final

.gitignore

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+node_modules
+npm-debug.log

DESIGNDOC.md

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+# Zionical
+
+This project is inspired by [Panoramical][1], a game where players can manipulate landscapes musically. In this game, the environments are highly abstracted and colorful 
+
+## Goal
+
+I would like to create an environment inspired by Zion National Park. The environment will be interactive with mouse and camera control. In addition, parts of the environment will move or pulse at the frequency of a chosen song. The entire program will be written in Javascript using the THREE.js library. 
+
+## References
+
+### Zion
+
+- #### Zion Canyon
+![](./images/zionPark.jpg)
+
+### Art Abstraction
+![](./images/panoramical.png) ![](./images/panoramical2.jpg)
+
+## Specification
+
+### Color
+In keeping with the abstract theme, the colors will be bright and closer to toon shading than gradients. There will be no actual lights in the scene, but objects will be visualized with abstract shaders instead. To give the scene more depth, I would like to add an ambient occlusion shader as well.  
+### Camera
+The camera will appear to move through the base of canyon (either the camera or the geometry will move). In addition, the actual viewing direction will be interactive. 
+### Objects
+Instead of creating a large environment and slowing down the FPS, the geometry will be stored in a buffer geometry with new vertices replacing the old behind the camera. 
+### Music
+The frequency and amplitude of the background music will influence the frequency and amplitude of the textural noise. 
+ Infinite camera moving. Abstract geometry, no lighting
+
+## Techniques
+
+The majority of the procedural techniques I will use are noise generation algorithms for creating rocky terrain. We have thus far explored the use of perlin noise, but for this environment I want to expand to different types of noise. As seen in the image above, Zion canyon is rocky and eroded. I believe the following papers and algorithms will be helpful in achieving this effect.   
+
+* [Realtime Procedural Terrain Generation][2] 
+* Perlin Noise and [Simplex][3] Noise 
+* [Diamond-square algorithm][4]
+* [Fractal landscape][5]
+
+I will try the various techniques and choose the one or ones that look the best artisticly. 
+
+## Design
+
+![](./images/diagram.png)
+
+## Timeline
+
+### Week of 04/10
+* Create rough rock formation 
+* Choose a song and animate some aspect of environment
+* Move camera through the environment
+
+![](./milestone1.png)
+
+### Week of 04/17
+* Create the canyon dugout
+
+![](./milestone2.png)
+
+### Week of 04/24
+* Polish with shaders
+
+[1]: https://vimeo.com/88946422
+[2]: http://web.mit.edu/cesium/Public/terrain.pdf
+[3]: http://webstaff.itn.liu.se/~stegu/simplexnoise/simplexnoise.pdf
+[4]: http://stevelosh.com/blog/2016/06/diamond-square
+[5]: http://paulbourke.net/fractals/noise/

Milestone1.txt

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+Completed for Milestone 1:
+1.) The sky map is a sphere with 3d time based perlin noise. The colors are interpolated both from the noise value and the distance from the horizon. I want to mess with the colors a bit more for the final, but this is the generate gist. I am going for that abstract sunset vibe. The shader also has a toon shader on top of the noise value. 
+
+2.) The camera is animated along a closed spline with jittered knot points. The jitter is so that the animation is interesting with twists and turns. At the moment, the camera can do almost a 180 degree turn. I want to avoid that by restricting the jitter of the knot points to within a range of the surrounding knots. The camera also looks forward, which is good, but maybe it would be nice to be able to look around. I could let the user look around and when there is no mouse interaction, the view goes slowly back to forward (unlikely how it jerkily does this now). 
+
+3.) There webpage runs a song and I have puts frequency analytics on the music. I hooked the frequency to the perlin noise in the sky, but didn't like the effect. I want to also attach it to the rocks in the scene, but I haven't gotten the right parameters for it to look right. 
+
+4.) As for the main component, the canyon walls, I have tried multiple techniques. I tried first a vertical wall, but the noise looked strange. I also couldn't figure out to extend as the camera moved. I instead moved to a horizontal plane with very spiky noise close together. I still have the problem of extending with the camera movement, but I just figured out how to fix this, although haven't implemented it. From the spline data, I want to create a grayscale texture with black along the spline with a steep ramp to get the canyon walls. I should be able to send this texture to my shader and create a canyon that my camera can move through. 
+
+see image in README
+demo here: http://www.sarahforcier.com/Project9-FinalProject 

Milestone2.txt

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+Completed for Milestone 2:
+
+From the points of the closed spline, I create a texture to be passed into the canyon vertex shader so that the noise can be applied only to the walls on either side of the canyon. Since the spline is only 1D. I most compose the texture in multiple passes. First, I map the spline to the texture, defining all points on the spline as 1. I then widen the path by taking the maximum value in a square area on the texture. Finally, I apply a gaussian blur in both the X and Y directions to get the detail on the walls of the canyon rather than a box transition.
+
+see image in README
+demo here: http://www.sarahforcier.com/Project9-FinalProject