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Unfortunately, there was a snag in my plan: the iPhone hardware doesn t support environment mapping All is not lost, though The hardware might not do it automatically for you, but that doesn t mean you can t roll up your sleeves and, with some extra work, do it yourself To accomplish that, you need to take a close look at the math behind environment mapping Capturing the scene around you on a single, flat texture is a challenging task It s very similar to the problem of trying to create an accurate projection of the surface of the globe of the earth onto a piece of paper (except that in this case you see the scene from inside the sphere, not from the outside) No matter what approach you take, the scene is going to have some amount of distortion.

We have written this expression in a way anticipating that the Laurent coef cients are the Viarasoro generators. The antiholomorphic component also has a Laurent expansion: Tzz ( z ) =

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That might be a problem if you re trying to render a smoothly, reflecting mirror ball, but all I was going to use it for was to add some shiny spots on the leaves, so accuracy was not a goal..

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efficient and effective operation of the industry. Others, like the Cellular Telecommunications and Internet Association (CTIA), focus on specific sectors of the marketplace. Still others, like SuperComm, are industry groups that sponsor annual trade shows where vendors gather to display their wares. These shows are worth attending, particularly if you are running low on keychains, T-shirts, and pens (only kidding). There are also technology specific groups that focus specifically on optical, wireless, component, switching, ATM, and so on. All are reachable online; depending on the nature of your interest in the industry, they are worth contacting.

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In computer graphics, there are two common techniques for mapping a scene onto a texture: spherical environment mapping and cube environment mapping. In this case, you ll map the scene surrounding you as mapped on a sphere centered at your location. In the other case, the scene will be mapped into each of the six sides of a cube centered at your location. For this implementation, I went with spherical mapping because it is a bit faster to compute, and the resulting quality is plenty for these needs.

For years now, communications networks have been functionally depicted as shown in Figure 1-5: a big, fluffy, opaque cloud into which disappear lines representing circuits that magically reappear on the other side of the cloud. I m not sure why we use clouds to represent networks; knowing what I know about their complex innards and how they work, a hairball would be a far more accurate representation. In truth, clouds are pretty good representations of networks from the point of view of the customers who use them. Internally, networks are remarkably complex assemblages of hardware and software, as you will see in the chapter on telephony. Functionally, however, they are straightforward: Customer traffic goes into the network on the Gozinta; the traf-

Using standard complex analysis, this tells us that we can invert these formulas in the following way: 1 2 i

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Assume that the lights around your scene are not changing, so you can create a spherical environment map offline and use it every frame during your rendering. Figure 11-4 shows an example of a spherical environment map. Notice that the object itself is usually not part of the environment map, just the objects and lights surrounding it.

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fic then emerges, unchanged, on the Gozouta. How it happens is unimportant to the customer; all he or she cares about or wants to care about is that the network receives, interprets, transports, and delivers his or her voice/video/images/data/music to the destination in a correct, timely, and cost-effective fashion. Later in the book we will discuss the various technologies that live within the network, but for now suffice it to say that its responsibilities fall into two categories: access and transport, as illustrated in Figure 1-6.

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