Proceedings of the 27th annual conference on Computer graphics and interactive techniques
An improved illumination model for shaded display
Communications of the ACM
Proceedings of the 28th annual conference on Computer graphics and interactive techniques
Proceedings of the 29th annual conference on Computer graphics and interactive techniques
Casting curved shadows on curved surfaces
SIGGRAPH '78 Proceedings of the 5th annual conference on Computer graphics and interactive techniques
The irregular Z-buffer: Hardware acceleration for irregular data structures
ACM Transactions on Graphics (TOG)
Parallel-split shadow maps for large-scale virtual environments
Proceedings of the 2006 ACM international conference on Virtual reality continuum and its applications
Imperfect shadow maps for efficient computation of indirect illumination
ACM SIGGRAPH Asia 2008 papers
Understanding the efficiency of ray traversal on GPUs
Proceedings of the Conference on High Performance Graphics 2009
Epipolar sampling for shadows and crepuscular rays in participating media with single scattering
Proceedings of the 2010 ACM SIGGRAPH symposium on Interactive 3D Graphics and Games
PantaRay: fast ray-traced occlusion caching of massive scenes
ACM SIGGRAPH 2010 papers
A hierarchical volumetric shadow algorithm for single scattering
ACM SIGGRAPH Asia 2010 papers
Real-time volumetric shadows using 1D min-max mipmaps
I3D '11 Symposium on Interactive 3D Graphics and Games
Sample distribution shadow maps
I3D '11 Symposium on Interactive 3D Graphics and Games
Real-Time Shadows
EGSR'04 Proceedings of the Fifteenth Eurographics conference on Rendering Techniques
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We transform irregularly sampled shadow map data to deep image buffers in camera space, which are then used to create volumetric shadows in a deep compositing workflow. Our technique poses no restrictions on the sample locations of the shadow map and can thus be used with a variety of adaptive approaches to produce more precise shadows closer to the camera. To construct watertight shafts towards the light source forming crepuscular rays, we use a two-dimensional quad tree in light space. This structure is constructed from the shadow samples independent of the camera position, making stereo renders and camera animations for static light sources and geometry more efficient. The actual integration of volumetric light transport is then left to a fast image space deep compositing workflow, enabling short turnaround times for cinematic lighting design. We show a simple scalable ray tracing kernel to convert the quad tree representation to a deep image for each camera, where ray tracing takes only 25% of the processing time.