Courses

In SIGGRAPH 2012 Courses, attendees learn from the experts in the field and gain inside knowledge that is critical to career advancement. Courses are short (1.5 hours) or half-day (3.25 hours) structured sessions that often include elements of interactive demonstration, performance, or other imaginative approaches to teaching.

The spectrum of Courses ranges from an introduction to the foundations of computer graphics and interactive techniques for those new to the field to advanced instruction on the most current techniques and topics. Courses include core curricula taught by invited instructors as well as Courses selected from juried proposals.

Applying Color Theory to Digital Media and Visualization
Theresa-Marie Rhyne

Abstract: This course reviews the visual impact of specific color combinations and provides practical suggestions on digital color mixing for visualization.

The course begins by describing the red, green, Blue (RGB) color model of color computer monitors (additive color) and the cyan, magenta, yellow and key black (CMYK) color model of printers and other output devices (subtractive color) and how to move between these two color models and other color models. Then it reviews color gamut, explaining that a color gamut and color model combine to define a color space, describes types of color systems such as the Munsell color system and the Pantone color-matching system, and introduces the color wheel and how to work with it to create digital media and visualizations.

Other topics include: digital color application illustrated by digital media and visualization examples inspired by artistic movements such as Pointillism, Impressionism, Fauvism, Cubism, and Color Field Painting; concepts introduced by Johannes Itten for successful color combinations and Josef Albers for understanding the interaction of color; and how color theories and tools are applied actual visualization projects.

The course concludes with a hands-on workshop session where attendees can work with online color scheme tools to build visualization color maps followed by a review of additional reading on applying color theory.

Course Notes: (pdf)

Introduction to Modern OpenGL Programming
Edward Angel (University of New Mexico)
Dave Shreiner (ARM, Inc.)

Abstract: OpenGL is the most widely available library for creating interactive computer graphics applications across all of the major computer operating systems. Its applications range from creating systems for scientific visualization to computer-aided design, interactive gaming, and entertainment, and with each new version, its capabilities reveal the most up-to-date features of modern graphics hardware. This course provides an accelerated introduction to programming OpenGL, emphasizing current methods for using the library. While there have been numerous courses on OpenGL in the past, the recent sequence of revisions to the API, culminating in OpenGL version 4.2, provide a wealth of new functionality and features for creation of ever-richer content.

In recent years, OpenGL has undergone numerous updates that have fundamentally changed how programmers interact with the application programming interface (API) and the skills required for being an effective OpenGL programmer. The most notable of those changes are the introduction of shader-based rendering, which has expanded to subsume almost all functionality in OpenGL, and the depracation of immediate-mode functions. Course attendees are introduced to each of the shader stages in OpenGL version 4.2, along with methods for specifying data to be used in rendering with OpenGL.

The course begins with an overview of the complete OpenGL pipeline, introducing all the latest shader stages. Then it focuses on the shader-based pipeline, which requires an application to provide both a vertex shader and a fragment shader. It also includes an summary of key graphics concepts: the synthetic-camera model, transformations, viewing, and lighting.

Course Notes: (pdf)

Example-Based Color Image Manipulation and Enhancement
Tania Pouli (University of Bristol)
Erik Reinhard (University of Bristol)

Abstract: Color transfer was introduced about 10 years ago as a technique to make rendered images look more natural by adjusting their color content on the basis of an example image. Now, color transfer is not a single algorithm but a range of methods and techniques that aim to make one image look more like another, and the technique now has applications far beyond its humble beginnings.

This course helps color-transfer researchers understand where there may be further opportunities for algorithmic improvements, and it helps practitioners in creative industries such as photography, movies, and games understand how to make the most of these algorithms. The course begins with an overview of current techniques, and then presents many examples and comparisons that show when these algorithms are expected to produce their best results in still images and videos. It also shows how to choose appropriate examples to steer the results and reviews applications of color transfer that include making night-time images from day-time images, color correcting stereo pairs, and color matching photographs to stitch pre-processing to panoramas.

Course Notes: (pdf)

Computational Displays: Combining Optical Fabrication, Computational Processing, and Perceptual Tricks to Build the Displays of the Future
Gordon Wetzstein (MIT Media Lab)
Douglas Lanman (MIT Media Lab)
Diego Gutierrez (Universidad de Zaragoza)
Matthew Hirsch (MIT Media Lab)

Abstract: This course provides the first comprehensive overview of computational displays for the graphics community. These display architectures employ co-design of optical elements, efficient computational processing, computationally tractable models for human perception, and advanced mathematical analysis.

The course reviews all aspects of computational displays in detail, from concept introduction to a variety of example displays that exploit joint design of optical components and computational processing for applications such as high-dynamic-range and wide-color-gamut display, extended depth-of-field projection, and high-dimensional information display for computer-vision applications. In particular, the course focuses on how high-speed displays, multiple stacked LCDs, and directional backlighting combined with advanced mathematical analysis and efficient computational processing provide the foundations of 3D displays of the future. It also reviews psycho-physiological aspects that are of importance for display design and demonstrates how perceptually driven computational displays can enhance the capability of current technology.

Course Notes: (pdf)
Course Notes: (web)

Virtual Texturing in Software and Hardware
Juraj Obert (Advanced Micro Devices)
J.M.P. van Waveren (ID Software)
Graham Sellers (Advanced Micro Devices)

Abstract: This course introduces partially resident textures (PRTs), a new GPU feature for virtual texturing, and contrasts them with software-based methods of virtual texturing. PRTs are available in the Southern Islands (Radeon HD 7xxx) family of graphics processors.

The basic idea of virtual texturing is simple: instead of maintaining a separate texture for each object rendered on the screen, all textures are stored in a "virtual texture". The size of the virtual texture is on the order of billions of texels, and each object is assigned unique virtual-texture coordinates from the virtual texture. When used in a shader, the virtual-texture coordinates are translated into physical-texture coordinates, which are used to access the physical texture that contains the working set of all required tiles.

Existing approaches implement the entire virtual texturing algorithm in software. The software is required to update the page table (another texture used for translating virtual texture coordinates to physical ones), perform address translation, and deal with hardware differences when it comes to supported texture types, formats, and filtering modes. The first part of the course outlines this process and discusses difficulties encountered when this technology is deployed in RAGE. PRTs eliminate the need for maintaining the page table and address translation and provide support for all texture types, formats, and filtering modes. The second part of the course describes the hardware architecture as it relates to PRTs. The third part of the course introduce the new AMD sparse-texture OpenGL extension that exposes PRTs to software applications. The course includes several PRT use cases, a technical demo, and a summary of the strengths and weaknesses of PRT technology.

Course Notes: (pdf)

State of the Art in Photon Density Estimation
Toshiya Hachisuka (Aarhus University)
Wojciech Jarosz (Disney Research Zürich)
Guillaume Bouchard (Université Claude Bernard Lyon 1, CNRS, France)
Per Christensen (Pixar)
Jeppe Revall Frisvad (Technical University of Denmark)
Wenzel Jakob (Cornell University)
Henrik Wann Jensen (UC San Diego)
Michael Kaschalk (Walt Disney Animation Studios)
Claude Knaus (University of Bern)
Andrew Selle (Walt Disney Animation Studios)
Ben Spencer (Swansea University)

Abstract: Photon-density estimation techniques are a popular choice for simulating light transport in scenes with complicated geometry and materials. This class of algorithms can be used to accurately simulate inter-reflections, caustics, color bleeding, scattering in participating media, and subsurface scattering. Since its introduction, photon-density estimation has been significantly extended in computer graphics with the introduction of: specialized techniques that intelligently modify the positions or bandwidths to reduce visual error using a small number of photons, approaches that eliminate error completely in the limit, and methods that use higher-order samples and queries to reduce error in participating media.

This two-part course explains how to implement all these latest advances in photon-density estimation. It begins with a short introduction using classical photon mapping, but the remainder of the course provides new, hands-on explanations of the latest developments in this area by experts in each technique. Attendees gain concrete and practical understanding of the latest developments in photon-density-estimation techniques that have not been presented before in SIGGRAPH courses.

Course Notes: (pdf)

Realistic Rendering with Many-Light Methods
Jaroslav Krivanek (Charles University in Prague)
Milos Hasan (University of California, Berkeley)
Adam Arbree (Autodesk, Inc.)
Carsten Dachsbacher (Karlsruher Institut für Technologie)
Alexander Keller (NVIDIA Advanced Rendering Center)
Bruce Walter (Cornell University)

Abstract: With recent improvements in hardware performance, there has been an increased demand in various industries, including game development, film production, and architectural visualization, for realistic image rendering with global illumination (GI). But current algorithms can not fulfill the strict speed and quality requirements of modern applications. Many-light rendering solves this problem. By reducing light-transport simulation to rendering the scene with many light sources, the many-light formulation offers a unified view of the global-illumination scene. Unlike other GI algorithms, the quality-speed trade-off in the many-light methods produces artifact-free images in a fraction of a second while converging to the full GI solution over time.

This course presents a coherent summary of the state of the art in many-light rendering. It covers the basic many-light formulation and recent work on its use for computing global illumination in real time, on improving scalability with a large number of lights, on using the many-light method as a basis for a full GI solution, and on rendering participating media. The course focuses on the clarity of the underlying mathematical concepts as well as on the practical aspects of the individual algorithms. One segment of the course is devoted to the practical considerations of using many-light methods in the Autodesk Cloud Rendering service.

Course Notes: (pdf)

Graphics Programming for the Web
Pushkar Joshi (Motorola Mobility)
Mikaël Bourges-Sévenier (Motorola Mobility)
Kenneth Russell (Google, Inc.)
Zhenyao Mo (Google, Inc.)

Abstract: With HTML5 and ever-improving browser performance, the web has emerged as an ideal platform for showcasing graphics applications. Several graphics applications that were once too slow to be written in anything but native code may now be fast enough to run as web apps.

This course for developers who want to develop graphics applications for the web introduces the concepts of core web programming and the dominant graphics technologies that are supported by most modern browsers. It begins with a brief primer on general-purpose web programming (HTML parsing, CSS, and DOM- and render-tree construction), how Javascript can be used to generate dynamic web content, and how to improve performance and accelerate development time.

The bulk of this course describes the web technologies specific to graphics:

  • CSS3: transitions, animations, 3D transforms and the new CSS-shaders
  • HTML5 Canvas 2D: path API, compositing, image editing, and animation
  • SVG: overview of API, how it's different from HTML5 Canvas 2D
  • WebGL: the key necessary steps, relation to OpenGL, performance hints
  • WebCL: the formal specifications, what's implemented and what's to come

For each topic, the course provides a significant number of code examples that illustrate the relevant graphics capabilities. Attendees are welcome to copy and paste our code snippets and execute them inside any modern web browser.

Course Notes: (pdf)

Cinematic Color: From Your Monitor to the Big Screen
Jeremy Selan (Sony Pictures Imageworks)

Abstract: Color affects many areas of the computer-graphics pipeline, From texture painting to lighting, rendering, compositing, image display, and the theater, handling color is a tricky problem. Tired of getting your images right on the monitor only to have them fall apart later on? This course presents the best practices used in modern visual-effects and animation-color pipelines, and how to adapt apply these concepts for home use.

The course begins with an introduction to color processing and its relationship to image fidelity, color reproducibility, and physical realism. Topics include: common misconceptions about linearity, gamma, and working with high-dynamic-range (HDR) color spaces. Pipeline examples from recent films by Sony Pictures Imageworks explain which color transforms were used and why. The course concludes with a brief discussion of recent developments in color standardization at the Academy of Motion Picture Arts & Sciences and how attendees can experiment with all of these concepts for free using open-source software.

Course Notes: (pdf)
Course Notes: (web)

Practical Physically-Based Shading in Film and Game Production
Stephen McAuley (Ubisoft Montreal)
Stephen Hill (Ubisoft Montreal)
Naty Hoffman (Activision Studio Central)
Yoshiharu Gotanda (tri-Ace)
Brian Smits (Pixar Animation Studios)
Brent Burley (Walt Disney Animation Studios)
Adam Martinez (Sony Pictures Imageworks)

Abstract: Physically based shading is increasingly important in both film and game production. By adhering to physically based, energy-conserving shading models, one can easily create high-quality, realistic materials that maintain that quality under a variety of lighting environments. Traditional "ad-hoc" models require extensive tweaking to achieve the same result, so it is no surprise that physically based models have increased in popularity in film and game production, particularly because they are often no more difficult to implement or evaluate.

This course was last presented at SIGGRAPH 2010. With extensive updates, the SIGGRAPH 2012 course presents two years of advances in physically based shading. It includes new research in the area and more production examples from film and game. The course begins with a brief introduction to the physics and mathematics of shading before instructors share examples of how physically based shading models are being used in production. Real-world examples are a particular focus of this year's course, which is designed to give attendees a practical grounding in the subject.

Course Notes: (pdf)
Course Notes: (web)

Computational Plenoptic Imaging
Gordon Wetzstein (MIT Media Lab)
Ivo Ihrke (Universität des Saarlandes and Max-Planck-Institut für Informatik)
Douglas Lanman (MIT Media Lab)
Wolfgang Heidrich (The University of British Columbia)
Ramesh Raskar (MIT Media Lab)
Kurt Akeley (Lytro, Inc.)

Abstract: A new generation of computational cameras is emerging, spawned by the introduction of the Lytro light-field camera to the consumer market and recent accomplishments in the speed at which light can be captured. By exploiting the co-design of camera optics and computational processing, these cameras capture unprecedented details of the plenoptic function: a ray-based model for light that includes the color spectrum as well as spatial, temporal, and directional variation. Although digital light sensors have greatly evolved in the last years, the visual information captured by conventional cameras has remained almost unchanged since the invention of the daguerreotype. All standard CCD and CMOS sensors integrate over the dimensions of the plenoptic function as they convert photons into electrons. In the process, all visual information is irreversibly lost, except for a two-dimensional, spatially varying subset: the common photograph.

This course reviews the plenoptic function and discusses approaches for optically encoding high-dimensional visual information that is then recovered computationally in post-processing. It begins with an overview of the plenoptic dimensions and shows how much of this visual information is irreversibly lost in conventional image acquisition. Then it discusses the state of the art in joint optical modulation and computation reconstruction for acquisition of high-dynamic-range imagery and spectral information. It unveils the secrets behind imaging techniques that have recently been featured in the news and outlines other aspects of light that are of interest for various applications before concluding with question, answers, and a short discussion.

Course Notes: (pdf)
Course Notes: (web)

Data-Driven Simulation Methods in Computer Graphics: Cloth, Tissue and Faces
Miguel A. Otaduy (URJC Madrid)
Bernd Bickel (Disney Research Zurich)
Derek Bradley (Disney Research Zurich)
Huamin Wang (Ohio State University)

Abstract: In recent years, various methods have been introduced to exploit pre-recorded data to improve the performance and/or realism of dynamic deformations, but their differences and similarities have not been adequately analyzed or discussed. So far, the proposed methods have been explored mainly in the research context. They have not been adopted by the computer graphics industry.

This course bridges the gap between research labs and industry to present a unifying theory and understanding of data-driven methods for dynamic deformations that may inspire development of novel solutions. It focuses on application of data-driven methods to three areas of computer animation: dynamic deformation of faces, soft volumetric tissue, and cloth. And it describes how to approach these challenges in a data-driven manner, classifies the various methods, and demonstrates how data-driven methods can work in other settings.

Course Notes: (pdf)
Course Notes: (web)

Principles of Animation Physics
Alejandro L. Garcia (San Jose State University)

Abstract: An understanding of physics is essential for creating believable animated motion. Many basic concepts in animation (such as follow-through, drag, and weight shift) are clearer when considered in the context of basic mechanics.

This course was developed with support from the National Science Foundation by Alejandro Garcia, who was on leave at the Department of Artistic Development at Dreamworks Animation SKG, where he presented over 30 classes and special lectures on physics as it applies to animation. The course covers essential topics from physical mechanics to basic bio-mechanics that apply specifically to character animation.

Course Notes: (pdf)

Computational Aesthetic Evaluation: Steps Towards Machine Creativity
Philip Galanter (Texas A&M University)

Abstract: Programmer and artists have invented a broad range of generative systems that create art and music. These powerful systems sometimes produce results that surprise their human collaborators, but the surprises are not always welcome or useful. Machine creativity needs a computational self-critical function that can guide generative systems toward valuable creative output.

This course provides a fast-moving, state-of-the-art overview of computational aesthetic evaluation. Some notable limited successes aside, computational aesthetic evaluation is far from a solved problem, and a "how to" course is not possible at this time. The intent of this course is to identify all of the significant trail heads, to share what previous explorers have found, and to encourage future journeys by artists and researchers along the paths that seem most promising.

The course begins with a brief summary of terminology, then reviews classic formulaic and geometric theories of aesthetics that are possibly amenable to digital exploitation, including Birkhoff's "aesthetic measure", the golden ratio, Zipf's law, fractal dimension, basic gestalt design principles, and the rule of thirds. A section on evolutionary art systems focuses on aesthetic evaluation in fitness functions, including interactive systems, strategies for automated evaluation such as performance goals, error measures, complexity measures, multi-objective and Pareto optimization, and biologically inspired methods that produce emergent aesthetic fitness functions such as coevolution, niche construction, swarm behavior, and curious agents. The course concludes with a review of the future of computational aesthetic evaluation, recent developments in the empirical study and psychological modeling of aesthetics, and the nascent field of neuroaesthetics.

Course Notes: (pdf)

Delivering Creative Feedback
Evan Hirsch (Engine Co. 4)

Abstract: Delivering useful, honest and effective feedback to creatives is one of the biggest daily challenges faced by producers, supervisors, teachers, etc. When critiques "feel" subjective, feedback loops can have negative effects on morale and production, regardless of the validity of the criticism.

Art and design students learn and practice critique every day during, but after they embark on their careers those skills are quickly forgotten. For professionals in technical and scientific fields, where solutions and hypotheses can be proven right or incorrect, giving feedback on subjective matters (where all answers are shades of grey) or providing constructive criticism face to face can be very challenging.

Whether you are dusting off old skills or learning critique techniques for the first time, this hands-on workshop provides a simple, effective framework for delivering actionable criticism to your team everyday, regardless of environment. The course shows attendees how to establish a structure for providing critique that works in creative, technical, and academic environments, and then focuses on some specific techniques for delivering feedback.

Topics include: "client" expectations, defining expectations, problem definition, and constraints in creative briefs that serve as the backbone for the project or assignment; methods for delivering feedback against the brief; and the importance of building and sustaining environments that sustain trust and foster open and direct feedback. Actual critique methods are practiced in small groups during the course.

Course Notes: (pdf)

Beyond Programmable Shading
Mike Houston (Advanced Micro Devices, Inc.)
Aaron Lefohn (Intel Corporation)
Johan Andersson (DICE)

Abstract: There are strong indications that the future of interactive graphics programming is a more flexible model than today's OpenGL/Direct3D pipelines. Graphics developers need to have a basic understanding of how to combine emerging parallel-programming techniques and more flexible graphics processors with the traditional interactive-rendering pipeline.

As the first in a series, this course introduces trends and directions in this emerging field: parallel graphics architectures, parallel programming models for graphics, and how game developers are investigating the use of these new capabilities in future rendering engines.

State of the Art Stereoscopic Visual Effects: Changing Perceptions of Stereoscopy and Conversion is "More than Meets the Eye"
Jonathan Karafin (Digital Domain)

Abstract: A recent surge in production of 2D-to-3D converted films has established this technique as a permanent part of the stereoscopic entertainment industry. Proper conversion is not a simplistic post-production process. It requires exceptionally complex and nuanced stereoscopic visual effects that, if improperly applied, can result in poor quality films and physical pain on the part of the audience.

This course presents case studies from Digital Domain's recent stereoscopic conversions (for example, "Transformers 3") that demonstrate how to convert high-quality stereoscopic content through both traditional and hybrid stereoscopic workflows. It also explains in detail how proper conversion is mathematically identical to geometry generated from stereoscopic capture, shows how to articulate and identify poor quality conversion, reviews when it is appropriate to convert materials, and provides tips on how to shoot specifically for 2D-to-3D conversion.

Computer Graphics Shaders using OpenGL 4.x
Mike Bailey (Oregon State University)

Abstract: Shader programming has become an indispensable part of graphics application development, but learning to program shaders is difficult, and understanding the effect of shader parameters is even more challenging. This course presents shader development from an interactive standpoint.

Topics include vertex, fragment, geometry, and tessellation shaders; shader-specific theory; the GLSL 4.x shader language; the graphics pipeline; which features are exposed in shaders; and how shaders fit into pipeline operations. Examples of each class of shaders are introduced and used to discuss details of shader concepts. Though many attendees will not yet have compatible hardware for the recently released OpenGL 4.x and GLSL 4.x specifications, the course explains their new features and functions. Attendees receive free copies of glman, which makes learning shaders easier by speeding the experimental cycle.

Course Notes: (pdf - 1up)
Course Notes: (pdf - 2up)
Course Notes: (pdf - 6up)

The Hitchhiker's Guide to the Galaxy of Mathematical Tools for Shape Analysis
Silvia Biasotti (CNR-IMATI)
Bianca Falcidieno (CNR-IMATI)
Daniela Giorgi (CNR-IMATI)
Michela Spagnuolo (CNR-IMATI)

Abstract: A practical guide for researchers who are exploring the new frontiers of 3D shape analysis and managing the complex mathematical tools that most methods rely on. Many research solutions come from advances in pure and applied mathematics, as well as from re-reading classical mathematical theories. Managing these math tools is critical to understanding and solving current problems in 3D shape analysis. This course is designed to help mathematicians and scientists communicate in a world where boundaries between disciplines are (fortunately) blurred, so they can quickly find the right mathematical tools for a bright intuitive idea and strike a balance between theoretical rigor and computationally feasible solutions.

The course presents basic concepts in differential geometry and proceeds to advanced topics in algebraic topology, always keeping an eye on their computational counterparts. It includes examples of applications to shape correspondence, symmetry detection, and shape retrieval that show how these mathematical concepts can be translated into practical solutions.

Course Notes: (pdf)
Course Notes: (web)

Efficient Real-Time Shadows
Elmar Eisemann (Télécom ParisTech / CNRS-LTCI)
Ulf Assarsson (Chalmers University)
Michael Schwarz (Guerrilla Games / Sony Computer Entertainment)
Michal Valient (Guerrilla Games / Sony Computer Entertainment)
Michael Wimmer (Vienna University of Technology)

Abstract: This course is a resource for applying efficient, real-time shadow algorithms. It builds on a solid foundation (previous courses at SIGGRAPH Asia 2009 and Eurographics 2010, including comprehensive course notes) and the 2011 book Real-Time Shadows (AK Peters) written by four of the presenters. The book is a compendium of many topics in the realm of shadow computation.

The course provides an overview of various techniques but moves beyond the basics to practical solutions and game-relevant techniques summarized by a presenter from the production industry. Topics include: the theory behind shadow computation, when physical accuracy can be replaced with plausible shadows, implementation details, and practical issues such as budget considerations and performance trade-offs. Case studies illustrate the techniques behind major game titles and upcoming engines.

Course Notes: (pdf)

Fundamentals Seminar
Mike Bailey (Oregon State University)

Abstract: The Fundamentals Seminar is an entertaining three-hour introduction to computer graphics concepts for new attendees who want to optimize their time at SIGGRAPH 2012. This session is open to all attendees.

Topics include strategies for getting the most from the conference, the graphics pipeline, the graphics hardware displayed in the Exhibition, modeling, rendering, and animation.

The Fundamentals Seminar is especially important for educators.

Course Notes: (pdf - 1up)
Course Notes: (pdf - 2up)
Course Notes: (pdf - 6up)

FEM Simulation of 3D Deformable Solids: A Practitioner's Guide to Theory, Discretization and Model Reduction
Eftychios Sifakis (University of Wisconsin-Madison)
Jernej Barbic (University of Southern California)

Abstract: A practical guide to finite-element-method (FEM) simulation of 3D deformable solids reviews essential offline FEM simulation techniques: complex nonlinear materials, invertible treatment of elasticity, and model-reduction techniques for real-time simulation.

Simulations of deformable solids are important in many applications in computer graphics, including film special effects, computer games, and virtual surgery. FEM has become a popular method in many applications. Both offline simulation and real-time techniques have matured in computer graphics literature.

This course is designed for attendees familiar with numerical simulation in computer graphics who would like to obtain a cohesive picture of the various FEM simulation methods available, their strengths and weaknesses, and their applicability in various simulation scenarios. The course is also a practical implementation guide for the visual-effects developer, offering a very lean yet adequate synopsis of the underlying mathematical theory. The first section introduces FEM deformable-object simulation and its fundamental concepts, such as deformation gradient, strain, stress, and elastic energy, discusses corotational FEM models, isotropic hyperelasticity, and numerical methods such as conjugate gradients and multigrid. The second section presents the state of the art in model reduction techniques for real-time FEM solid simulation. Topics include linear modal analysis, modal warping, subspace simulation, domain decomposition, and which techniques are suitable for which application.

Course Notes: (pdf)
Course Notes: (pdf)
Course Notes: (web)

Advanced (Quasi) Monte Carlo Methods for Image Synthesis
Alexander Keller (Advanced Rendering Center)
Simon Premoze
Matthias Raab (Advanced Rendering Center)

Abstract: Monte Carlo ray tracing has become ubiquitous in most commercial renderers and in custom shaders used for visual effects and feature animation. But many advanced Monte Carlo algorithms are not widely used and are often misunderstood. In this course, attendees learn about the practical aspects of variance-reduction methods with a focus on all variants of importance sampling. The course also covers quasi-Monte Carlo methods at the industry level, as well as the practical aspects of bidirectional path tracing combined with multiple importance sampling and Metropolis Light Transport. Practical advice is provided throughout the course.

Course Notes: (pdf)