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Hable John Uncharted2 Hdr Lighting
1.
2.
3.
4.
Ucap Project
5.
I.e. Tiger Woods's
Face
6.
Also used to
work for EA Los Angeles
7.
LMNO (Spielberg Project)
8.
Not PQRS (Boom
Blox)
9.
Now at Naughty
Dog
10.
11.
12.
Never heard about
it in college
13.
George Borshukov taught
it to me back at EA
14.
Matrix Sequels
15.
Issue is getting
more traction now
16.
17.
Suppose we show
alternating light/dark lines.
18.
19.
20.
21.
22.
23.
24.
25.
26.
27.
28.
29.
30.
31.
32.
This is stored
on your hard drive.
33.
34.
35.
36.
37.
On a scale
from 0-255
38.
0 would equal
0
39.
1 would equal
our current value of 20
40.
2 would equal
our current value of 28
41.
3 would equal
our current value of 33
42.
43.
44.
45.
color = pow(
tex2D( Sampler, Uv ), 2.2 )
46.
Do your lighting
calculations
47.
Account for gamma
on color output
48.
49.
50.
51.
52.
Hardware does sampling
for free
53.
For Texture read:
54.
D3DSAMP_SRGBTEXTURE
55.
For RenderTarget write:
56.
57.
58.
59.
60.
Gamma-Space
61.
Use sRGB hardware
or pow(2.2) on read
62.
128 ~= 0.2
63.
Linear-Space
64.
Don’t use sRGB
or pow(2.2) on read
65.
66.
Definitely Gamma
67.
Normal Map
68.
69.
Uncharted 2 had
them as Linear
70.
Artists have trouble
tweaking them to look right
71.
72.
Technically, it’s a
mathematical value like a normal map.
73.
But artists tweak
them a lot and bake extra lighting into them.
74.
Uncharted 2 had
them as Linear
75.
76.
sRGB: PC and
PS3 gamma
77.
78.
Way too bright
at the low end.
79.
HDR the Bungie
Way, Chris Tchou
80.
Post Processing in
The Orange Box, Alex Vlachos
81.
Output curve is
extra contrasty
82.
Henry LaBounta was
going to talk about it.
83.
Try hooking up
your Xenon to a waveform monitor and display a test pattern. Prepare to be mortified.
84.
85.
86.
87.
Full Auto settings.
88.
Outside blown out.
89.
Cello case looks
empty.
90.
91.
Note: 1 F-Stop
is a power of two
92.
93.
Good News: HDR
Image
94.
Bad News: Now
what?
95.
96.
Photomatix
97.
This one is
local
98.
99.
Simulate the Iris
100.
Dynamic Range in
different shots
101.
Tunnel vs. Daylight
102.
Simulate the Retina
103.
Different Range within
a shot
104.
105.
Within a Shot
– HDR Tonemapping
106.
Different Shots –
Choosing the correct exposure?
107.
Video Games
108.
Within a Shot
– HDR Tonemapping
109.
110.
Within a Shot
– HDR Tonemapping
111.
Different Shots
112.
Automatic Exposure Adjustment
113.
114.
Creative Director, Microsoft
Game Studios
115.
116.
Simplest version is:
117.
F(x) = x/(x+1)
118.
119.
The crisper, more
saturated blacks of improper gamma.
120.
The nice soft
highlights of Reinhard
121.
122.
CG Supervisor at
Digital Domain
123.
124.
125.
126.
Film vs. Digital
purists.
127.
128.
129.
130.
131.
132.
133.
134.
135.
136.
137.
Filmic > Linear
> Reinhard
138.
In terms of
“Soft Highights” vs. “Clamped Highlights”
139.
140.
What happens if
we go down?
141.
142.
143.
144.
Three texture lookups
145.
146.
Replaces the entire
Lin/Log and Texture LUT
147.
148.
149.
Toe arguably too
strong
150.
Most monitors are
too contrasty, strong toe makes it worse
151.
May want less
shoulder
152.
The more range,
the more shoulder
153.
154.
155.
156.
IMO: The most
important post effect
157.
Changes your life
completely
158.
Once you have
it, you can't live without it
159.
If you implement
it, you have to redo all your lighting
160.
161.
162.
163.
Time for stage
3.
164.
165.
But if you
are already in shadow, you need something else...
166.
It's the AO
that grounds the car in those shots.
167.
So what if
we took the AO out?
168.
169.
170.
171.
172.
173.
174.
175.
176.
177.
178.
179.
SSAO Darkens Sunlight
– BAD
180.
Reduces perceived contrast
181.
Makes lighting look
flatter
182.
183.
No normals
184.
No special filtering
(I.e. Bilateral)
185.
Processed in 64x64
blocks
186.
187.
Dilate Horizontal
188.
Dilate Vertical
189.
190.
191.
192.
193.
194.
195.
Uses half-res depth
buffer
196.
197.
198.
199.
200.
201.
202.
203.
204.
Benefits outweigh drawbacks
205.
Have option to
turn it off per surface
206.
Most snow fades
at distance
207.
Some objects apply
sqrt() to brighten it
208.
209.
Deepens our Blacks
210.
Artifacts are not
too bad
211.
Could use better
filtering for halos
212.
213.
214.
Here is the
base overview.
215.
216.
217.
218.
219.
Say you have
5 loads to do
220.
221.
Load 1 in
Dryer
222.
Load 2 in
Washer
223.
Load 2 in
Dryer
224.
Load 3 in
Washer
225.
Load 3 in
Dryer
226.
Load 4 in
Washer
227.
Load 4 in
Dryer
228.
Load 5 in
Washer
229.
230.
Load 2 in
Washer, Load 1 in Dryer
231.
Load 3 in
Washer, Load 2 in Dryer
232.
Load 4 in
Washer, Load 3 in Dryer
233.
Load 5 in
Washer, Load 4 in Dryer
234.
235.
Called “Software Pipelining”
236.
It’s how we
optimize SPU code by hand
237.
Pal Engstad (our
Lead Graphics Programmer) will be putting a doc online explaining the full process.
238.
Should be online:
look for the post on the blog
239.
Direct links:
240.
www.naughtydog.com/docs/gdc2010/intro-spu-optimizations-part-1.pdf
241.
242.
243.
244.
245.
SPUs issue one
even and odd instruction per cycle
246.
One line =
One cycle
247.
e6 = even,
6 cycle latency
248.
249.
250.
251.
252.
Next instruction needs
currAo
253.
currAo won’t be
ready yet
254.
255.
256.
257.
258.
259.
260.
261.
262.
263.
264.
265.
Sometimes more or
less
266.
SSAO went from
2ms on all 6 SPUs to 1ms on all 6 SPUs
267.
With practice, can
do about 1-2 loops per day.
268.
SSAO has 6
loops, and took a little over a week.
269.
Same process for:
270.
PostFX
271.
Fullscreen Lighting
272.
Ambient Cubemaps
273.
274.
275.
276.
277.
Filmic Tonemapping changes
your life.
278.
SSAO is cool,
and keep it out of your sunlight.
279.
SPUs are awesome.
280.
They don’t optimize
themselves.
281.
282.
We’re also looking
for
283.
Senior Lighting Artist.
284.
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