking geometric complexity with methods that are cheaper than actually rendering geometry allow for higher apparent complexity at faster speeds. Replacing geometry with textures that merely depict it used to be an acceptable trade-off—and in the case of grates and wire-mesh fences, often still is. Normal mapping is a more sophisticated fake that properly accounts for lighting information. Parallax mapping is the latest craze that attempts to also account for intra-object occlusions. William Donnelly of the University of Waterloo one-ups parallax mapping: he describes "Per-Pixel Displacement Mapping with Distance Functions" in Chapter 8. Displacement mapping provides correct intra-object occlusion information, yet minimally increases computation cost. His technique gives excellent results while taking full advantage of the latest programmable pixel-shading hardware. Even better, it is practical for applications today."
Matthias Wloka, NVIDIA Corporation

GPU Gems: Part I - Natural Effects

GPU Gems: Part I - Natural Effects

"Special effects have differentiated real-time applications throughout the history of consumer-level graphics accelerators, and more important, they have helped immerse users into the virtual settings envisioned by designers. In games and in visualization applications, special effects greatly enhance the user's experience, portraying environments from the surreal to the photorealistic. Good special effects convince users to suspend their disbelief and become absorbed in the story or setting. This part of the book collects numerous practical techniques for creating natural effects that have traditionally been difficult to render properly and robustly.
Water animation and lighting are some of the most difficult tasks in computer graphics, and two chapters are dedicated to water rendering. Chapter 1, "Effective Water Simulation from Physical Models" by Mark Finch of Cyan Worlds—creators of classic games such as Myst—explores animating and lighting water surfaces and provides useful tricks for improving reflections. In Chapter 2, "Rendering Water Caustics," Daniel Sánchez-Crespo and I show how to incorporate convincing caustics using a similar basis for water animation.
In Chapter 3, "Skin in the 'Dawn' Demo," Curtis Beeson and Kevin Bjorke detail the shading techniques used for the fairy in the "Dawn" demo, which was written for the launch of the NVIDIA GeForce FX 5800 GPU. The chapter provides valuable insights into the development process—especially the critical shading decisions influenced by the design goals—when NVIDIA created this cinematic-quality demo that is now synonymous with photorealistic, real-time rendering.
Chapter 4, "Animation in the 'Dawn' Demo," goes on to describe how Dawn was brought to life. Curtis Beeson explains how the programmers were able to give the artists control over blend shapes to create a diverse range of expressions. The chapter also discusses the various trade-offs that were made to perform the animation in real time.
The versatility of Ken Perlin's Academy Award–winning Noise algorithm has been shown repeatedly in real-time and offline computer graphics, starting from its first use in the film Tron. In Chapter 5, "Implementing Improved Perlin Noise," Ken elaborates on recent advancements, as described at SIGGRAPH 2002, which correct two particular defects of Ken's original work. The chapter also provides an efficient and robust framework for an implementation of Noise on modern programmable graphics hardware.
In Chapter 6, "Fire in the 'Vulcan' Demo," Hubert Nguyen describes the fire rendering used in the GeForce FX 5900 launch demo, "Vulcan." Though the effect, like most of the others in this part of the book, is not a true physical simulation, it does follow in the steps of offline techniques such as the one used in The Lord of the Rings. The realistic and convincing fiery imagery is made possible through some enhancements to overcome the performance limitations when rasterizing mass amounts of particles. Rounding off the focus on the natural elements is Chapter 7, "Rendering Countless Blades of Waving Grass." Kurt Pelzer tackles the challenge of depicting vast fields of waving grass using a tried and tested method whose first incarnation was seen in the "Codecreatures" real-time demo. He expands on this technique to enable higher-performance rendering that better suits the needs of a game engine, and he details the content-creation requirements.
Finally, in Chapter 8, "Simulating Diffraction," Jos Stam considers submicron-scale detail, such as the grooves on compact discs. The chapter describes a simplification of Jos's diffraction lighting model, first presented at SIGGRAPH 1999. The model has its foundations on the physical properties of light, which when modeled as a wave, can create colorful interference patterns."
Juan Guardado, NVIDIA

"GPU Gems is now available, right here, online. You can purchase a beautifully printed version of this book, and others in the series, at a 30% discount courtesy of InformIT and Addison-Wesley.
Please visit our Resources page to see all the latest whitepapers and conference presentations that can help you with your projects."

Link: http://developer.nvidia.com

The Cg Tutorial - In website Nvidia Developer

The Cg Tutorial: Chapter 1. Introduction

Tutorial CG, computer graphics, free in website of the Nvidia
for read.

"The Cg Tutorial is now available, right here, online. You can purchase a beautifully printed version of this book, and others in the series, at a 30% discount courtesy of InformIT and Addison-Wesley.

Please visit our Resources page to see all the latest whitepapers and conference presentations that can help you with your projects."

Link: http://developer.nvidia.com/

Free Online Course Materials | Resource Home | MIT OpenCourseWare

Free Online Course Materials | Resource Home | MIT OpenCourseWare

Principles of Computer System Design: An Introduction

 Download resources texts about Computer System Design.

More material in http://www.ocw.mit.edu

Ken acaba romance com Barbie | Brasil

"Ken acaba romance com Barbie | Brasil"

Greenpeace lança ação global contra a maior fabricante de brinquedos do mundo.

O lançamento da ação aconteceu em El Segundo nos Estados Unidos onde fica baseada
a sede da empresa da Mattel, onde foi esticada uma faixa gigante com a seguinte frase
“Barbie, acabou. Eu não namoro garotas que se envolvem com desmatamento.". Oito ativistas
foram presos entre eles uma mulher vestida de barbie. Ações nos mesmos moldes
foram realizadas na Inglaterra, Dinamarca, Finlândia e Taiwan além de uma coletiva de
imprensa em Jacarta na Indonésia realizada pelo Greenpeace.

Barbie & Mattel’s deforestation habit goes ‘viral’ | Greenpeace International

Barbie & Mattel’s deforestation habit goes ‘viral’ | Greenpeace International

"Breaking up in public isn’t easy. But Ken and Barbie, who split last week over Barbie’s rainforest wrecking, have done so in a very, very public way. Ken’s video interview that broke the scandal has now been seen over one million times! And over 200,000 of you have written to Mattel asking that they stop packing their toys in rainforest destruction."  Font: www.greenpeace.org continue reading