Sound rendering
Sound rendering
复制标题
声音渲染
DOI：
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发表时间：
1992
期刊：
影响因子：
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通讯作者：
J. Hahn
中科院分区：
文献类型：
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作者：
T. Takala;J. Hahn
我们提出了一个通用的方法来产生同步的动画配乐。通过将场景中的每个对象的特征声音相关联来对声音世界进行建模。这些声音可以从基于行为或物理的模拟中生成。碰撞声可以从弹性体对碰撞脉冲的振动响应计算出来。可替代地，刻板的录制声音效果可以与对象的每个交互相关联。声音也可以通过程序生成。声音世界是用声音事件文件描述的，并在两个过程中呈现。首先，分析从3D对象到每个麦克风的传播路径，并用于根据声学环境计算声音变换。这些效果是卷积，编码成两个基本参数，每个声音的延迟和衰减。这两个参数的时间依赖性用关键帧表示，因此完全独立于原始3D动画脚本。在第二遍中，与对象相关联的声音被实例化，由插值的关键参数调制，并被加总到最终的音轨。模块化架构的优点在于，相同的方法可以用于所有类型的动画，关键帧，基于物理的和行为的。我们还讨论了声音和光的差异，以及它们在渲染过程中的显着相似之处。
We present a general methodology to produce synchronized soundtracks for animations. A sound world is modeled by associating a characteristic sound for each object in a scene. These sounds can be generated from a behavioral or physically-based simulation. Collision sounds can be computed from vibrational response of elastic bodies to the collision impulse. Alternatively, stereotypic recorded sound effects can be associated with each interaction of objects. Sounds may also be generated procedurally. The sound world is described with a sound event file, and is rendered in two passes. First the propagation paths from 3D objects to each microphone are analyzed and used to calculate sound transformations according to the acoustic environment. These effects are convolutions, encoded into two essential parameters, delay and attenuation of each sound. Time-dependency of these two parameters is represented with keyframes, thus being completely independent of the original 3D animation script. In the second pass the sounds associated with objects are instantiated, modulated by interpolated key parameters, and summed up to the final soundtrack. The advantage of a modular architecture is that the same methods can be used for all types of animations, keyframed, physically-based and behavioral. We also discuss the differences of sound and light, and the remarkable similarities in their rendering processes.