1. Some types of cameras expose the film by sliding a rectangular slit across the film. This leads to interesting effects when objects are moving in a different direction from the exposure slit (Glassner 1999; Stephenson 2007). Furthermore, most digital cameras read out pixel values from scanlines in succession over a period of a few milliseconds; this leads to rolling shutter artifacts, which have similar visual characteristics. Modify the way that time samples are generated in one or more of the camera implementations in this chapter to model such effects. Render images with moving objects that clearly show the effect of accounting for this issue.
  2. Write an application that loads images rendered by the EnvironmentCamera, and uses texture mapping to apply them to a sphere centered at the eyepoint such that they can be viewed interactively. The user should be able to freely change the viewing direction. If the correct texture-mapping function is used for generating texture coordinates on the sphere, the image generated by the application will appear as if the viewer was at the camera’s location in the scene when it was rendered, thus giving the user the ability to interactively look around the scene.
  3. The aperture stop in the RealisticCamera is modeled as a perfect circle; for cameras with adjustable apertures, the aperture is generally formed by movable blades with straight edges and is thus an n -gon. Modify the RealisticCamera to model a more realistic aperture shape and render images showing the differences from your model. You may find it useful to render a scene with small, bright, out-of-focus objects (e.g., specular highlights), to show off the differences.
  4. The standard model for depth of field in computer graphics models the circle of confusion as imaging a point in the scene to a disk with uniform intensity, although many real lenses produce circles of confusion with nonlinear variation such as a Gaussian distribution. This effect is known as “Bokeh” (Buhler and Wexler 2002). For example, catadioptric (mirror) lenses produce doughnut-shaped highlights when small points of light are viewed out of focus. Modify the implementation of depth of field in the RealisticCamera to produce images with this effect (e.g., by biasing the distribution of lens sample positions). Render images showing the difference between this and the standard model.
  5. Focal stack rendering: a focal stack is a series of images of a fixed scene where the camera is focused at a different distance for each image. Hasinoff and Kutulakos (2011) and Jacobs et al. (2012) introduce a number of applications of focal stacks, including freeform depth of field, where the user can specify arbitrary depths that are in focus, achieving effects not possible with traditional optics. Render focal stacks with pbrt and write an interactive tool to control focus effects with them.
  6. Light field camera: Ng et al. (2005) discuss the physical design and applications of a camera that captures small images of the exit pupil across the film, rather than averaging the radiance over the entire exit pupil at each pixel, as conventional cameras do. Such a camera captures a representation of the light field—the spatially and directionally varying distribution of radiance arriving at the camera sensor. By capturing the light field, a number of interesting operations are possible, including refocusing photographs after they have been taken. Read Ng et al.’s paper and implement a Camera in pbrt that captures the light field of a scene. Write a tool to allow users to interactively refocus these light fields.
  7. The RealisticCamera implementation places the film at the center of and perpendicular to the optical axis. While this is the most common configuration of actual cameras, interesting effects can be achieved by adjusting the film’s placement with respect to the lens system. For example, the plane of focus in the current implementation is always perpendicular to the optical axis; if the film plane (or the lens system) is tilted so that the film isn’t perpendicular to the optical axis, then the plane of focus is no longer perpendicular to the optical axis. (This can be useful for landscape photography, for example, where aligning the plane of focus with the ground plane allows greater depth of field even with larger apertures.) Alternatively, the film plane can be shifted so that it’s not centered on the optical axis; this shift can be used to keep the plane of focus aligned with a very tall object, for example. Modify RealisticCamera to allow one or both of these adjustments and render images showing the result. Note that a number of places in the current implementation (e.g., the exit pupil computation) have assumptions that will be violated by these changes that you will need to address.