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A stencil buffer is an extra data buffer, in addition to the color buffer and Z-buffer , found on modern graphics hardware. The buffer is per pixel and works on integer values, usually with a depth of one byte per pixel. The Z-buffer and stencil buffer often share the same area in the RAM of the graphics hardware.
In the simplest case, the stencil buffer is used to limit the area of rendering (stenciling). More advanced usage of the stencil buffer makes use of the strong connection between the Z-buffer and the stencil buffer in the rendering pipeline. For example, stencil values can be automatically increased/decreased for every pixel that fails or passes the depth test.
The simple combination of depth test and stencil modifiers make a vast number of effects possible (such as stencil shadow volumes, Two-Sided Stencil, [1] compositing, decaling, dissolves, fades, swipes, silhouettes, outline drawing, or highlighting of intersections between complex primitives) though they often require several rendering passes and, therefore, can put a heavy load on the graphics hardware.
The most typical application is still to add shadows to 3D applications. It is also used for planar reflections.
Other rendering techniques, such as portal rendering, use the stencil buffer in other ways; for example, it can be used to find the area of the screen obscured by a portal and re-render those pixels correctly.
The stencil buffer and its modifiers can be accessed in computer graphics by using APIs like OpenGL, Direct3D, Vulkan or Metal.
The stencil buffer typically shares the same memory space as the Z-buffer, and typically the ratio is 24 bits for Z-buffer + 8 bits for stencil buffer or, in the past, 15 bits for Z-buffer + 1 bit for stencil buffer. Another variant is 4 + 24, where 28 of the 32 bits are used and 4 ignored. Stencil and Z-buffers are part of the frame buffer, coupled to the color buffer. The first chip available to a wider market was 3Dlabs' Permedia II, which supported a one-bit stencil buffer.
The bits allocated to the stencil buffer can be used to represent numerical values in the range [0, 2n-1], and also as a Boolean matrix (n is the number of allocated bits), each of which may be used to control the particular part of the scene. Any combination of these two ways of using the available memory is also possible.
Stencil test or stenciling is among the operations on the pixels/fragments (Per-pixel operations), located after the alpha test, and before the depth test. The stencil test ensures undesired pixels do not reach the depth test. This saves processing time for the scene. Similarly, the alpha test can prevent corresponding pixels to reach the stencil test.
The test itself is carried out over the stencil buffer to some value in it, or altered or used it, and carried out through the so-called stencil function and stencil operations. The stencil function is a function by which the stencil value of a certain pixel is compared to a given reference value. If this comparison is logically true, the stencil test passes. Otherwise not.
In doing so, the possible reaction caused by the result of comparing three different state-depth and stencil buffer:
For each of these cases can be set different operations over the examined pixel. In the OpenGL stencil functions, the reference value and mask, respectively, define the function glStencilFunc. In Direct3D each of these components is adjusted individually using methods SetRenderState devices currently in control. This method expects two parameters, the first of which is a condition that is set and the other its value. In the order that was used above, these conditions are called D3DRS_STENCILFUNC, D3DRS_STENCILREF, and D3DRS_STENCILMASK.
Stencil operations in OpenGL adjust glStencilOp function that expects three values. In Direct3D, again, each state sets a specific method SetRenderState. The three states that can be assigned to surgery are called D3DRS_STENCILFAIL, D3DRENDERSTATE_STENCILZFAIL, and D3DRENDERSTATE_STENCILPASS.
Due to the lack of precision in the Z-buffer, coplanar polygons that are short-range, or overlapping, can be portrayed as a single plane with a multitude of irregular cross-sections. These sections can vary depending on the camera position and other parameters and are rapidly changing. This is called Z-fighting. There exist multiple solutions to this issue:
- Bring the far plane closer to restrict the scene's depth, thus increasing the accuracy of the Z-buffer, or reducing the distance at which objects are visible in the scene.
- Increase the number of bits allocated to the Z-buffer, which is possible at the expense of memory for the stencil buffer.
- Move polygons farther apart from one another, which restricts the possibilities for the artist to create an elaborate scene.
All of these approaches to the problem can only reduce the likelihood that the polygons will experience Z-fighting, and do not guarantee a definitive solution in the general case.
A solution that includes the stencil buffer is based on the knowledge of which polygon should be in front of the others. The silhouette of the front polygon is drawn into the stencil buffer. After that, the rest of the scene can be rendered only where the silhouette is negative, and so will not clash with the front polygon.
Shadow volume is a technique used in 3D computer graphics to add shadows to a rendered scene. They were first proposed by Frank Crow in 1977 [2] as the geometry describing the 3D shape of the region occluded from a light source. A shadow volume divides the virtual world in two: areas that are in shadow and areas that are not.
The stencil buffer implementation of shadow volumes is generally considered among the most practical general-purpose real-time shadowing techniques for use on modern 3D graphics hardware. It has been popularised by the video game Doom 3 , and a particular variation of the technique used in this game has become known as Carmack's Reverse.
Reflection of a scene is drawn as the scene itself transformed and reflected relative to the "mirror" plane, which requires multiple render passes and using of stencil buffer to restrict areas where the current render pass works:
While drawing a plane of shadows, there are two dominant problems: The first concerns the problem of deep struggle in case the flat geometry is not awarded on the part covered with the shadow of shadows and outside. See the section that relates to this. Another problem relates to the extent of the shadows outside the area where the plane there.
Another problem, which may or may not appear, depending on the technique, the design of more polygons in one part of the shadow, resulting in darker and lighter parts of the same shade. All three problems can be solved geometrically, but because of the possibility that hardware acceleration is directly used, it is a far more elegant implementation using the stencil buffer: 1. Enable lights and the lights 2. Draw a scene without any polygon that should be projected shadows 3. Draw all polygons which should be projected shadows, but without lights. In doing so, the stencil buffer, the pixel of each polygon to be assigned to a specific value for the ground to which they belong. The distance between these values should be at least two, because for each plane to be used two values for two states: in the shadows and bright. 4. Disable any global illumination (to ensure that the next steps will affect only individual selected light) For each plane: For each light: 1. Edit a stencil buffer and only the pixels that carry a specific value for the selected level. Increase the value of all the pixels that are projected objects between the date of a given level and bright. 2. Allow only selected light for him to draw level at which part of her specific value was not changed.
Stencil buffer implementation of spatial drawing shadows is any shadow of a geometric body that its volume includes part of the scene that is in it. If any part of the scene belongs to this volume, light is not illuminated given, otherwise it is. This problem is compounded by the increase in the number of lights but does not address the number of areas on which the shadows fall. There are several solutions to the problem, but we followed the following algorithm: 1. Draw a scene without light 2. Lock the Z-buffer and color buffer, so that the two can not make changes For each light 1. Using in-depth information about the scene (Z-buffer) to fill the stencil buffer only on parts of the scene where volume shadow does not exist or are not visible from the existing buildings. 2. Unlock buffer for color, and adjust the function of the Z-buffer to allow amendments only where the depth value equal to an existing 3. Draw the scene illuminated only by this light, but only for part of the scene passing the stencil test
Each of these passages implies that a clean stencil buffer can be used.
As for the shadows, this technique can be used to illuminate parts of space that are under strong light. For example, the brightness of the spotlight in a dark room with a large presence of dust in the air could be seen illuminating the appropriate volume of space.
A further example is the so-called soft shadow, in which the transition between the illuminated and shadowed part of the scene is out of focus. Specifically, one way to achieve this effect stencil buffer is to multiply the volume of the shadow, and that as the copies, respectively are scaled according to a geometric series with a low magnification, e.g.,. 1.04. The Center of scaling can be the center of gravity of the polygon that represents the top volume. This in itself will give a series of composite shadows that give the desired effect.
Another implementation includes the field of visualization during the modeling technique solids Constructive Solid Geometry (CSG), wherein stencil buffer, together with the Z-buffer, can successfully solve the problems of the Boolean operations of the SOLiD .
glEnable(GL_STENCIL_TEST);// by default not enabledglStencilMask(stencilMask);// allow writing to stencil buffer, by default (0xFF) no mask.glClearStencil(clearStencilValue);// clear stencil value, by default = 0glStencilFunc(func,ref,mask);// by default GL_ALWAYS, 0, 0xFF, always pass stencil testglStencilOp(fail,zfail,zpass);// by default GL_KEEP, GL_KEEP, GL_KEEP, do not change stencil bufferglClear(GL_STENCIL_BUFFER_BIT);// clear stencil buffer, fill with (clearStencilValue & stencilMask)
Test: ( ref & mask ) func (stencilValue & mask)
Depending on the three possible conditions of the stencil function/depth function.
1. Stencil Test Function fails:
If say func is GL_NEVER, the stencil test will always fail. Neither Color/Z-buffers are modified. The stencil buffer is modified as per glStencilOp fail. If say glStencilOp(GL_REPLACE, GL_KEEP, GL_KEEP) then GL_REPLACE takes place and stencilValue = (ref & stencilMask) // will become ref
2. Stencil Test Function passes/Depth Test Function fails:
If say func is GL_ALWAYS, the stencil test will always pass, but depth test may fail. Neither Color/Z-buffer are modified. The stencil buffer is modified as per glStencilOp zfail. If say glStencilOp(GL_KEEP, GL_INCR, GL_KEEP) then GL_INCR takes place and stencilValue = (stencilValue+1) // will become 1
3. Stencil Function passes/Depth Function passes:
If say func is GL_ALWAYS, the stencil test will always pass. If the depth test also passes. Both Color/Z-buffer are modified. The stencil buffer is modified as per glStencilOp zpass. If say, glStencilOp(GL_KEEP, GL_KEEP, GL_KEEP) then Stencil values are not changed, only Color and Z-buffers are modified.
Typically Stencil buffer is initialized by setting Z-buffer and color buffer masks to false. and then setting appropriate ref value to stencil buffer by failing the stencil test every time.
// disable color and Z-buffersglColorMask(GL_FALSE,GL_FALSE,GL_FALSE,GL_FALSE);glDepthMask(GL_FALSE);glStencilFunc(GL_NEVER,1,0xFF);// never pass stencil testglStencilOp(GL_REPLACE,GL_KEEP,GL_KEEP);// replace stencil buffer values to ref=1glStencilMask(0xFF);// stencil buffer free to writeglClear(GL_STENCIL_BUFFER_BIT);// first clear stencil buffer by writing default stencil value (0) to all of stencil buffer.draw_stencil_shape();// at stencil shape pixel locations in stencil buffer replace stencil buffer values to ref = 1
Now use the initialized stencil buffer and stencil test to write only in the locations where the stencil value is 1:
// enable color and Z-buffers.glColorMask(GL_TRUE,GL_TRUE,GL_TRUE,GL_TRUE);glDepthMask(GL_TRUE);// no more modifying of stencil buffer on stencil and depth pass.glStencilMask(0x00);// can also be achieved by glStencilOp(GL_KEEP, GL_KEEP, GL_KEEP);// stencil test: only pass stencil test at stencilValue == 1 (Assuming depth test would pass.) // and write actual content to depth and color buffer only at stencil shape locations.glStencilFunc(GL_EQUAL,1,0xFF);draw_actual_content();
A depth buffer, also known as a z-buffer, is a type of data buffer used in computer graphics to represent depth information of objects in 3D space from a particular perspective. The depth is stored as a height map of the scene, the values representing a distance to camera, with 0 being the closest. The encoding scheme may be flipped with the highest number being the value closest to camera. Depth buffers are an aid to rendering a scene to ensure that the correct polygons properly occlude other polygons. Z-buffering was first described in 1974 by Wolfgang Straßer in his PhD thesis on fast algorithms for rendering occluded objects. A similar solution to determining overlapping polygons is the painter's algorithm, which is capable of handling non-opaque scene elements, though at the cost of efficiency and incorrect results.
Shadow volume is a technique used in 3D computer graphics to add shadows to a rendered scene. They were first proposed by Frank Crow in 1977 as the geometry describing the 3D shape of the region occluded from a light source. A shadow volume divides the virtual world in two: areas that are in shadow and areas that are not.
In computer science, a mask or bitmask is data that is used for bitwise operations, particularly in a bit field. Using a mask, multiple bits in a byte, nibble, word, etc. can be set either on or off, or inverted from on to off in a single bitwise operation. An additional use of masking involves predication in vector processing, where the bitmask is used to select which element operations in the vector are to be executed and which are not.
In 3D computer graphics, hidden-surface determination is the process of identifying what surfaces and parts of surfaces can be seen from a particular viewing angle. A hidden-surface determination algorithm is a solution to the visibility problem, which was one of the first major problems in the field of 3D computer graphics. The process of hidden-surface determination is sometimes called hiding, and such an algorithm is sometimes called a hider. When referring to line rendering it is known as hidden-line removal. Hidden-surface determination is necessary to render a scene correctly, so that one may not view features hidden behind the model itself, allowing only the naturally viewable portion of the graphic to be visible.
Z-fighting, also called stitching or planefighting, is a phenomenon in 3D rendering that occurs when two or more primitives have very similar distances to the camera. This would cause them to have near-similar or identical values in the z-buffer, which keeps track of depth. This then means that when a specific pixel is being rendered, it is ambiguous which one of the two primitives are drawn in that pixel because the z-buffer cannot distinguish precisely which one is farther from the other. If one pixel was unambiguously closer, the less close one could be discarded. It is particularly prevalent with coplanar polygons, where two faces occupy essentially the same space, with neither in front. As a result, affected pixels are rendered with fragments from one polygon or the other arbitrarily, in a manner determined by the precision of the z-buffer. It can also vary as the scene or camera is changed, causing one polygon to "win" the z test, then another, and so on. The overall effect is flickering, noisy rasterization of two polygons which "fight" to color the screen pixels. This problem is usually caused by limited sub-pixel precision, floating point and fixed point round-off errors.
In computer graphics, a shader is a computer program that calculates the appropriate levels of light, darkness, and color during the rendering of a 3D scene—a process known as shading. Shaders have evolved to perform a variety of specialized functions in computer graphics special effects and video post-processing, as well as general-purpose computing on graphics processing units.
Clipping, in the context of computer graphics, is a method to selectively enable or disable rendering operations within a defined region of interest. Mathematically, clipping can be described using the terminology of constructive geometry. A rendering algorithm only draws pixels in the intersection between the clip region and the scene model. Lines and surfaces outside the view volume are removed.
Elan Graphics is a computer graphics architecture for Silicon Graphics computer workstations. Elan Graphics was developed in 1991 and was available as a high-end graphics option on workstations released during the mid-1990s as part of the Express Graphics architectures family. Elan Graphics gives the workstation real-time 2D and 3D graphics rendering capability similar to that of even high-end PCs made over ten years after Elan's introduction, with the exception of texture mapping, which had to be performed in software.
The irregular Z-buffer is an algorithm designed to solve the visibility problem in real-time 3-d computer graphics. It is related to the classical Z-buffer in that it maintains a depth value for each image sample and uses these to determine which geometric elements of a scene are visible. The key difference, however, between the classical Z-buffer and the irregular Z-buffer is that the latter allows arbitrary placement of image samples in the image plane, whereas the former requires samples to be arranged in a regular grid.
In computer graphics, per-pixel lighting refers to any technique for lighting an image or scene that calculates illumination for each pixel on a rendered image. This is in contrast to other popular methods of lighting such as vertex lighting, which calculates illumination at each vertex of a 3D model and then interpolates the resulting values over the model's faces to calculate the final per-pixel color values.
Shadow mapping or shadowing projection is a process by which shadows are added to 3D computer graphics. This concept was introduced by Lance Williams in 1978, in a paper entitled "Casting curved shadows on curved surfaces." Since then, it has been used both in pre-rendered and realtime scenes in many console and PC games.
Core OpenGL, or CGL, is Apple Inc.'s Macintosh Quartz windowing system interface to the OS X implementation of the OpenGL specification. CGL is analogous to GLX, which is the X11 interface to OpenGL, as well as WGL, which is the Microsoft Windows interface to OpenGL.
In computer graphics, a fragment is the data necessary to generate a single pixel's worth of a drawing primitive in the frame buffer.
Multisample anti-aliasing (MSAA) is a type of spatial anti-aliasing, a technique used in computer graphics to remove jaggies.
Volumetric lighting, also known as "God rays", is a technique used in 3D computer graphics to add lighting effects to a rendered scene. It allows the viewer to see beams of light shining across the environment. Examples of volumetric lighting are seeing sunbeams shining through a window and seeing sunbeams radiating when the Sun is below the horizon, also known as crepuscular rays. The term seems to have been introduced from cinematography and is now widely applied to 3D modeling and rendering, especially in the development of 3D video games.
InfiniteReality refers to a 3D graphics hardware architecture and a family of graphics systems that implemented the aforementioned hardware architecture that was developed and manufactured by Silicon Graphics from 1996 to 2005. The InfiniteReality was positioned as Silicon Graphics' high-end visualization hardware for their MIPS/IRIX platform and was used exclusively in their Onyx family of visualization systems, which are sometimes referred to as "graphics supercomputers" or "visualization supercomputers". The InfiniteReality was marketed to and used by large organizations such as companies and universities that are involved in computer simulation, digital content creation, engineering and research.
PICA200 is a graphics processing unit (GPU) designed by Digital Media Professionals Inc. (DMP), a Japanese GPU design startup company, for use in embedded devices such as vehicle systems, mobile phones, cameras, and game consoles. The PICA200 is an IP Core which can be licensed to other companies to incorporate into their SOCs. It was most notably licensed for use in the Nintendo 3DS.
In 3D computer graphics and computer vision, a depth map is an image or image channel that contains information relating to the distance of the surfaces of scene objects from a viewpoint. The term is related to depth buffer, Z-buffer, Z-buffering, and Z-depth. The "Z" in these latter terms relates to a convention that the central axis of view of a camera is in the direction of the camera's Z axis, and not to the absolute Z axis of a scene.
In computer graphics, A-buffer, also known as anti-aliased, area-averaged or accumulation buffer, is a general hidden surface mechanism suited to medium scale virtual memory computers. It resolves visibility among an arbitrary collection of opaque, transparent, and intersecting objects. Using an easy to compute Fourier window, it increases the effective image resolution many times over the Z-buffer, with a moderate increase in cost.
This is a glossary of terms relating to computer graphics.