ATI Exhibit 2018
`ARM LTD, et al. v. ATI Technologies ULC
`IPR2018-01148
`Page 1 of 554
`
`

`

`Wesley
`
`ATI Exhibit 2018, Page 2 of 554
`
`

`

`O enGL.
`Programming Guide
`
`The Official Guide to Learning
`OpenGL, Release 1
`
`OpenGL Architecture Review Board
`Jackie Neider Tom Davis Mason Woo
`
`Addison-Wesley Publishing Company
`Reading, Massachusetts Menlo Park, California
`New York Don Mills, Ontario Wokingham, England
`Amsterdam Bonn Sydney Singapore Tokyo Madrid
`San Juan Paris Seoul Milan Mexico City Taipei
`
`ATI Exhibit 2018, Page 3 of 554
`
`

`

`Silicon Graphics, the Silicon Graphics logo, and IRIS are registered
`trademarks and OpenGL and IRIS Graphics Library are trademarks of
`Silicon Graphics, Inc. X Window System is a trademark of Massachusetts
`Institute of Technology. Display PostScript is a.registered trademark of
`Adobe Systems Incorporated.
`
`The authors and publishers have taken care in preparation of this book,
`but make no expressed or implied warranty of any kind and assume no
`responsibility for errors or omissions. No liability is assumed for incidental
`or consequential damages in connection with or arising out of the use of
`the information or programs contained herein.
`
`Library of Congress Cataloging-in-Publication Data
`
`Neider, Jackie.
`OpenGL programming guide : the official guide to learning OpenGL,
`release I / OpenGL Architecture Review Board ; Jackie Neider, Tom
`Davis, Mason Woo.
`p. cm.
`Includes index.
`ISBN 0-20.1-63274-8
`1. Computer graphics. 2. OpenGL. I. Davis, Tom. II. Woo,
`IV. Title.
`Mason. III. OpenGL Architecture Review Board.
`T385.N435 1993
`006.6’765~dc20
`
`93-3162
`CIP
`
`Copyright © 1993 by Silicon Graphics, Inc.
`
`All rights reserved. No part of this publication may be reproduced, stored
`in a retrieval system, or transmitted, in any form or by any means,
`electronic, mechanical, photocopying, recording or otherwise, without the
`prior written permission of the publisher. Printed in the United States of
`America. Published simultaneously in Canada.
`
`Authors: Jackie Neider, Tom Davis, and Mason Woo
`Sponsoring Editor: David Rogelberg
`Project Editor: Joanne Clapp Fullagar
`Cover Image: Thad Beier
`Cover Design: Jean Seal
`Text Design: Electric Ink, Ltd., and Kay Maitz
`
`Set in lO-point Stone Serif
`
`7 8 9 10 11 12 13 14 15-MA-0099989796
`Seventh printing, March 1996
`
`ATI Exhibit 2018, Page 4 of 554
`
`

`

`For my family--Felicity, ~v~ax, Sarah, and Scout.
`
`--JLN
`
`For my family--Ellyn, Ricky, and Lucy.
`
`~--TRD
`
`To Tom Doeppner and Andy van Dam, who started me along this path.
`
`--MW
`
`ATI Exhibit 2018, Page 5 of 554
`
`

`

`About This Guide
`
`The OpenGL graphics system is a software interface to graphics hardware.
`(The GL stands for Graphics Library.) It allows you to create interactive
`programs that produce color images of moving three-dimensional objects.
`With OpenGL, you can control computer-graphics technology to produce
`realistic pictures or ones that depart from reality in imaginative ways. This
`guide explains how to program with the OpenGL graphics system to
`deliver the visual effect you want.
`
`What This Guide Contains
`
`This guide has the ideal number of chapters: 13. The first six chapters
`present basic information that you need to understand to be able to draw a
`properly colored and lit three-dimensional object on the screen:
`
`Chapter 1, "Introduction to OpenGL," provides a glimpse into the
`kinds of things OpenGL can do. It also presents a simple OpenGL
`program and explains essential programming details you need to know
`for subsequent chapters.
`
`Chapter 2, "Drawing Geometric Objects," explains how to create a
`three-dimensional geometric description of an object that is eventually
`drawn on the screen.
`
`Chapter 3, "Viewing," describes how such three-dimensional models
`are transformed before being drawn onto a two-dimensional screen.
`You can control these transformations to show a particular view of a
`model.
`
`Chapter 4, "Display Lists," .discusses how to store a series of OpenGL
`commands for execution at a later time. You’ll want to use this feature
`to increase the performance of your OpenGL program.
`
`v
`
`ATI Exhibit 2018, Page 6 of 554
`
`

`

`Chapter 5, "Color," describes how to specify the color and shading
`method used to draw an object.
`
`Chapter 6, "Lighting," explains how to control the lighting conditions
`surrounding an object and how that object responds to light (that is,
`how it reflects or absorbs light). Lighting is an important topic, since
`objects usually don’t look three-dimensional until they’re lit.
`
`The remaining chapters explain how to add sophisticated features to your
`three-dimensional scene. You might choose not to take advantage of many
`of these features until you’re more comfortable with OpenGL. Particularly
`advanced topics are noted in the text where they occur.
`
`Chapter 7, "Blending, Antialiasing, and Fog," describes techniques
`essential to creating a realistic scene--alpha blending (which allows
`you to create transparent objects), antialiasing, and atmospheric effects
`(such as fog or smog).
`
`Chapter 8, "Drawing Pixels, Bitmaps, Fonts, and Images," discusses
`how to work with sets of two-dimensional data as bitmaps or images.
`One typical use for bitmaps is to describe characters in fonts.
`
`Chapter 9, "Texture Mapping," explains how to map one- and two-
`dimensional images called textures onto three-dimensional objects.
`Many marvelous effects can be achieved through texture mapping.
`Chapter 10, "The Framebuffer," describes all the possible buffers that
`can exist in an OpenGL implementation and how you can control
`them. You can use the buffers for such effects as hidden-surface
`elimination, stenciling, masking, motion blur, and depth-of-field
`focusing.
`
`Chapter 11, "Evaluators and NURBS," gives an introduction to
`advanced techniques for efficiently generating curves or surfaces.
`
`Chapter 12, "Selection and Feedback," explains how you can use
`OpenGL’s selection mechanism to select an object on the screen. It
`also explains the feedback mechanism, which allows you to collect the
`drawing information OpenGL produces rather than having it be used
`to draw on the screen.
`
`Chapter 13, "Now That You Know," describes how to use OpenGL in
`several clever and unexpected ways to produce interesting results.
`These techniques are drawn from years of experience with the
`technological precursor to OpenGL, the Silicon Graphics IRIS Graphics
`Library.
`
`About This Guide
`
`ATI Exhibit 2018, Page 7 of 554
`
`

`

`In addition, there are several appendices that you will likely find useful:
`¯ Appendix A, "Order of Operations," gives a technical overview of the
`operations OpenGL performs, briefly describing them in-the order in
`which they occur as an application executes.
`¯ Appendix B, "OpenGL State Variables," lists the state variables that
`OpenGL maintains and describes how to obtain their values.
`¯ Appendix C, "The OpenGL Utility Library," briefly describes the
`routines available in the OpenGL Utility Library.
`¯ Appendix D, "The OpenGL Extension to the X Window System,"
`briefly describes the routines available in the OpenGL extension to the
`X Window System.
`Appendix E, "The OpenGL Programming Guide Auxiliary Library,"
`discusses a small C code library that was written for this book to make
`code examples shorter and more comprehensible.
`
`Appendix F, "Calculating Normal Vectors," tells you how to calculate
`normal vectors for different types of geometric objects.
`Appendix G, "Homogeneous Coordinates and Transformation
`Matrices," explains some of the mathematics behind matrix
`transformations.
`
`Appendix H, "Programming Tips," lists some programming tips based
`on the intentions of the designers of OpenGL that you might find
`useful.
`
`Appendix I, "OpenGL Invariance," describes the pixel-exact
`invariance rules that OpenGL implementations follow.
`
`Finally, an extensive Glossary defines the key terms used in this guide.
`
`How to Obtain the Sample Code
`
`This guide contains many sample programs to illustrate the use of
`particular OpenGL programming techniques. These programs make use of
`a small auxiliary library that was written for this guide. The section
`"OpenGL-related Libraries" on page 10 gives more information about this
`auxiliary library. You can obtain the source code for both the s~mple
`programs and the auxiliary library for free via ftp (file-transfer protocol) if
`you have access to the Internet.
`
`How to Obtain the Sample Code
`
`vii
`
`ATI Exhibit 2018, Page 8 of 554
`
`

`

`First, use ftp to go to the host sgigate.sgi.com, and use anonymous as your
`user name and your_name@machine as the password. Then type the
`following:
`
`cd pub/opengl
`binary
`get opengl.tar. Z
`bye
`
`The file you receive is a compressed tar archive. To restore the files, type:
`
`uncompress opengl.tar
`tar xf opengl.tar
`
`The sample programs and auxiliary library are created as subdirectories
`from wherever you are in the file directory structure.
`
`Many implementations of OpenGL might also include the code samples
`and auxiliary library as part of the system. This source code is probably the
`best source for your implementation, because it might have been
`optimized for your system. Read your machine-specific OpenGL
`documentation to see where the code samples can be found.
`
`What You Should Know Before Reading This Guide
`
`This guide assumes only that you know how to program in the C language
`and that you have some background in mathematics (geometry,
`trigonometry, linear algebra, calculus, and differential geometry). Even if
`you have little or no experience with computer-graphics technology, you
`should be able to follow most of the discussions in this book. Of course,
`computer graphics is a huge subject, so you may want to enrich your
`learning experience with supplemental reading:
`
`Computer Graphics: Principles and Practice by James D. Foley, Andries
`van Dam, Steven K. Feiner, and John F. Hughes (Reading, Mass.:
`Addison-Wesley Publishing Co0--This book is an encyclopedic
`treatment of the subject of computer graphics. It includes a wealth of
`information but is probably best read after you have some experience
`with the subject.
`
`3D Computer Graphics: A User’s Guide for Artists and Designers by Andrew
`S. Glassner (New York: Design Press)--This book is a nontechnical,
`gentle introduction to computer graphics. It focuses on the visual
`
`viii
`
`About This Guide
`
`ATI Exhibit 2018, Page 9 of 554
`
`

`

`effects that can be achieved rather than on the techniques needed to
`achieve them.
`
`Once you begin programming with OpenGL, you might want to obtain
`the OpenGL Reference Manual by the OpenGL Architecture Review Board
`(Reading, Mass.: Addison-Wesley Publishing Co., 1993), which is designed
`as a companion volume to this guide. The Reference Manual provides a
`technical view of how OpenGL operates on data that describes a geometric
`object or an image to produce an image on the screen. It also contains full
`descriptions of each set of related OpenGL commands--the parameters
`used by the commands, the default values for those parameters, and what
`the commands accomplish.
`
`"OpenGL" is really a hardware-independent specification of a
`programming interface. You use a particular implementation of it on a
`particular kind of hardware. This guide explains how to program with any
`OpenGL implementation. However, since implementations may vary
`slightly--in performance and in providing additional, optional features,
`for example--you might want to investigate whether supplementary
`documentation is available for the particular implementation you’re using.
`In addition, you might have OpenGL-related utilities, toolkits,
`programming and debugging support, widgets, sample programs, and
`demos available to you with your system.
`
`Style Conventions
`
`These style conventions are used in this guide:
`¯ Bold--Command and routine names, and matrices
`¯
`Italics--Variables, arguments, parameter names, spatial dimensions,
`and matrix components
`¯ Regular--Enumerated types and defined constants
`Code examples are set off from the text in a monospace font, and
`command summaries are shaded with gray boxes.
`
`Topics that are particularly complicated--and that you can skip if you’re
`new to OpenGL or computer graphics--are marked with the Advanced
`icon. This icon can apply to a single paragraph or to an entire section or
`chapter.
`
`Exercises that are left for the reader are marked with the Try This icon.
`
`Style Conventions
`
`ix
`
`ATI Exhibit 2018, Page 10 of 554
`
`

`

`Acknowledgments
`
`No book comes into being without the help of many people. Probably the
`largest debt the authors owe is to the creators of OpenGL itself. The
`OpenGL team at Silicon Graphics has been led by Kurt Akeley, Bill Glazier,
`Kipp Hickman, Phil Karlton, Mark Segal, Kevin P. Smith, and Wei Yen. The
`members of the OpenGL Architecture Review Board naturally need to be
`¯ counted among the designers of OpenGL: Dick Coulter and John Dennis
`of Digital Equipment Corporation; Jim Bushnell and Linas Vepstas of
`International Business Machines, Corp.; Murali Sundaresan and Rick
`Hodgson of Intel; and On Lee and Chuck Whitmore of Microsoft. Other
`early contributors to the design of OpenGL include Raymond Drewry of
`Gain Technology, Inc., Fred Fisher of Digital Equipment Corporation, and
`Randi Rost of Kubota Pacific Computer, Inc. Many other Silicon Graphics
`employees helped refine the definition and functionality of OpenGL,
`including Momi Akeley, Allen Akin, Chris Frazier, Paul Ho, Simon Hui,
`Lesley Kalmin, Pierre Tardiff, and Jim Winget.
`
`Many brave souls volunteered to review this book: Kurt Akeley, Gavin Bell,
`Sam Chen, Andrew Cherenson, Dan Fink, Beth Fryer, Gretchen Helms,
`David Marsland, Jeanne Rich, Mark Segal, Kevin P. Smith, and Josie
`Wernecke from Silicon Graphics; David Niguidula, Coalition of Essential
`Schools, Brown University; John Dennis and Andy Vesper, Digital
`Equipment Corporation; Chandrasekhar Narayanaswami and Linas
`Vepstas, International Business Machines, Corp.; Randi Rost, Kubota
`Pacific; On Lee, Microsoft Corp.; Dan Sears; Henry McGilton, Trilithon
`Software; and Paula Womak.
`
`Assembling the set of colorplates was no mean feat. The sequence of plates
`based on the cover image (Plates 1-9) was created by Thad Beier of Pacific
`Data Images, Seth Katz of Xaos Tools, Inc., and Mason Woo of Silicon
`Graphics. Plates 10-23 are snapshots of programs created by Mason. Gavin
`Bell, Kevin Goldsmith, Linda Roy, and Mark Daly (all of Silicon Graphics)
`
`xi
`
`ATI Exhibit 2018, Page 11 of 554
`
`

`

`created the fly-through program used for Plate 24. The model for Plate 25
`was created by Barry Brouillette of Silicon Graphics; Doug Voorhies, also of
`Silicon Graphics, performed some image processing for the final image.
`Plate 26 was created by John Rohlf and Michael Jones, both of Silicon
`Graphics. Plate 27 was created by Carl Korobkin of Silicon Graphics. Plate
`28 is a snapshot from a program written by Gavin Bell with contributions
`from the Inventor team at Silicon Graphics--Alain Dumesny, Dave Immel,
`David Mott, Howard Look, Paul Isaacs, Paul Strauss, and Rikk Carey. Plates
`29 and 30 are snapshots from a visual simulation program created by the
`Silicon Graphics IRIS Performer team--Craig Phillips, John Roh~f, Sharon
`Fischler, Jim Helman, and Michael Jones--from a database produced for
`Silicon Graphics by Paradigm Simulation, Inc. Plate 31 is a snapshot from
`skyfly, the precursor to Performer, which was created by John Rohlf,
`Sharon Fischler, and Ben Garlick, all of Silicon Graphics.
`
`Several other people played special roles in creating this book. If we were
`to list other names as authors on the front of this book, KurtAkeley and
`Mark Segal would be there, as honorary yeoman. They helped define the
`structure and goals of the book, provided key sections of material for it,
`reviewed it when everybody else was too tired of it to do so, and supplied
`that all-important humor and support throughout the process. Kay Maitz
`provided invaluable production and design assistance. Kathy Gochenour
`very generously created many of the illustrations for this book. Tanya
`Kucak copyedited the manuscript, in her usual thorough and professional
`style.
`
`And now, each of the authors would like to take the 15 minutes that have
`been allotted to them by Andy Warhol to say thank you.
`
`I’d like to thank my managers at Silicon Graphics--Dave Larson and
`Way Ting--and the members of my group--Patricia Creek, Arthur Evans,
`Beth Fryer, Jed Hartman, Ken Jones, Robert Reimann, Eve Stratton (aka
`Margaret-Anne Halse), John Stearns, and Josie Wernecke--for their support
`during this lengthy process. Last but surely not least, I want to thank those
`whose contributions toward this project are too deep and mysterious to
`elucidate: Yvonne Leach, Kathleen Lancaster, Caroline Rose, Cindy
`Kleinfeld, and my parents, Florence and Ferdinand Neider.
`
`~JLN
`
`In addition to my parents, Edward and Irene Davis, I’d like to thank the
`people who taught me most of what I know about computers and
`computer graphics--Doug Engelbart and Jim Clark.
`
`--TRD
`
`Acknowledgments
`
`ATI Exhibit 2018, Page 12 of 554
`
`

`

`I’d like to thank the many past and current members of Silicon Graphics
`whose accommodation and enlightenment were essential to my
`contribution to this book: Gerald Anderson, Wendy Chin, Bert Fornaciari,
`Bill Glazier, Jill Huchital, Howard Look, Bill Mannel, David Marsland, Dave
`Orton, Linda Roy, Keith Seto, and Dave Shreiner. Very special thanks to
`Karrin Nicol and Leilani Gayles of SGI for their guidance throughout my
`career. I also bestow much gratitude to my teammates on the Stanford B
`ice hockey team for periods of glorious distraction throughout the writing
`of this book. Finally, I’d like to thank my family, especially my mother, Bo,
`and my late father, Henry.
`
`Xlll
`
`ATI Exhibit 2018, Page 13 of 554
`
`

`

`Contents
`
`About This Guide ...................................................................................
`
`v
`
`v
`What This Guide Contains ...............................................................
`How to Obtain the Sample Code .....................................................vii
`What You Should Know Before Reading This Guide .......................viii
`Style Conventions ............................................................................ix
`
`Acknowledgments ..................................................................................
`
`1. Introduction to OpenGL ...................................................................
`
`xi
`
`1
`
`What Is OpenGL? .............................................................................2
`A Very Simple OpenGL Program ......................................................5
`OpenGL Command Syntax ..............................................................7
`OpenGL as a State Machine .............................................................9
`OpenGL-related Libraries .................................................................10
`, ....... 11
`The OpenGL Programming Guide Auxiliary Library ........
`Animation ........................................................................................14
`
`2. Drawing Geometric Objects ............................................................19
`
`A Drawing Survival Kit .....................................................................21
`Clearing the Window .................................................................21
`Specifying a Color ......................................................................24
`Forcing Completion of Drawing .................................................25
`Hidden-Surface Removal Survival Kit ........................................27
`
`ATI Exhibit 2018, Page 14 of 554
`
`

`

`Describing Points, Lines, and Polygons ...........................................28
`What Are Points, Lines, and Polygons? .....................................29
`Specifying Vertices .....................................................................33
`OpenGL Geometric Drawing Primitives ...................................34
`Displaying Points, Lines, and Polygons ...........................................39
`Point Details ...............................................................................39
`Line Details ................................................................................40
`Polygon Details ..........................................................................45
`Normal Vectors ................................................................................52
`Some Hints for Building Polygonal Models of Surfaces .................. 54
`An Example: Building an Icosahedron ......................................56
`
`3. Viewing ............................................................................................
`
`63
`
`Overview: The Camera Analogy ......................................................66
`A Simple Example: Drawing a Cube ..........................................69
`General-Purpose Transformation Commands .......................... 74
`Viewing and Modeling Transformations .........................................76
`Thinking about Transformations ..............................................77
`Modeling Transformations ........................................................80
`Viewing Transformations ..........................................................84
`Projection Transformations ............................................................90
`Perspective Projection ................................................................91
`Orthographic Projection ............................................................94
`Viewing Volume Clipping .........................................................96
`Viewport Transformation ................................................................96
`Defining the Viewport ...............................................................96
`The Transformed z Coordinate ..................................................98
`Troubleshooting Transformations ...................................................99
`Manipulating the Matrix Stacks .......................................................102
`The Modelview Matrix Stack .....................................................105
`The Projection Matrix Stack ......................................................105
`Additional Clipping Planes ....................., ........................................106
`Examples of Composing Several Transformations ..........................109
`Building a Solar System .............................................................109
`Building an Articulated Robot Arm ...........................................113
`
`ATI Exhibit 2018, Page 15 of 554
`
`

`

`117
`
`4. Display Lists ............... , ....................................................................
`119
`An Example of Using a Display List ........................, .......................
`Display-List Design Philosophy .......................................................121
`Creating and Executing a Display List ............................................123
`What’s Stored in a Display List .................................................126
`Executing a Display List ............................................................127
`Hierarchical Display Lists ..........................................................129
`Managing Display Lists and Their Indices ......................................131
`Executing Multiple Display Lists .....................................................132
`Encapsulating Mode Changes .........................................................137
`5. Color ................................................................................................139
`Color Perception ..............................................................................140
`Computer Color ...............................................................................142
`RGBA versus Color-Index Mode ......................................................144
`RGBA Display Mode ..................................................................145
`Color-Index Display Mode ........................................................147
`Choosing between RGBA and Color-Index Mode ....................149
`Specifying a Color and a Shading Model ........................................150
`Specifying a Color in RGBA Mode ............................................150
`Specifying a Color in Color-Index Mode ...................................151
`152
`Specifying a Shading Model ......................................................
`
`157
`
`6. Lighting ............................................................................................
`Real-World and OpenGL Lighting ...................................................159
`Emitted, Ambient, Diffuse, and Specular Light ........................160
`Material Colors ..........................................................................161
`RGB Values for Lights and Materials .........................................161
`A Simple Example: Rendering a Lit Sphere .....................................162
`Creating Light Sources .....................................................................165
`Color ..........................................................................................167
`168
`Position and Attenuation ..........................................................
`Spotlights ...................................................................................170
`Multiple Lights ..........................................................................171
`Controlling a Light’s Position and Direction ............................172
`
`xvii
`
`ATI Exhibit 2018, Page 16 of 554
`
`

`

`Selecting a Lighting Model ..............................................................177
`Global Ambient Light ................................................................177
`Local or Infinite Viewpoint .......................................................177
`Two-sided Lighting ....................................................................178
`Enabling Lighting ......................................................................179
`Defining Material Properties ............................................................179
`Diffuse and Ambient Reflection ................................................181
`Specular Reflection ....................................................................182
`Emission ......................................................................................182
`Changing Material Properties ....................................................183
`The Mathematics of Lighting ..........................................................188
`Material Emission ......................................................................189
`Scaled Global Ambient Light .....................................................189
`Contributions from Light Sources .............................................189
`Putting It All Together ...............................................................192
`Lighting in Color-Index Mode .........................................................192
`The Mathematics of Color-Index Mode Lighting .....................194
`
`7. Blending, Antialiasing, and Fog ...................................................... 195
`Blending ...........................................................................................196
`The Source and Destination Factors ..........................................197
`Sample Uses of Blending ...........................................................199
`A Blending Example ..................................................................202
`Three-Dimensional Blending with the Depth Buffer ................203
`Antialiasing ......................................................................................207
`Antialiasing Points or Lines .......................................................209
`Antialiasing Polygons ................................................................213
`Fog ....................................................................................................216
`Using Fog ...................................................................................217
`Fog Equations ............................................................................219
`
`8. Drawing Pixels, Bitmaps, Fonts, and Images .................................
`
`225
`
`Bitmaps and Fonts ...........................................................................227
`The Current Raster Position ......................................................229
`Drawing the Bitmap ..................................................................230
`Fonts and Display Lists ..............................................................
`- 231
`Defining and Using a Complete Font .......................................233
`
`XVlII
`
`ATI Exhibit 2018, Page 17 of 554
`
`

`

`Images .........................................................................................~ ..... 237
`
`
`Reading, Writing, and Copying Pixel Data ....................... ........ 238
`Magnifying or Reducing an Image ............................................241
`Storing, Transforming, and Mapping Pixels ....................................242
`Overview of the Pixel Modes .....................................................242
`Controlling Pixel-Storage Modes ............, .................................. 244
`Pixel-Transfer Operations ..........................................................247
`Pixel Mapping ............................................................................252
`
`9. Texture Mapping ..............................................................................255
`
`An Overview and an Example .........................................................259
`Steps in Texture Mapping ..........................................................259
`A Sample Program ..................................................~ .................. 260
`Specifying the Texture .....................................................................264
`Using a Texture’s Borders ..........................................................265
`Multiple Levels of Detail ...........................................................266
`Controlling Filtering ................................................... ...............271
`One-Dimensional Textures ........................................................274
`Modulating and Blending ................................................................274
`Assigning Texture Coordinates ........................................................276
`Computing Appropriate Texture Coordinates ..........................278
`Repeating and Clamping Textures ............................................280
`Automatic Texture-Coordinate Generation ....................................283
`Creating Contours .....................................................................284
`Environment Mapping ..............................................................287
`Advanced Features ...........................................................................289
`The Texture Matrix Stack ..........................................................289
`The q Coordinate .......................................................................290
`
`10. The Framebuffer ..............................................................................
`
`291
`
`Buffers and Their Uses .....................................................................293
`Clearing Buffers .........................................................................296
`Selecting Color Buffers for Writing ...........................................297
`Masking Buffers .........................................................................298
`Testing and Operating on Fragments ..............................................299
`Scissor. Test .................................................................................300
`Alpha Test ..................................................................................301
`
`xix
`
`ATI Exhibit 2018, Page 18 of 554
`
`

`

`Stencil Test .................................................................................302
`Depth Test ..................................................................................307
`Blending, Dithering, and Logical Operations ...........................308
`The Accumulation Buffer .................................................................311
`Scene Antialiasing ......................................................................312
`Motion Blur ...............................................................................318
`
`Depth of Field ............................................................. ............... 319
`Soft Shadows ..............................................................................323
`Jittering ......................................................................................323
`
`11. Evaluators