Titlebook: Writing mental ray® Shaders; A Perceptual Introdu Andy Kopra Book 2008 Springer-Verlag Vienna 2008 Performance.computer graphics.learning.m

名词

Introductionrendering.” In each of these, there is a transformation from one domain to another: from the landscape before the painter to color on paper, from musical notation to sound, from the associations in a poet’s mind to a book of poetry.

deadlock

The structure of the scene in a .—mental ray doesn’t . anything; there is input and the program produces output. But to simplify our creation of the input, it would be better if it related to our own intentions behind the picture, not to the pattern of bits that will be read (another metaphor) by mental ray.

枪支

hazard

Spongy-Bone

Color from orientationors—its shape, where it is, images that are used to define its color, and, as we’ll see in the next part of the book, ., how the color of the surface can be represented by a simulation of the physics of illumination.

BABY

cancellous-bone

Color from functionsion of color. We can also use a mathematical function to define how the color varies across the object. For its arguments, this function will use numerical values associated with some aspect of the surface. In this case we say that there is a . from some surface parameter to the color value we are going to use in our shader.

欺骗手段

季雨

Lightsrequirements for the shader given its use in the scene file. We define shaders for our simulation of lights, too, and the contract for the light shader is to define the color that is produced by the light.

ellagic-acid

1438-9835 s is a transformation of a description of imagined space into a picture of that space. In a watercolor by architect Eliel Saarinen (Figure 1.1), the effect of light on marble is demonstrated in a way that would978-3-211-48964-2978-3-211-48965-9Series ISSN 1438-9835