Real-time Classic Ray Tracing on all devices with a browser, with real reflections, refractions, and depth of field, all on top of the Three.js WebGL framework.
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Desktop: Mouse click anywhere to capture mouse, then the usual Mouse-move and WASD/QZ keys control 1st person camera. Mousewheel to zoom in and out. O and P keys toggle Orthographic and Perspective camera modes. Left/Right arrow keys control camera's aperture size (depth of field blur effect), while Up/Down arrow keys control the Focal point distance from the camera. ESC key to exit and return the mouse pointer.
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Mobile: Swipe to rotate 1st person camera. The 4 Large Arrow buttons control camera movement. Horizontal pinch to zoom in and out. Vertical Pinch controls camera's aperture size (depth of field blur effect). The 2 smaller Up/Down Arrow buttons control the Focal point distance from the camera. Orthographic camera mode can be turned on/off through the GUI checkbox.
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Classic Geometry Showcase Demo features some classic ray tracing shapes (spheres, planes, etc) while showing the main capabilities of the RayTracing Renderer: real reflections, refractions, pixel-perfect shadows, shadow caustics, 4 different material types (Phong, Metal, ClearCoat, and Transparent) - all running at 60fps, even on your cell phone!
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Quadric Shapes Demo contains a directional light source (like the Sun) and demonstrates every shape from the Quadric Shapes family (spheres, cylinders, cones, paraboloids, hyperboloids, etc). All of the objects are instantiated with easy Three.js library-type calls. Each shape has its own transform (scaling, position, rotation, shearing) as well as its own material and uv coordinates. All of this info is fed into the GPU via uniforms. Lastly, the Ray Tracing fragment shader (which runs on the GPU) takes in all of this data, then raycasts each quadric shape, handles all of the reflections, refractions, and direct lighting (and shadows) from the directional light source, and finally delivers the beautiful ray traced images to your screen with blazing-fast speed!
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Instance Mapping Demo You may have heard of bump mapping before, but this new technique I've developed goes a step beyond that and actually creates new instanced geometry along the surface of the parent object. For example, we can start out with a large sphere parent object, and then as a ray intersects that parent sphere, the UV coordinates of the intersection point are recorded. Then a smaller shape (a tiny sphere, for example) spawns out of the surface at that exact UV coordinate. By scaling/rounding the floating-point UV coordinates up and down, we can have more or less tiny child shapes pop up all over the parent's surface. Now, just like normal maps and bump mapping, the illusion is broken as you glide the camera along the silhouette edge of the parent shape (it is just a smooth parent sphere after all!) - but, since we are using the power of ray tracing with its realistic lighting, every single tiny shape that pops up behaves like a real raytraced object - complete with reflections, refractions, and shadows! This is something you just can't get from normal maps and traditional bump mapping. The best part is that since the camera rays are spawning all of these tiny shapes in parallel on the GPU, we don't have to pay the cost for having thousands or millions of more shapes appear along the surface - maybe just a couple of more adjacent tiny shapes to help make shadows on the sides of the shape 'bumps'. I wasn't sure what to call this unique raytracing method, so for now I'm naming this technique 'Instance Mapping'. I think this name succinctly describes what is happening along the parent shape's surface. Enjoy!
- Dynamic Scene Demo This scene is from the cover of the fairly recent book on ray tracing called 'The Ray Tracer Challenge' by Jamis Buck. At the end of the book is a scene description for re-creating the scene featured on the book's cover. Not only did I enjoy going through the various challenges in Buck's book including rendering this final scene, I cranked the challenge up a notch and added real-time animations to his cool scene! From the GUI menu in the top-right corner, you can select one of 5 different animations that will bring Buck's scene to life. The nice thing about Ray Tracing vs. Path Tracing is that with Ray Tracing, there's hardly any noise to contend with. Even at 1 sample per pixel per frame, you get back a solid, stable image (which is definitely not the case for Path Tracing!). This strength makes Ray Tracing a great candidate for animated/dynamic scenes and real-time games in the browser. I may have an idea or two for some simple browser games that could be rendered with this Ray Tracing technology - stay tuned! ;-)
The above image is the cover of the classic book, An Introduction To Ray Tracing (of which I own a copy!). The iconic cover image inspired me to try and recreate this classic scene inside my Three.js RayTracing Renderer. Not only did I want to try and recapture the look and feel of this image, I wanted to be able to move the camera and fly around the scene in real time (30 to 60fps) on any device - even a cell phone! I am happy to present my homage to this classic scene and the great book which it comes from:
- The 6 Platonic Solids demo This demo features two techniques that I have recently developed: Convex Polyhedra raycasting and Instance Mapping. The 5 Platonic solids (minus the 'Teapotahedron', lol) featured in the demo are efficiently rendered with a plane-cutting technique first developed by Eric Haines (one of the authors of this book!) back in 1991. This algorithm allows you to raycast a convex faceted shape consisting of 4 to 20 planes. The 'Teapotaheadron' is rendered with the traditional triangular model and BVH acceleration system. The other technique, Instance Mapping, is used on the 6 marble pillars. This algorithm for efficiently raycasting multiple small instances located on and around a large parent shape produces the dozens of smaller cylinder columns around each large pillar. Without these two techniques, we would have no hope of running this complex classic scene at real time frame rates, let alone on mobile devices! Enjoy! ;-)
While working at Bell Labs in the late 1970's and writing his now-famous paper An Improved Illumination Model for Shaded Display, J. Turner Whitted developed a brand new technique of recursive ray tracing (a.k.a. 'Whitted-style' ray tracing). Following the laws of optics such as The Law of Reflection, Snell's Refraction Law, and Lambert's Cosine Law (for diffuse lighting), Whitted was able to create a handful of iconic images containing checkered planes and spheres that featured photo-realistic reflections, refractions, and pixel-perfect shadows. The level of realism he was able to achieve with his new recursive raytracing technique shocked the entire CG community - no one had ever seen this level of realism in computer-generated images before! Whitted quickly became famous in the computer world after he included these ray-traced images in his paper (which would later be published in June 1980). Then for an upcoming SIGGRAPH conference submission, Whitted decided to create an animated sequence of individual ray-traced images. Thus the first ever ray-traced animation was born!
Vintage 1979 Video: 'The Compleat Angler' by J. Turner Whitted
Although this movie appears as a smooth animation, it took around 45 minutes to render each individual frame back in 1979! Fast-forward to today and using WebGL 2.0 and the parallel processing power of GPUs, here is the same iconic scene rendered at 60 times a second in your browser! :
My GitHub repo here closely follows the 'Whitted-style' ray tracing method that made Turner Whitted famous back in 1980. I use his recursive ray tracing technique to handle realistic reflections, refractions, and sharp shadows, just as Whitted did decades ago. The only place where my technique diverges from, or builds upon, Whitted's technique is the use of the Hall Shading model (named after Roy Hall, another highly influental CG researcher in the 1980's). Hall's model builds upon Whitted's technique by incorporating the Fresnel equations to correctly display the amount of reflected light vs. the amount of transmitted (or refracted) light on Transparent and ClearCoat surfaces. Also Hall's model adds shadow caustics from transparent objects - not true path-traced caustics, but visually interesting in their own way.
The year is 1983, and CG graphics researcher Roy Hall has just developed his own model, the Hall Shading Model, that builds on and improves Whitted's recursive raytracing technique. Hall created the above image, which he named The Gallery, for the SIGGRAPH 1983 art show. His image showcases his improved shading model, including soft diffuse fall-off from the spotlights on the walls and carpet, color-tinted reflections from Metals (which improves on Whitted's technique), and a soft spotlight highlight on the large mirror (upper right side of mirror) that goes back further and further in the reflections of the mirror itself - a cool effect that simulates a fine layer of dust on the mirror's surface. I was so intrigued by Hall's classic image that I decided to try and duplicate it. I'm happy to report that I not only recreated Hall's beautiful scene, I was able to bring it into real time - 60 FPS in the browser, even on your cell phone!
Hall later rendered this scene from a different camera angle and used it for the cover of his book, Illumination and Color in Computer Generated Imagery:
This iconic image from Roy Hall represents the pinnacle of traditional recursive Ray Tracing. The recursiveness is showcased with the infinity of mirror reflections in The Gallery. Hall's improved and refined model shines in this classic scene with its soft falloff from multiple spotlights and realistic metallic reflections. In the very next year, 1984, Robert Cook would introduce his new Ray Distribution method, which randomizes reflection rays to simulate rough metallic/shiny surfaces. Although this would bring added realism to rough surfaces, with randomness comes pesky noise that must be painfully endured while viewing, or dealt with - either by taking and averaging many more expensive samples (which Cook suggests), or using modern-day techniques of denoising. And just 2 years after that, in 1986, Jim Kajiya would shock the CG world with his Rendering Equation, which makes all surfaces (not just rough metallic) use randomness in the ray reflection directions, producing the ultimate in photo-realistic images. But with that increased randomness, comes even more pesky noise (maximum noise, actually) that must be painfully endured while viewing, or dealt with in a clever or expensive way.
- For simple scenes without gltf models, instead of scene description hard-coded in the ray tracing shaders, let the scene be defined using familiar Three.js mesh creation commands. The ultimate goal is to be able to create and load any arbritrary scene that uses the standard, simple Three.js library calls for scene construction.
- Dynamic Scene description/BVH rigged model animation streamed real-time to the GPU ray tracer (1/21/21 made progress in this area by working on my new game The Sentinel: 2nd Look. Featues a dynamic top-level BVH that can change and update itself every animation frame)
- This project is a cross between a labor of love (I love creating all types of ray tracers!) and an educational resource for showing how Classic (1980's and early 90's) Ray Tracing was achieved. Inspiration for this ray tracer comes from the seminal work of Arthur Appel (late 1960's), Turner Whitted (late 1970's and 80's), the MAGI group (who did the Ray Tracing for the movie TRON in the early 80's), and Robert Cook (mid 1980's). Although this type of rendering is not as complete and photo-realistic as path tracing (especially on diffuse color bleeding and physically-accurate caustics), I think you'll agree that this Classic style of Ray Tracing has its own cool, nostalgic, unique look that you just can't get from traditional rasterization!
More examples, features, and content to come!