3D Computer Graphics
Exploring Photo-Realism
with MacRenderMan
© Malcolm A. Kesson
Version 6.0 PDF 1995
,CONTENTS
1 Introduction
Interactivity v scripting
Illusions and interfaces
RenderMan
What is a script?
Why use scripting?
What’s the catch?
2 Getting Started
Overview
Using a default camera
Setting a perspective view
Rotating an object
Scaling
Assembling an object
Syntax and the structure of a RIB file
3 Transformations
Translation
Rotation
Scaling
Skewing
Applying transformations
Applying sequences of transformations
4 Shading – the basics
Using lights and materials
Applying an image to an object
Preparing an image for texture mapping
Using an image to displace a surface
Avoiding rendering errors and improving performance
5 Shaping Up – Library Objects and Polygons
Overview – quadrics and polygons
RenderMan’s library of quadric surfaces
Placing objects in the world
,Positioning the world relative to the camera
Modelling a coffee mug
The effects of scaling and translation
Reusable geometry
Playing with materials – surface shaders wood, carpet and spatter
Making a composition the wrong way
Making a composition the correct way
Another way of grouping objects
Summary of methods relating to the grouping of objects
A simple polygon model (to be added)
6 An Improved Camera
Overview
Depth of field
Motion blur
Field of view
Matching a VR camera to a real camera
7 Animation
Using FrameUP
Animated texture and displacement maps
8 Basic Lighting
Overview
Defining a light source
Types of light sources – descriptions
Types of light sources – examples
An example script
Reference
Positioning lights in space
9 Advanced lighting – Casting Shadows
Overview
An example script
The shadow algorithm: how it works
An example animation
, 10 Importing Fragments
Overview
A sample fragment
Importing correctly
Importing incorrectly
Fragments and objects
Restrictions
Appendix A – Overview of MacRenderMan
Appendix B – RenderMan Quick Reference
Appendix C – Shaders Reference
Appendix D – Projects
Separating Shape from Shading
Combining the ‘real’ and the ‘imaginary’
Three Dimensional Icons for a Graphical User Interface