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The illumination models listed here attempt to model the perceived brightness of a surface or a component of the brightness in a way that looks realistic. Some take physical aspects into consideration, like for example the Fresnel equations, microfacets, the rendering equation and subsurface scattering.
The unified shader model uses the same hardware resources for both vertex and fragment processing. In the field of 3D computer graphics, the unified shader model (known in Direct3D 10 as "Shader Model 4.0") refers to a form of shader hardware in a graphical processing unit (GPU) where all of the shader stages in the rendering pipeline (geometry, vertex, pixel, etc.) have the same capabilities.
Originally introduced as an extension to OpenGL 1.4, GLSL was formally included into the OpenGL 2.0 core in 2004 by the OpenGL ARB. It was the first major revision to OpenGL since the creation of OpenGL 1.0 in 1992. Some benefits of using GLSL are: Cross-platform compatibility on multiple operating systems, including Linux, macOS and Windows.
3D shaders act on 3D models or other geometry but may also access the colors and textures used to draw the model or mesh. Vertex shaders are the oldest type of 3D shader, generally making modifications on a per-vertex basis. Newer geometry shaders can generate new vertices from within the shader.
The shader assembly language in Direct3D 8 and 9 is the main programming language for vertex and pixel shaders in Shader Model 1.0/1.1, 2.0, and 3.0. It is a direct representation of the intermediate shader bytecode which is passed to the graphics driver for execution.
A simple tessellation pipeline rendering a smooth sphere from a crude cubic vertex set using a subdivision method. In computer graphics, tessellation is the dividing of datasets of polygons (sometimes called vertex sets) presenting objects in a scene into suitable structures for rendering.
One study conducted in 2009 examined the evolutionary mechanism behind the aversion associated with the uncanny valley. A group of five monkeys were shown three images: two different 3D monkey faces (realistic, unrealistic), and a real photo of a monkey's face. The monkeys' eye-gaze was used as a proxy for preference or aversion.