Next generation gaming brought high resolutions, very complex environments and large textures to our living rooms. With virtually every asset being inflated, it's hard to use traditional forward rendering and hope for rich, dynamic environments with extensive dynamic lighting. Deferred rendering, on the other hand, has been traditionally described as a nice technique for rendering of scenes with many dynamic lights, that unfortunately suffers from fill-rate problems and lack of anti-aliasing and very few games that use it were published.
In this talk, we will discuss our approach to face this challenge and how we designed a deferred rendering engine that uses multi-sampled anti-aliasing (MSAA). We will give in-depth description of each individual stage of our real-time rendering pipeline and the main ingredients of our lighting, post-processing and data management. We'll show how we utilize PS3's SPUs for fast rendering of a large set of primitives, parallel processing of geometry and computation of indirect lighting. We will also describe our optimizations of the lighting and our parallel split (cascaded) shadow map algorithm for faster and stable MSAA output.
A technical deep dive into the DX11 rendering in Battlefield 3, the first title to use the new Frostbite 2 Engine. Topics covered include DX11 optimization techniques, efficient deferred shading, high-quality rendering and resource streaming for creating large and highly-detailed dynamic environments on modern PCs.
Rendering Technologies from Crysis 3 (GDC 2013)Tiago Sousa
This talk covers changes in CryENGINE 3 technology during 2012, with DX11 related topics such as moving to deferred rendering while maintaining backward compatibility on a multiplatform engine, massive vegetation rendering, MSAA support and how to deal with its common visual artifacts, among other topics.
Secrets of CryENGINE 3 Graphics TechnologyTiago Sousa
In this talk, the authors will describe an overview of a different method for deferred lighting approach used in CryENGINE 3, along with an in-depth description of the many techniques used. Original file and videos at http://crytek.com/cryengine/presentations
Bill explains some of the ways that the Vertex Shader can be used to improve performance by taking a fast path through the Vertex Shader rather than generating vertices with other parts of the pipeline in this AMD technology presentation from the 2014 Game Developers Conference in San Francisco March 17-21. Check out more technical presentations at http://developer.amd.com/resources/documentation-articles/conference-presentations/
Course presentation at SIGGRAPH 2014 by Charles de Rousiers and Sébastian Lagarde at Electronic Arts about transitioning the Frostbite game engine to physically-based rendering.
Make sure to check out the 118 page course notes on: http://www.frostbite.com/2014/11/moving-frostbite-to-pbr/
During the last few months, we have revisited the concept of image quality in Frostbite. The core of our approach was to be as close as possible to a cinematic look. We used the concept of reference to evaluate the accuracy of produced images. Physically based rendering (PBR) was the natural way to achieve this. This talk covers all the different steps needed to switch a production engine to PBR, including the small details often bypass in the literature.
The state of the art of real-time PBR techniques allowed us to achieve good overall results but not without production issues. We present some techniques for improving convolution time for image based reflection, proper ambient occlusion handling, and coherent lighting units which are mandatory for level editing.
Moreover, we have managed to reduce the quality gap, highlighted by our systematic reference comparison, in particular related to rough material handling, glossy screen space reflection, and area lighting.
The technical part of PBR is crucial for achieving good results, but represents only the top of the iceberg. Frostbite has become the de facto high-end game engine within Electronic Arts and is now used by a large amount of game teams. Moving all these game teams from “old fashion” lighting to PBR has required a lot of education, which have been done in parallel of the technical development. We have provided editing and validation tools to help the transition of art production. In addition, we have built a flexible material parametrisation framework to adapt to the various authoring tools and game teams’ requirements.
This presentation gives an overview of the rendering techniques used in KILLZONE 2. We put the main focus on the lighting and shadowing techniques of our deferred shading engine and how we made them play nicely with anti-aliasing.
Rendering AAA-Quality Characters of Project A1Ki Hyunwoo
The document discusses rendering techniques for high quality characters in an unannounced game project called A1. It covers skin rendering using subsurface scattering with multiple scattering approximations. It also covers hair rendering using ordered independent transparency with a linked list approach integrated into UE4, as well as a physically based shading model for hair. Future work discussed includes improvements to subsurface scattering, lighting, and shadowing for transparent and translucent materials.
A technical deep dive into the DX11 rendering in Battlefield 3, the first title to use the new Frostbite 2 Engine. Topics covered include DX11 optimization techniques, efficient deferred shading, high-quality rendering and resource streaming for creating large and highly-detailed dynamic environments on modern PCs.
Rendering Technologies from Crysis 3 (GDC 2013)Tiago Sousa
This talk covers changes in CryENGINE 3 technology during 2012, with DX11 related topics such as moving to deferred rendering while maintaining backward compatibility on a multiplatform engine, massive vegetation rendering, MSAA support and how to deal with its common visual artifacts, among other topics.
Secrets of CryENGINE 3 Graphics TechnologyTiago Sousa
In this talk, the authors will describe an overview of a different method for deferred lighting approach used in CryENGINE 3, along with an in-depth description of the many techniques used. Original file and videos at http://crytek.com/cryengine/presentations
Bill explains some of the ways that the Vertex Shader can be used to improve performance by taking a fast path through the Vertex Shader rather than generating vertices with other parts of the pipeline in this AMD technology presentation from the 2014 Game Developers Conference in San Francisco March 17-21. Check out more technical presentations at http://developer.amd.com/resources/documentation-articles/conference-presentations/
Course presentation at SIGGRAPH 2014 by Charles de Rousiers and Sébastian Lagarde at Electronic Arts about transitioning the Frostbite game engine to physically-based rendering.
Make sure to check out the 118 page course notes on: http://www.frostbite.com/2014/11/moving-frostbite-to-pbr/
During the last few months, we have revisited the concept of image quality in Frostbite. The core of our approach was to be as close as possible to a cinematic look. We used the concept of reference to evaluate the accuracy of produced images. Physically based rendering (PBR) was the natural way to achieve this. This talk covers all the different steps needed to switch a production engine to PBR, including the small details often bypass in the literature.
The state of the art of real-time PBR techniques allowed us to achieve good overall results but not without production issues. We present some techniques for improving convolution time for image based reflection, proper ambient occlusion handling, and coherent lighting units which are mandatory for level editing.
Moreover, we have managed to reduce the quality gap, highlighted by our systematic reference comparison, in particular related to rough material handling, glossy screen space reflection, and area lighting.
The technical part of PBR is crucial for achieving good results, but represents only the top of the iceberg. Frostbite has become the de facto high-end game engine within Electronic Arts and is now used by a large amount of game teams. Moving all these game teams from “old fashion” lighting to PBR has required a lot of education, which have been done in parallel of the technical development. We have provided editing and validation tools to help the transition of art production. In addition, we have built a flexible material parametrisation framework to adapt to the various authoring tools and game teams’ requirements.
This presentation gives an overview of the rendering techniques used in KILLZONE 2. We put the main focus on the lighting and shadowing techniques of our deferred shading engine and how we made them play nicely with anti-aliasing.
Rendering AAA-Quality Characters of Project A1Ki Hyunwoo
The document discusses rendering techniques for high quality characters in an unannounced game project called A1. It covers skin rendering using subsurface scattering with multiple scattering approximations. It also covers hair rendering using ordered independent transparency with a linked list approach integrated into UE4, as well as a physically based shading model for hair. Future work discussed includes improvements to subsurface scattering, lighting, and shadowing for transparent and translucent materials.
Taking Killzone Shadow Fall Image Quality Into The Next GenerationGuerrilla
This talk focuses on the technical side of Killzone Shadow Fall, the platform exclusive launch title for PlayStation 4.
We present the details of several new techniques that were developed in the quest for next generation image quality, and the talk uses key locations from the game as examples. We discuss interesting aspects of the new content pipeline, next-gen lighting engine, usage of indirect lighting and various shadow rendering optimizations. We also describe the details of volumetric lighting, the real-time reflections system, and the new anti-aliasing solution, and include some details about the image-quality driven streaming system. A common, very important, theme of the talk is the temporal coherency and how it was utilized to reduce aliasing, and improve the rendering quality and image stability above the baseline 1080p resolution seen in other games.
Talk by Fabien Christin from DICE at GDC 2016.
Designing a big city that players can explore by day and by night while improving on the unique visual from the first Mirror's Edge game isn't an easy task.
In this talk, the tools and technology used to render Mirror's Edge: Catalyst will be discussed. From the physical sky to the reflection tech, the speakers will show how they tamed the new Frostbite 3 PBR engine to deliver realistic images with stylized visuals.
They will talk about the artistic and technical challenges they faced and how they tried to overcome them, from the simple light settings and Enlighten workflow to character shading and color grading.
Takeaway
Attendees will get an insight of technical and artistic techniques used to create a dynamic time of day system with updating radiosity and reflections.
Intended Audience
This session is targeted to game artists, technical artists and graphics programmers who want to know more about Mirror's Edge: Catalyst rendering technology, lighting tools and shading tricks.
Optimizing the Graphics Pipeline with Compute, GDC 2016Graham Wihlidal
With further advancement in the current console cycle, new tricks are being learned to squeeze the maximum performance out of the hardware. This talk will present how the compute power of the console and PC GPUs can be used to improve the triangle throughput beyond the limits of the fixed function hardware. The discussed method shows a way to perform efficient "just-in-time" optimization of geometry, and opens the way for per-primitive filtering kernels and procedural geometry processing.
Takeaway:
Attendees will learn how to preprocess geometry on-the-fly per frame to improve rendering performance and efficiency.
Intended Audience:
This presentation is targeting seasoned graphics developers. Experience with DirectX 12 and GCN is recommended, but not required.
CryEngine 3 uses a deferred lighting approach that generates lighting information in screen space textures for efficient rendering of complex scenes on consoles and PC. Key features include storing normals, depth, and material properties in G-buffers, accumulating light contributions from multiple light types into textures, and supporting techniques like image-based lighting, shadow mapping, and real-time global illumination. Deferred rendering helps address shader combination issues and provides more predictable performance.
Talk by Yuriy O’Donnell at GDC 2017.
This talk describes how Frostbite handles rendering architecture challenges that come with having to support a wide variety of games on a single engine. Yuriy describes their new rendering abstraction design, which is based on a graph of all render passes and resources. This approach allows implementation of rendering features in a decoupled and modular way, while still maintaining efficiency.
A graph of all rendering operations for the entire frame is a useful abstraction. The industry can move away from “immediate mode” DX11 style APIs to a higher level system that allows simpler code and efficient GPU utilization. Attendees will learn how it worked out for Frostbite.
Graphics Gems from CryENGINE 3 (Siggraph 2013)Tiago Sousa
This lecture covers rendering topics related to Crytek’s latest engine iteration, the technology which powers titles such as Ryse, Warface, and Crysis 3. Among covered topics, Sousa presented SMAA 1TX: an update featuring a robust and simple temporal antialising component; performant and physically-plausible camera related post-processing techniques such as motion blur and depth of field were also covered.
Past, Present and Future Challenges of Global Illumination in GamesColin Barré-Brisebois
Global illumination (GI) has been an ongoing quest in games. The perpetual tug-of-war between visual quality and performance often forces developers to take the latest and greatest from academia and tailor it to push the boundaries of what has been realized in a game product. Many elements need to align for success, including image quality, performance, scalability, interactivity, ease of use, as well as game-specific and production challenges.
First we will paint a picture of the current state of global illumination in games, addressing how the state of the union compares to the latest and greatest research. We will then explore various GI challenges that game teams face from the art, engineering, pipelines and production perspective. The games industry lacks an ideal solution, so the goal here is to raise awareness by being transparent about the real problems in the field. Finally, we will talk about the future. This will be a call to arms, with the objective of uniting game developers and researchers on the same quest to evolve global illumination in games from being mostly static, or sometimes perceptually real-time, to fully real-time.
Penner pre-integrated skin rendering (siggraph 2011 advances in real-time r...JP Lee
This document summarizes Eric Penner's presentation on pre-integrated skin shading. It discusses advances in real-time subsurface scattering techniques for games. Penner presents an approach called pre-integrated skin shading that bakes subsurface scattering into textures to avoid costly blur passes. This is done by pre-integrating scattering based on surface curvature, normal maps, and shadows to account for different types of incident light gradients on skin. Results show it provides skin rendering quality comparable to more expensive techniques like texture space diffusion with better performance.
This document discusses techniques for lighting and tonemapping in 3D graphics to better simulate the human visual system. It covers gamma correction, which accounts for how monitors display light intensities non-linearly. It also discusses filmic tonemapping, which produces crisp blacks, saturated dark tones, and soft highlights similar to film, by applying a tone curve modeled after photographic film. This provides advantages over other tonemapping operators like Reinhard for reproducing accurate colors across a high dynamic range.
Holy smoke! Faster Particle Rendering using Direct Compute by Gareth ThomasAMD Developer Central
The document discusses faster particle rendering using DirectCompute. It describes using the GPU for particle simulation by taking advantage of its parallel processing capabilities. It discusses using compute shaders to simulate particle behavior, handle collisions via the depth buffer, sort particles using bitonic sort, and render particles in tiles via DirectCompute to avoid overdraw from large particles. Tiled rendering involves culling particles, building per-tile particle indices, and sorting particles within each tile before shading them in parallel threads to composite onto the scene.
The document discusses light pre-pass (LPP) rendering techniques for deferred shading. LPP involves splitting rendering into a geometry pass to store surface properties, a lighting pass to store lit scene data in a light buffer, and a final pass to combine the information. The document describes optimizations for LPP on various hardware, including techniques for efficient light culling and storing data. It also discusses approaches for implementing multisample anti-aliasing with LPP.
The document discusses screen space reflections implemented in the game The Surge. It describes using screen space ray marching against the depth buffer to find reflection points, convolving the scene to accumulate multiple bounces, and using asynchronous compute to overlap rendering passes and improve performance. Key techniques included interleaved rendering, temporal reprojection, and using local data storage. Performance gains were achieved through optimizations like lower resolution rendering and computing mip chains in-place.
Game engines have long been in the forefront of taking advantage of the ever
increasing parallel compute power of both CPUs and GPUs. This talk is about how the
parallel compute is utilized in practice on multiple platforms today in the Frostbite game
engine and how we think the parallel programming models, hardware and software in
the industry should look like in the next 5 years to help us make the best games possible.
Screen Space Decals in Warhammer 40,000: Space MarinePope Kim
My Siggraph 2012 presentation slides on Screen Space Decals in Warhammer 40,000: Space Marine.
SSD is similar to Deferred Decals, so I focused more on the problems we had and how we solved(or avoided) them
This document summarizes techniques for rendering water and frozen surfaces in CryEngine 2. It discusses procedural shaders for simulating water waves, caustics, god rays, shore foam, and frozen surface effects. It also covers techniques for water reflection, refraction, physics interaction, and camera interaction with water surfaces. Optimization strategies are discussed for minimizing draw calls and rendering costs.
Low-level Shader Optimization for Next-Gen and DX11 by Emil PerssonAMD Developer Central
The document discusses low-level shader optimization techniques for next-generation consoles and DirectX 11 hardware. It provides lessons from last year on writing efficient shader code, and examines how modern GPU hardware has evolved over the past 7-8 years. Key points include separating scalar and vector work, using hardware-mapped functions like reciprocals and trigonometric functions, and being aware of instruction throughput and costs on modern GCN-based architectures.
A 2.5D Culling for Forward+ (SIGGRAPH ASIA 2012)Takahiro Harada
The document proposes a 2.5D culling technique to improve light culling in forward+ rendering. It splits the frustum in the depth direction into cells and uses a depth mask to check for overlap between lights and the frustum. This reduces false positives compared to standard screen-space culling. It adds minimal memory usage and computation with less than 10% overhead while improving performance by culling more lights.
We present the technology and ideas behind the unique lighting in MIRRORS EDGE from DICE. Covering how DICE adopted Global illumination into their lighting process and Illuminate Labs current toolbox of state of the art lighting technology.
Taking Killzone Shadow Fall Image Quality Into The Next GenerationGuerrilla
This talk focuses on the technical side of Killzone Shadow Fall, the platform exclusive launch title for PlayStation 4.
We present the details of several new techniques that were developed in the quest for next generation image quality, and the talk uses key locations from the game as examples. We discuss interesting aspects of the new content pipeline, next-gen lighting engine, usage of indirect lighting and various shadow rendering optimizations. We also describe the details of volumetric lighting, the real-time reflections system, and the new anti-aliasing solution, and include some details about the image-quality driven streaming system. A common, very important, theme of the talk is the temporal coherency and how it was utilized to reduce aliasing, and improve the rendering quality and image stability above the baseline 1080p resolution seen in other games.
Talk by Fabien Christin from DICE at GDC 2016.
Designing a big city that players can explore by day and by night while improving on the unique visual from the first Mirror's Edge game isn't an easy task.
In this talk, the tools and technology used to render Mirror's Edge: Catalyst will be discussed. From the physical sky to the reflection tech, the speakers will show how they tamed the new Frostbite 3 PBR engine to deliver realistic images with stylized visuals.
They will talk about the artistic and technical challenges they faced and how they tried to overcome them, from the simple light settings and Enlighten workflow to character shading and color grading.
Takeaway
Attendees will get an insight of technical and artistic techniques used to create a dynamic time of day system with updating radiosity and reflections.
Intended Audience
This session is targeted to game artists, technical artists and graphics programmers who want to know more about Mirror's Edge: Catalyst rendering technology, lighting tools and shading tricks.
Optimizing the Graphics Pipeline with Compute, GDC 2016Graham Wihlidal
With further advancement in the current console cycle, new tricks are being learned to squeeze the maximum performance out of the hardware. This talk will present how the compute power of the console and PC GPUs can be used to improve the triangle throughput beyond the limits of the fixed function hardware. The discussed method shows a way to perform efficient "just-in-time" optimization of geometry, and opens the way for per-primitive filtering kernels and procedural geometry processing.
Takeaway:
Attendees will learn how to preprocess geometry on-the-fly per frame to improve rendering performance and efficiency.
Intended Audience:
This presentation is targeting seasoned graphics developers. Experience with DirectX 12 and GCN is recommended, but not required.
CryEngine 3 uses a deferred lighting approach that generates lighting information in screen space textures for efficient rendering of complex scenes on consoles and PC. Key features include storing normals, depth, and material properties in G-buffers, accumulating light contributions from multiple light types into textures, and supporting techniques like image-based lighting, shadow mapping, and real-time global illumination. Deferred rendering helps address shader combination issues and provides more predictable performance.
Talk by Yuriy O’Donnell at GDC 2017.
This talk describes how Frostbite handles rendering architecture challenges that come with having to support a wide variety of games on a single engine. Yuriy describes their new rendering abstraction design, which is based on a graph of all render passes and resources. This approach allows implementation of rendering features in a decoupled and modular way, while still maintaining efficiency.
A graph of all rendering operations for the entire frame is a useful abstraction. The industry can move away from “immediate mode” DX11 style APIs to a higher level system that allows simpler code and efficient GPU utilization. Attendees will learn how it worked out for Frostbite.
Graphics Gems from CryENGINE 3 (Siggraph 2013)Tiago Sousa
This lecture covers rendering topics related to Crytek’s latest engine iteration, the technology which powers titles such as Ryse, Warface, and Crysis 3. Among covered topics, Sousa presented SMAA 1TX: an update featuring a robust and simple temporal antialising component; performant and physically-plausible camera related post-processing techniques such as motion blur and depth of field were also covered.
Past, Present and Future Challenges of Global Illumination in GamesColin Barré-Brisebois
Global illumination (GI) has been an ongoing quest in games. The perpetual tug-of-war between visual quality and performance often forces developers to take the latest and greatest from academia and tailor it to push the boundaries of what has been realized in a game product. Many elements need to align for success, including image quality, performance, scalability, interactivity, ease of use, as well as game-specific and production challenges.
First we will paint a picture of the current state of global illumination in games, addressing how the state of the union compares to the latest and greatest research. We will then explore various GI challenges that game teams face from the art, engineering, pipelines and production perspective. The games industry lacks an ideal solution, so the goal here is to raise awareness by being transparent about the real problems in the field. Finally, we will talk about the future. This will be a call to arms, with the objective of uniting game developers and researchers on the same quest to evolve global illumination in games from being mostly static, or sometimes perceptually real-time, to fully real-time.
Penner pre-integrated skin rendering (siggraph 2011 advances in real-time r...JP Lee
This document summarizes Eric Penner's presentation on pre-integrated skin shading. It discusses advances in real-time subsurface scattering techniques for games. Penner presents an approach called pre-integrated skin shading that bakes subsurface scattering into textures to avoid costly blur passes. This is done by pre-integrating scattering based on surface curvature, normal maps, and shadows to account for different types of incident light gradients on skin. Results show it provides skin rendering quality comparable to more expensive techniques like texture space diffusion with better performance.
This document discusses techniques for lighting and tonemapping in 3D graphics to better simulate the human visual system. It covers gamma correction, which accounts for how monitors display light intensities non-linearly. It also discusses filmic tonemapping, which produces crisp blacks, saturated dark tones, and soft highlights similar to film, by applying a tone curve modeled after photographic film. This provides advantages over other tonemapping operators like Reinhard for reproducing accurate colors across a high dynamic range.
Holy smoke! Faster Particle Rendering using Direct Compute by Gareth ThomasAMD Developer Central
The document discusses faster particle rendering using DirectCompute. It describes using the GPU for particle simulation by taking advantage of its parallel processing capabilities. It discusses using compute shaders to simulate particle behavior, handle collisions via the depth buffer, sort particles using bitonic sort, and render particles in tiles via DirectCompute to avoid overdraw from large particles. Tiled rendering involves culling particles, building per-tile particle indices, and sorting particles within each tile before shading them in parallel threads to composite onto the scene.
The document discusses light pre-pass (LPP) rendering techniques for deferred shading. LPP involves splitting rendering into a geometry pass to store surface properties, a lighting pass to store lit scene data in a light buffer, and a final pass to combine the information. The document describes optimizations for LPP on various hardware, including techniques for efficient light culling and storing data. It also discusses approaches for implementing multisample anti-aliasing with LPP.
The document discusses screen space reflections implemented in the game The Surge. It describes using screen space ray marching against the depth buffer to find reflection points, convolving the scene to accumulate multiple bounces, and using asynchronous compute to overlap rendering passes and improve performance. Key techniques included interleaved rendering, temporal reprojection, and using local data storage. Performance gains were achieved through optimizations like lower resolution rendering and computing mip chains in-place.
Game engines have long been in the forefront of taking advantage of the ever
increasing parallel compute power of both CPUs and GPUs. This talk is about how the
parallel compute is utilized in practice on multiple platforms today in the Frostbite game
engine and how we think the parallel programming models, hardware and software in
the industry should look like in the next 5 years to help us make the best games possible.
Screen Space Decals in Warhammer 40,000: Space MarinePope Kim
My Siggraph 2012 presentation slides on Screen Space Decals in Warhammer 40,000: Space Marine.
SSD is similar to Deferred Decals, so I focused more on the problems we had and how we solved(or avoided) them
This document summarizes techniques for rendering water and frozen surfaces in CryEngine 2. It discusses procedural shaders for simulating water waves, caustics, god rays, shore foam, and frozen surface effects. It also covers techniques for water reflection, refraction, physics interaction, and camera interaction with water surfaces. Optimization strategies are discussed for minimizing draw calls and rendering costs.
Low-level Shader Optimization for Next-Gen and DX11 by Emil PerssonAMD Developer Central
The document discusses low-level shader optimization techniques for next-generation consoles and DirectX 11 hardware. It provides lessons from last year on writing efficient shader code, and examines how modern GPU hardware has evolved over the past 7-8 years. Key points include separating scalar and vector work, using hardware-mapped functions like reciprocals and trigonometric functions, and being aware of instruction throughput and costs on modern GCN-based architectures.
A 2.5D Culling for Forward+ (SIGGRAPH ASIA 2012)Takahiro Harada
The document proposes a 2.5D culling technique to improve light culling in forward+ rendering. It splits the frustum in the depth direction into cells and uses a depth mask to check for overlap between lights and the frustum. This reduces false positives compared to standard screen-space culling. It adds minimal memory usage and computation with less than 10% overhead while improving performance by culling more lights.
We present the technology and ideas behind the unique lighting in MIRRORS EDGE from DICE. Covering how DICE adopted Global illumination into their lighting process and Illuminate Labs current toolbox of state of the art lighting technology.
Epic Games Japan hold a meeting named "Lightmass Deep Dive" on July 30, 2016.
A Japanese architectural artist, Kenichi Makaya, created Casa Barragan on UE4. the architecture is a house of Mexican Architect, Luis Barragan. And he gave a presentation about making of the scene. .
CASA BARRAGAN Unreal Engine4
https://www.youtube.com/watch?v=Y7r28nO4iDU&feature=youtu.be
EGJ translated the slide for the presentation to English and published it.
This document describes a rendering technique called Forward+ that brings the benefits of both forward and deferred rendering. Forward+ uses a depth prepass and light culling pass to limit the number of lights evaluated per pixel in the shading pass. This results in better performance than deferred rendering while allowing the use of many lights and complex materials like deferred. The technique is demonstrated to render over 3000 dynamic lights in real-time on a Radeon HD 7970 GPU.
With the highest-quality video options, Battlefield 3 renders its Screen-Space Ambient Occlusion (SSAO) using the Horizon-Based Ambient Occlusion (HBAO) algorithm. For performance reasons, the HBAO is rendered in half resolution using half-resolution input depths. The HBAO is then blurred in full resolution using a depth-aware blur. The main issue with such low-resolution SSAO rendering is that it produces objectionable flickering for thin objects (such as alpha-tested foliage) when the camera and/or the geometry are moving. After a brief recap of the original HBAO pipeline, this talk describes a novel temporal filtering algorithm that fixed the HBAO flickering problem in Battlefield 3 with a 1-2% performance hit in 1920x1200 on PC (DX10 or DX11). The talk includes algorithm and implementation details on the temporal filtering part, as well as generic optimizations for SSAO blur pixel shaders. This is a joint work between Louis Bavoil (NVIDIA) and Johan Andersson (DICE).
This document summarizes a talk on deferred rendering in the video game Killzone 2. It discusses the deferred rendering process, including filling a G-Buffer with surface properties, accumulating lighting per-pixel based on the G-Buffer, and using multiple rendering passes for different effects. It also describes optimizations like using the SPUs for tasks in parallel and conditionally rendering lights based on their visibility.
Philip Hammer of DECK13 Interactive GmbH presented techniques used in rendering The Surge. Key points included: using physically based rendering with GGX BRDF; clustered deferred rendering with lighting computed on GPU; deferred decals for details; and optimizing shaders for AMD GCN occupancy. Future work focuses on new deferred approaches like bindless decals, improved materials, and migrating to Vulkan and DX12.
Upcoming rendering technology including scriptable render pipelines, advanced lighting options and more.
Presenter: Arisa Scott (Graphis Product Manager, Unity Technologies)
The document discusses foveated ray tracing for virtual reality using multiple GPUs. It describes implementing a ray tracer across multiple GPU kernels rather than a single large kernel. This allows for better performance, maintainability, and debugging. Foveated rendering is also discussed as a technique to reduce computation by ray tracing fewer samples in the visual periphery compared to the high resolution fovea. Implementing these techniques can help improve performance for ray tracing virtual reality scenes on multiple GPUs.
A Practical and Robust Bump-mapping Technique for Today’s GPUs (slides)Mark Kilgard
I presented this on May 8, 2000 to the Stanford Shading Group in Palo Alto, California. The presentation explains how to use the, then state-of-the-art, NVIDIA register combiners of the GeForce 256 to implement per-pixel bump mapping, a technique that is now ubiquitous in most 3D computer games.
This talk is about our experiences gained during making of the Killzone Shadow Fall announcement demo.
We’ve gathered all the hard data about our assets, memory, CPU and GPU usage and a whole bunch of tricks.
The goal of talk is to help you to form a clear picture of what’s already possible to achieve on PS4.
This talk provides additional details around the hybrid real-time rendering pipeline we developed at SEED for Project PICA PICA.
At Digital Dragons 2018, we presented how leveraging Microsoft's DirectX Raytracing enables intuitive implementations of advanced lighting effects, including soft shadows, reflections, refractions, and global illumination. We also dove into the unique challenges posed by each of those domains, discussed the tradeoffs, and evaluated where raytracing fits in the spectrum of solutions.
This document provides an overview of deferred shading techniques. It begins by explaining why deferred shading is used, including decoupling scene geometry and light complexity. It then covers the basic approach of deferred shading, using a G-buffer to store lighting properties and combining them later. The document discusses techniques like shadow mapping and shadow volumes for adding shadows. It also covers extensions like light pre-pass deferred shading, various anti-aliasing approaches, inferred shading for transparency, and tile-based deferred shading. Examples are given throughout and the techniques are compared.
This document summarizes the rendering techniques used in the video game Space Marine. It discusses the goals of supporting multiple platforms while maintaining frame rate. It describes the implementation of deferred lighting using a single render target to store G-buffer information. Key techniques include depth pre-pass, deferred shadow mapping, screen space ambient occlusion, character fill lights, and ambient saturation. Performance optimizations included approximating the Oren-Nayar lighting model and drawing lights in multiple passes with stencil masking.
Practical spherical harmonics based PRT methods.ppsxMannyK4
This document discusses practical spherical harmonics based precomputed radiance transfer (PRT) methods. It outlines background on ambient occlusion and HL2 basis, goals of diffuse self-shadowing and generalizing to interreflections. It describes using spherical harmonics to project visibility functions and environment maps to generate PRT coefficients, and reconstructing lighting in vertex shaders. It also discusses compressing PRT data from 36 bytes to 4-9 bytes per sample using quantization, and demonstrates the methods in game scenes at 30+ fps.
This document summarizes key rendering features in CryEngine 3 and Crysis 2 across PC and console platforms. It discusses gamma correct HDR rendering, lighting, shadows, screen space ambient occlusion and global illumination, deferred decals, character rendering, water rendering, post-processing effects like motion blur, anti-aliasing using post MSAA, system specifications and colors matching across platforms, and stereo rendering. It highlights the engineering efforts required to optimize the engine for consoles while maintaining quality and pushing technological limits on all platforms.
SIGGRAPH 2018 - Full Rays Ahead! From Raster to Real-Time RaytracingElectronic Arts / DICE
In this presentation part of the "Introduction to DirectX Raytracing" course, Colin Barré-Brisebois of SEED discusses some of the challenges the team had to go through when going from raster to real-time raytracing for Project PICA PICA.
This document discusses using the SPUs on the PlayStation 3 to perform deferred shading for Battlefield 3, offloading work from the GPU. It provides an overview of the SPU-based deferred shading approach, including breaking the screen into tiles that are processed by multiple SPUs in parallel. Algorithmic optimizations discussed include aggressive light culling, material classification, and using lookup tables. Code optimizations focus on data layout, instruction scheduling, and generating shader permutations at compile time. Best practices include tools for rapid development and profiling permutation usage.
The rendering technology of 'lords of the fallen' philip hammerMary Chan
This session is about some important aspects of the rendering pipeline of the upcoming Action-RPG "Lords of the Fallen", developed by Deck13 Interactive and CI Games for PS4, Xbox One, and PC. The topic covers several closely related areas like the deferred rendering system, image-based lighting using deferred cubemaps, deferred decals, and an approach for transparent object lighting and shadowing. More specifically, the lecture will cover several strategies to keep the G-Buffer as small and efficient as possible. This includes the description of a G-Buffer attribute-packing scheme and how per-material attributes can be exposed using special parameter lookup tables. Furthermore, a traditional problem of most deferred rendering systems is the seamless integration of transparent objects into the lighting. The lecture will present several ways to approach this problem, for example multi-pass deferred rendering, coloured transparent shadows, and a novel method for deferred particle lighting.
How the Universal Render Pipeline unlocks games for you - Unite Copenhagen 2019Unity Technologies
Learn how the Boat Attack demo was created using the Universal Render Pipeline. These slides offer an in-depth look at the features used in the demo, including Shader Graph, Custom Render Passes, Camera Callback, and more.
Speaker:
Andre McGrail - Unity Technologies
Watch the session on YouTube: https://youtu.be/ZPQdm1T7aRs
This document summarizes DirectX 10/11 visual effects and the compute shader capabilities. It introduces volumetric particle shadowing and horizon based ambient occlusion effects that can be achieved with DirectX 10. It then discusses how compute shaders on DirectX 10 hardware enable new effects by allowing general purpose computation on the GPU. Examples of particle systems, n-body simulations, and image processing are provided.
Recap on some of the key challenges for displays, and what future displays may look like.
The presentation started at the experience, and the "Why ?" , we're all passionate about Visual Experience and Displays as the primary communication portal to our increasingly digital world.
Then, from the ground up: looking at trends and issues at the Pixel-level, the Interface-level, and the Graphics Chip level. And what challenges are ahead for both.
Covering what the faster than Moore's law growth in display TFT transistor will mean, and some of the key driving factors for future displays. Additionally, looking at HDR, and evaluating proposed technologies (such as emissive color filters).
Concluding with a high-level introduction to a major display challenge, which has made headlines internationally - and requires attention, in order to safely proliferate displays innovations to the next generation, in the visual IoT era.
https://pixeldisplay.com/news/thread/?id=65
- The document discusses advanced rendering techniques for virtual reality. It outlines Valve's research into VR hardware and software over the past 3 years.
- Key topics covered include stereo rendering methods, timing techniques like prediction and avoiding GPU bubbles, reducing specular aliasing using normal maps and roughness values, and geometric specular aliasing. The goal is high quality rendering at low GPU specifications to support widespread adoption of VR.
Horizon Zero Dawn: An Open World QA Case StudyGuerrilla
Download the full presentation here: http://www.guerrilla-games.com/
Abstract: A retrospective of how Developer (Guerrilla) and Publisher QA (SIE) worked together in partnership to help deliver a AAA experience. The presentation will focus on the victories and the challenges we faced as part of testing such an ambitious open-world title, and leveraging automated test solutions and telemetry to inform exploratory test strategy. The presentation will talk about how we managed teams over a 21 month testing lifecycle, with a team ranging from small internal test teams, before scaling up to a team of 70+ people across the globe with tens of thousands of test hours invested. The presentation will cover the successes and challenges relating to our people; early engagement, communication, trust, agility and collaboration. Our processes; risk management, test strategy, and post launch support, and our tools; Telemetry, Risk Registers, Worldwide build delivery.
Horizon Zero Dawn: A Game Design Post-MortemGuerrilla
Download the full presentation here: http://www.guerrilla-games.com/read/horizon-zero-dawn-a-game-design-postmortem
Abstract: Going through early prototypes and delving into design decisions and processes that shaped development of the game, this talk gives insight into the journey game design went through while moving from an ambitious paper concept to a finished open world action RPG, with all of the small and large design decisions and choices that have to be made along the way.
Putting the AI Back Into Air: Navigating the Air Space of Horizon Zero DawnGuerrilla
Download the full presentation here: http://www.guerrilla-games.com/read/putting-the-ai-back-into-air
Abstract: In this talk, we explain the technology behind the aerial navigation in Horizon Zero Dawn. In Horizon, we've represented the flyable air space by use of a run-time generated height map. Queries can be done on this height map for positional information and navigation. We present a hierarchical path planning algorithm for finding a progressively more detailed path between two points. Additionally, we will touch on some gameplay related subjects, to show the additional challenges we faced in implementing the different flying behaviors, such as transitioning from air to ground and guided crash-landing.
Decima Engine: Visibility in Horizon Zero DawnGuerrilla
Download the full presentation here: http://www.guerrilla-games.com/read/decima-engine-visibility-in-horizon-zero-dawn
Abstract: Horizon Zero Dawn presented the Decima engine with new challenges in rendering large and dense environments. In particular, we needed to be able to quickly query a very large set of potential objects to find which should be visible. This talk looks at the problems we faced moving from more constrained Killzone levels to Horizon's open world, and our approach to fast visibility queries using the PS4's asynchronous compute hardware. It also covers our recent work on efficiently collecting batches of object instances during the query to reduce load on the entire rendering pipeline. A basic familiarity with GPU compute will be helpful to get the most out of this talk.
Building Non-Linear Narratives in Horizon Zero DawnGuerrilla
The document describes the quest system used in Horizon: Zero Dawn. Quests are built as a graph of steps (plot points) linked by cause and effect. Each step is defined by an action the player must perform, chosen from a limited set of verbs. This allows for nonlinear quests while keeping creation simple. The system was successful, creating over 150 quests, but has issues with reverting player actions and could improve its verb set.
Player Traversal Mechanics in the Vast World of Horizon Zero DawnGuerrilla
Download the original PowerPoint presentation here: http://www.guerrilla-games.com/read/player-traversal-mechanics-in-the-vast-world-of-horizon-zero-dawn
Paul van Grinsven shows what is needed to make Aloy traverse the vast world of Horizon Zero Dawn, with its complex and organic environments. Various traversal mechanics are covered from a gameplay programmer's perspective, focusing on the interaction between code and animations. The different systems and techniques involved in the implementation of these mechanics are explained, and Van Grinsven looks at the underlying reasoning and design decisions.
The Real-time Volumetric Cloudscapes of Horizon Zero DawnGuerrilla
The document provides details on the cloud system developed for the video game Horizon Zero Dawn. Key points:
- Clouds were procedurally generated using noise textures and gradients to define shapes rather than pre-made assets, allowing them to evolve over time as part of the weather system.
- Cloud modeling involved sampling noises to build density and add detail, with different noises used to define cloud types and add turbulence.
- A weather system controlled cloud coverage, type, and precipitation to drive cloud evolution based on location. It was overridden for cutscenes with custom textures.
- Lighting approximated key effects like scattering and cloud edges to give a realistic look within performance constraints.
The Production and Visual FX of Killzone Shadow FallGuerrilla
With the arrival of next generation consoles comes more processing power and memory... and with that, a whole lot more possibilities. Take an exclusive look behind the scenes of this Playstation 4 launch title and hear about the challenges the team were faced with during production. Learn more about the engine's new lighting and shading tech and take a closer look at how some of the effects like dynamic dust, rain and various particle effects are achieved.
Out of Sight, Out of Mind: Improving Visualization of AI InfoGuerrilla
When AI was simple, debugging consisted of confirming that the character was simply doing the one thing you expected. Over time, debugging moved away from "what" and became more about "why?" or "why not?" The collision of information about the agents, the environment, the player and the game state creates an enormous amount of data that can affect the decisions that the characters make. In this presentation some features of ReView will be demonstrated as how it was used for debugging the multi-player bots in Killzone Shadow Fall.
The Next-Gen Dynamic Sound System of Killzone Shadow FallGuerrilla
We'll describe our new audio run-time and toolset that was built specifically for Killzone Shadow Fall on PlayStation 4. However, the ideas used are widely applicable and the focus is on integration with the game engine and fast iteration, with special attention to shortcuts to get your creative spark translated into in-game sounds as quickly as possible. We will demonstrate our implementation of these demands, which is a next-gen sound system that was designed to combine artistic freedom with high run-time performance. It should be interesting to both creative as well as technical minds who are looking for inspiration on what to expect from a modern sound design environment. To emphasize the performance advantage, we will show the point of view of both the sound designer and the programmer simultaneously. We will use examples starting with simple sounds and build up to increasingly more complex dynamic ones to illustrate the benefits of this unique approach.
Killzone Shadow Fall: Creating Art Tools For A New Generation Of GamesGuerrilla
This talk describes the tool improvements Guerrilla Games implemented to make Killzone Shadow Fall shine on the PlayStation 4. It highlights additions to the Maya pipeline, such as Viewport 2.0, Maya's coupling with in-game updates and in-engine deferred renderer features including real-time shadow-casting, volumetric lighting, hardware instancing, lens flares and color grading.
The presentation describes Physically Based Lighting Pipeline of Killzone : Shadow Fall - Playstation 4 launch title. The talk covers studio transition to a new asset creation pipeline, based on physical properties. Moreover it describes light rendering systems used in new 3D engine built from grounds up for upcoming Playstation 4 hardware. A novel real time lighting model, simulating physically accurate Area Lights, will be introduced, as well as hybrid - ray-traced / image based reflection system.
We believe that physically based rendering is a viable way to optimize asset creation pipeline efficiency and quality. It also enables the rendering quality to reach a new level that is highly flexible depending on art direction requirements.
A Hierarchically-Layered Multiplayer Bot System for a First-Person ShooterGuerrilla
This thesis research was the basis for Killzone 2’s multi-player bots. It proposes a hierarchically structured system to control the multiplayer bots, using one AI commander for each faction, each commanding several group leaders, each commanding several individual bots. The system is evaluated on the basis of a fully implemented AI for one of the multiplayer game modes.
The document discusses occlusion culling techniques used in Killzone 3. It describes using the SPUs to render occluders to a depth buffer and then test scene objects against the buffer. Initial approaches involved rendering existing scene geometry but this resulted in too much data. The final approach used simplified geometry tagged by artists as important occluders. Testing modes helped debug and visualize the occlusion culling results.
Release This! Tools for a Smooth Release CycleGuerrilla
The document describes the release process challenges at Guerrilla Games and how they developed release tools to help manage a smoother release cycle for their game. It discusses how they previously struggled with releasing on branches but now work on the main branch and integrate select fixes to a release branch. It then details the release tools they created, which allow visibility into changes, requesting integrations, and managing dependencies to facilitate the bi-weekly release process and marathon of a full game release. The tools took two weeks to initially develop and help provide needed control and information for managing their large project releases.
This presentation the describes architecture behind the multiplayer bot AI for Killzone 2. As part of this, it describes the hierarchical task network (HTN) planner, terrain analysis, and the way commander squad and individual bot AI work together for dynamic tactical gameplay.
Automatic Annotations in Killzone 3 and BeyondGuerrilla
Voxel-based technologies have been successfully used to extract navigation data for NPCs. This talk shows how voxel data was used to automatically extract cover planes and more information in Killzone 3’s toolset.
The document provides an overview of Guerrilla Games' production session presentation about the making of Killzone 3. It introduces the speakers and gives a brief history of Guerrilla Games and the Killzone franchise. It then outlines the topics that will be covered in the presentation, including the game engine and technical challenges, building virtual worlds, handling interactivity, and creating cinematics using the game engine. The goal is to illustrate the enormous technological progress made in games over the last decade and showcase some of the techniques Guerrilla Games developed to render more and create faster for Killzone 3.
The PlayStation®3’s SPUs in the Real World: A KILLZONE 2 Case StudyGuerrilla
This session describes many of the SPU techniques used in the engine used to develop KILLZONE 2 for the PlayStation 3. It first focuses on individual techniques for SPU's as well as covering how these techniques work together in the game engine each frame.
Dynamic tactical position evaluation functions are procedures that use static and dynamic information about the world to make tactical decisions at run-time. By having NPCs use a procedural description of the solution to a tactical decision, the solution can vary depending on the inputs. Using static information about the world as input makes sure the tactics are applicable at any place on the map. Using dynamic inputs makes sure they are applicable in multiple situations.
Sara Saffari: Turning Underweight into Fitness Success at 23get joys
Uncover the remarkable journey of Sara Saffari, whose transformation from underweight struggles to being recognized as a fitness icon at 23 underscores the importance of perseverance, discipline, and embracing a healthy lifestyle.
The Future of Independent Filmmaking Trends and Job OpportunitiesLetsFAME
The landscape of independent filmmaking is evolving at an unprecedented pace. Technological advancements, changing consumer preferences, and new distribution models are reshaping the industry, creating new opportunities and challenges for filmmakers and film industry jobs. This article explores the future of independent filmmaking, highlighting key trends and emerging job opportunities.
The cats, Sunny and Rishi, are brothers who live with their sister, Jessica, and their grandmother, Susie. They work as cleaners but wish to seek other kinds of employment that are better than their current jobs. New career adventures await Sunny and Rishi!
Morgan Freeman is Jimi Hendrix: Unveiling the Intriguing Hypothesisgreendigital
In celebrity mysteries and urban legends. Few narratives capture the imagination as the hypothesis that Morgan Freeman is Jimi Hendrix. This fascinating theory posits that the iconic actor and the legendary guitarist are, in fact, the same person. While this might seem like a far-fetched notion at first glance. a deeper exploration reveals a rich tapestry of coincidences, speculative connections. and a surprising alignment of life events fueling this captivating hypothesis.
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Introduction to the Hypothesis: Morgan Freeman is Jimi Hendrix
The idea that Morgan Freeman is Jimi Hendrix stems from a mix of historical anomalies, physical resemblances. and a penchant for myth-making that surrounds celebrities. While Jimi Hendrix's official death in 1970 is well-documented. some theorists suggest that Hendrix did not die but instead reinvented himself as Morgan Freeman. a man who would become one of Hollywood's most revered actors. This article aims to delve into the various aspects of this hypothesis. examining its origins, the supporting arguments. and the cultural impact of such a theory.
The Genesis of the Theory
Early Life Parallels
The hypothesis that Morgan Freeman is Jimi Hendrix begins by comparing their early lives. Jimi Hendrix, born Johnny Allen Hendrix in Seattle, Washington, on November 27, 1942. and Morgan Freeman, born on June 1, 1937, in Memphis, Tennessee, have lived very different lives. But, proponents of the theory suggest that the five-year age difference is negligible and point to Freeman's late start in his acting career as evidence of a life lived before under a different identity.
The Disappearance and Reappearance
Jimi Hendrix's death in 1970 at the age of 27 is a well-documented event. But, theorists argue that Hendrix's death staged. and he reemerged as Morgan Freeman. They highlight Freeman's rise to prominence in the early 1970s. coinciding with Hendrix's supposed death. Freeman's first significant acting role came in 1971 on the children's television show "The Electric Company," a mere year after Hendrix's passing.
Physical Resemblances
Facial Structure and Features
One of the most compelling arguments for the hypothesis that Morgan Freeman is Jimi Hendrix lies in the physical resemblance between the two men. Analyzing photographs, proponents point out similarities in facial structure. particularly the cheekbones and jawline. Both men have a distinctive gap between their front teeth. which is rare and often highlighted as a critical point of similarity.
Voice and Mannerisms
Supporters of the theory also draw attention to the similarities in their voices. Jimi Hendrix known for his smooth, distinctive speaking voice. which, according to some, resembles Morgan Freeman's iconic, deep, and soothing voice. Additionally, both men share certain mannerisms. such as their calm demeanor and eloquent speech patterns.
Artistic Parallels
Musical and Acting Talents
Jimi Hendrix was regarded as one of t
Leonardo DiCaprio Super Bowl: Hollywood Meets America’s Favorite Gamegreendigital
Introduction
Leonardo DiCaprio is synonymous with Hollywood stardom and acclaimed performances. has a unique connection with one of America's most beloved sports events—the Super Bowl. The "Leonardo DiCaprio Super Bowl" phenomenon combines the worlds of cinema and sports. drawing attention from fans of both domains. This article delves into the multifaceted relationship between DiCaprio and the Super Bowl. exploring his appearances at the event, His involvement in Super Bowl advertisements. and his cultural impact that bridges the gap between these two massive entertainment industries.
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Leonardo DiCaprio: The Hollywood Icon
Early Life and Career Beginnings
Leonardo Wilhelm DiCaprio was born in Los Angeles, California, on November 11, 1974. His journey to stardom began at a young age with roles in television commercials and educational programs. DiCaprio's breakthrough came with his portrayal of Luke Brower in the sitcom "Growing Pains" and later as Tobias Wolff in "This Boy's Life" (1993). where he starred alongside Robert De Niro.
Rise to Stardom
DiCaprio's career skyrocketed with his performance in "What's Eating Gilbert Grape" (1993). earning him his first Academy Award nomination. He continued to gain acclaim with roles in "Romeo + Juliet" (1996) and "Titanic" (1997). the latter of which cemented his status as a global superstar. Over the years, DiCaprio has showcased his versatility in films like "The Aviator" (2004). "Start" (2010), and "The Revenant" (2015), for which he finally won an Academy Award for Best Actor.
Environmental Activism
Beyond his film career, DiCaprio is also renowned for his environmental activism. He established the Leonardo DiCaprio Foundation in 1998, focusing on global conservation efforts. His commitment to ecological issues often intersects with his public appearances. including those related to the Super Bowl.
The Super Bowl: An American Institution
History and Significance
The Super Bowl is the National Football League (NFL) championship game. is one of the most-watched sporting events in the world. First played in 1967, the Super Bowl has evolved into a cultural phenomenon. featuring high-profile halftime shows, memorable advertisements, and significant media coverage. The event attracts a diverse audience, from avid sports fans to casual viewers. making it a prime platform for celebrities to appear.
Entertainment and Advertisements
The Super Bowl is not only about football but also about entertainment. The halftime show features performances by some of the biggest names in the music industry. while the commercials are often as anticipated as the game itself. Companies invest millions in Super Bowl ads. creating iconic and sometimes controversial commercials that capture public attention.
Leonardo DiCaprio's Super Bowl Appearances
A Celebrity Among the Fans
Leonardo DiCaprio's presence at the Super Bowl has noted several times. As a high-profile celebrity. DiCaprio attracts
Tom Cruise Daughter: An Insight into the Life of Suri Cruisegreendigital
Tom Cruise is a name that resonates with global audiences for his iconic roles in blockbuster films and his dynamic presence in Hollywood. But, beyond his illustrious career, Tom Cruise's personal life. especially his relationship with his daughter has been a subject of public fascination and media scrutiny. This article delves deep into the life of Tom Cruise daughter, Suri Cruise. Exploring her upbringing, the influence of her parents, and her current life.
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Introduction: The Fame Surrounding Tom Cruise Daughter
Suri Cruise, the daughter of Tom Cruise and Katie Holmes, has been in the public eye since her birth on April 18, 2006. Thanks to the media's relentless coverage, the world watched her grow up. As the daughter of one of Hollywood's most renowned actors. Suri has had a unique upbringing marked by privilege and scrutiny. This article aims to provide a comprehensive overview of Suri Cruise's life. Her relationship with her parents, and her journey so far.
Early Life of Tom Cruise Daughter
Birth and Immediate Fame
Suri Cruise was born in Santa Monica, California. and from the moment she came into the world, she was thrust into the limelight. Her parents, Tom Cruise and Katie Holmes. Were one of Hollywood's most talked-about couples at the time. The birth of their daughter was a anticipated event. and Suri's first public appearance in Vanity Fair magazine set the tone for her life in the public eye.
The Impact of Celebrity Parents
Having celebrity parents like Tom Cruise and Katie Holmes comes with its own set of challenges and privileges. Suri Cruise's early life marked by a whirlwind of media attention. paparazzi, and public interest. Despite the constant spotlight. Her parents tried to provide her with an upbringing that was as normal as possible.
The Influence of Tom Cruise and Katie Holmes
Tom Cruise's Parenting Style
Tom Cruise known for his dedication and passion in both his professional and personal life. As a father, Cruise has described as loving and protective. His involvement in the Church of Scientology, but, has been a point of contention and has influenced his relationship with Suri. Cruise's commitment to Scientology has reported to be a significant factor in his and Holmes' divorce and his limited public interactions with Suri.
Katie Holmes' Role in Suri's Life
Katie Holmes has been Suri's primary caregiver since her separation from Tom Cruise in 2012. Holmes has provided a stable and grounded environment for her daughter. She moved to New York City with Suri to start a new chapter in their lives away from the intense scrutiny of Hollywood.
Suri Cruise: Growing Up in the Spotlight
Media Attention and Public Interest
From stylish outfits to everyday activities. Suri Cruise has been a favorite subject for tabloids and entertainment news. The constant media attention has shaped her childhood. Despite this, Suri has managed to maintain a level of normalcy, thanks to her mother's efforts.
Leonardo DiCaprio House: A Journey Through His Extravagant Real Estate Portfoliogreendigital
Introduction
Leonardo DiCaprio, A name synonymous with Hollywood excellence. is not only known for his stellar acting career but also for his impressive real estate investments. The "Leonardo DiCaprio house" is a topic that piques the interest of many. as the Oscar-winning actor has amassed a diverse portfolio of luxurious properties. DiCaprio's homes reflect his varied tastes and commitment to sustainability. from retreats to historic mansions. This article will delve into the fascinating world of Leonardo DiCaprio's real estate. Exploring the details of his most notable residences. and the unique aspects that make them stand out.
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Leonardo DiCaprio House: Malibu Beachfront Retreat
A Prime Location
His Malibu beachfront house is one of the most famous properties in Leonardo DiCaprio's real estate portfolio. Situated in the exclusive Carbon Beach. also known as "Billionaire's Beach," this property boasts stunning ocean views and private beach access. The "Leonardo DiCaprio house" in Malibu is a testament to the actor's love for the sea and his penchant for luxurious living.
Architectural Highlights
The Malibu house features a modern design with clean lines, large windows. and open spaces blending indoor and outdoor living. The expansive deck and patio areas provide ample space for entertaining guests or enjoying a quiet sunset. The house has state-of-the-art amenities. including a gourmet kitchen, a home theatre, and many guest suites.
Sustainable Features
Leonardo DiCaprio is a well-known environmental activist. whose Malibu house reflects his commitment to sustainability. The property incorporates solar panels, energy-efficient appliances, and sustainable building materials. The landscaping around the house is also designed to be water-efficient. featuring drought-resistant plants and intelligent irrigation systems.
Leonardo DiCaprio House: Hollywood Hills Hideaway
Privacy and Seclusion
Another remarkable property in Leonardo DiCaprio's collection is his Hollywood Hills house. This secluded retreat offers privacy and tranquility. making it an ideal escape from the hustle and bustle of Los Angeles. The "Leonardo DiCaprio house" in Hollywood Hills nestled among lush greenery. and offers panoramic views of the city and surrounding landscapes.
Design and Amenities
The Hollywood Hills house is a mid-century modern gem characterized by its sleek design and floor-to-ceiling windows. The open-concept living space is perfect for entertaining. while the cozy bedrooms provide a comfortable retreat. The property also features a swimming pool, and outdoor dining area. and a spacious deck that overlooks the cityscape.
Environmental Initiatives
The Hollywood Hills house incorporates several green features that are in line with DiCaprio's environmental values. The home has solar panels, energy-efficient lighting, and a rainwater harvesting system. Additionally, the landscaping designed to support local wildlife and promote
Taylor Swift: Conquering Fame, Feuds, and Unmatched Success | CIO Women MagazineCIOWomenMagazine
From country star to global phenomenon, delve into Taylor Swift's incredible journey. Explore chart-topping hits, feuds, & her rise to billionaire status!
The Evolution and Impact of Tom Cruise Long Hairgreendigital
Tom Cruise is one of Hollywood's most iconic figures, known for his versatility, charisma, and dedication to his craft. Over the decades, his appearance has been almost as dynamic as his filmography, with one aspect often drawing significant attention: his hair. In particular, Tom Cruise long hair has become a defining feature in various phases of his career. symbolizing different roles and adding layers to his on-screen characters. This article delves into the evolution of Tom Cruise long hair, its impact on his roles. and its influence on popular culture.
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Introduction
Tom Cruise long hair has often been more than a style choice. it has been a significant element of his persona both on and off the screen. From the tousled locks of the rebellious Maverick in "Top Gun" to the sleek, sophisticated mane in "Mission: Impossible II." Cruise's hair has played a pivotal role in shaping his image and the characters he portrays. This article explores the various stages of Tom Cruise long hair. Examining how this iconic look has evolved and influenced his career and broader fashion trends.
Early Days: The Emergence of a Style Icon
The 1980s: The Birth of a Star
In the early stages of his career during the 1980s, Tom Cruise sported a range of hairstyles. but in "Top Gun" (1986), his hair began to gain significant attention. Though not long by later standards, his hair in this film was longer than the military crew cuts associated with fighter pilots. adding a rebellious edge to his character, Pete "Maverick" Mitchell.
Risky Business: The Transition Begins
In "Risky Business" (1983). Tom Cruise's hair was short but longer than the clean-cut styles dominant at the time. This look complemented his role as a high school student stepping into adulthood. embodying a sense of youthful freedom and experimentation. It was a precursor to the more dramatic hair transformations in his career.
The 1990s: Experimentation and Iconic Roles
Far and Away: Embracing Length
One of the first films in which Tom Cruise embraced long hair was "Far and Away" (1992). Playing the role of Joseph. an Irish immigrant in 1890s America, Cruise's long, hair added authenticity to his character's rugged and determined persona. This look was a stark departure from his earlier. more polished styles and marked the beginning of a more adventurous phase in his hairstyle choices.
Interview with the Vampire: Gothic Elegance
In "Interview with the Vampire" (1994). Tom Cruise long hair reached new lengths of sophistication and elegance. Portraying the vampire Lestat. Cruise's flowing blonde locks were integral to the character's ethereal and timeless allure. This hairstyle not only suited the gothic aesthetic of the film but also showcased Cruise's ability to transform his appearance for a role.
Mission: Impossible II: The Pinnacle of Long Hair
One of the most memorable instances of Tom Cruise long hair came in "Mission: Impossible II" (2000). His character, Ethan
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From Teacher to OnlyFans: Brianna Coppage's Story at 28get joys
At 28, Brianna Coppage left her teaching career to become an OnlyFans content creator. This bold move into digital entrepreneurship allowed her to harness her creativity and build a new identity. Brianna's experience highlights the intersection of technology and personal branding in today's economy.
5. Forward Rendering – Single Pass
‣ For each object
‣ Find all lights affecting object
‣ Render all lighting and material in a single shader
‣ Shader combinations explosion
‣ Shader for each material vs. light setup combination
‣ All shadow maps have to be in memory
‣ Wasted shader cycles
‣ Invisible surfaces / overdraw
‣ Triangles outside light influence
GUERRILLA | DEVELOP CONFERENCE | JULY ‘07 | BRIGHTON
6. Forward Rendering – Multi-Pass
‣ For each light
‣ For each object
‣ Add lighting from single light to frame buffer
‣ Shader for each material and light type
‣ Wasted shader cycles
‣ Invisible surfaces / overdraw
‣ Triangles outside light influence
‣ Lots of repeated work
‣ Full vertex shaders, texture filtering
GUERRILLA | DEVELOP CONFERENCE | JULY ‘07 | BRIGHTON
7. Deferred Rendering
‣ For each object
‣ Render surface properties into the G-Buffer
‣ For each light and lit pixel
‣ Use G-Buffer to compute lighting
‣ Add result to frame buffer
‣ Simpler shaders
‣ Scales well with number of lit pixels
‣ Does not handle transparent objects
GUERRILLA | DEVELOP CONFERENCE | JULY ‘07 | BRIGHTON
18. G-Buffer : Our approach
R8 G8 B8 A8
Depth 24bpp Stencil DS
Lighting Accumulation RGB Intensity RT0
Normal X (FP16) Normal Y (FP16) RT1
Motion Vectors XY Spec-Power Spec-Intensity RT2
Diffuse Albedo RGB Sun-Occlusion RT3
‣ MRT - 4xRGBA8 + 24D8S (approx 36 MB)
‣ 720p with Quincunx MSAA
‣ Position computed from depth buffer and pixel coordinates
GUERRILLA | DEVELOP CONFERENCE | JULY ‘07 | BRIGHTON
19. G-Buffer : Our approach
R8 G8 B8 A8
Depth 24bpp Stencil DS
Lighting Accumulation RGB Intensity RT0
Normal X (FP16) Normal Y (FP16) RT1
Motion Vectors XY Spec-Power Spec-Intensity RT2
Diffuse Albedo RGB Sun-Occlusion RT3
‣ Lighting accumulation – output buffer
‣ Intensity – luminance of Lighting accumulation
‣ Scaled to range [0…2]
‣ Normal.z = sqrt(1.0f - Normal.x2 - Normal.y2)
GUERRILLA | DEVELOP CONFERENCE | JULY ‘07 | BRIGHTON
20. G-Buffer : Our approach
R8 G8 B8 A8
Depth 24bpp Stencil DS
Lighting Accumulation RGB Intensity RT0
Normal X (FP16) Normal Y (FP16) RT1
Motion Vectors XY Spec-Power Spec-Intensity RT2
Diffuse Albedo RGB Sun-Occlusion RT3
‣ Motion vectors – screen space
‣ Specular power - stored as log2(original)/10.5
‣ High range and still high precision for low shininess
‣ Sun Occlusion - pre-rendered static sun shadows
‣ Mixed with real-time sun shadow for higher quality
GUERRILLA | DEVELOP CONFERENCE | JULY ‘07 | BRIGHTON
21. G-Buffer Analysis
‣ Pros:
‣ Highly packed data structure
‣ Many extra attributes
‣ Allows MSAA with hardware support
‣ Cons:
‣ Limited output precision and dynamic range
‣ Lighting accumulation in gamma space
‣ Can use different color space (LogLuv)
‣ Attribute packing and unpacking overhead
GUERRILLA | DEVELOP CONFERENCE | JULY ‘07 | BRIGHTON
23. Geometry Pass
‣ Fill the G-Buffer with all geometry (static, skinned, etc.)
‣ Write depth, motion, specular, etc. properties
‣ Initialize light accumulation buffer with pre-baked light
‣ Ambient, Incandescence, Constant specular
‣ Lightmaps on static geometry
‣ YUV color space, S3TC5 with Y in Alpha
‣ Sun occlusion in B channel
‣ Dynamic range [0..2]
‣ Image based lighting on dynamic geometry
GUERRILLA | DEVELOP CONFERENCE | JULY ‘07 | BRIGHTON
24. Image Based Lighting
‣ Artist placed light probes
‣ Arbitrary location and density
‣ Sampled and stored as 2nd order spherical harmonics
‣ Updated per frame for each object
‣ Blend four closest SHs based on distance
‣ Rotate into view space
‣ Encode into 8x8 envmap IBL texture
‣ Dynamic range [0..2]
‣ Generated on SPUs in parallel to other rendering tasks
GUERRILLA | DEVELOP CONFERENCE | JULY ‘07 | BRIGHTON
26. Decals and Weapon Passes
‣ Primitives updating subset of the G-Buffer
‣ Bullet holes, posters, cracks, stains
‣ Reuse lighting of underlying surface
‣ Blend with albedo buffer
‣ Use G-Buffer Intensity channel to fix accumulation
‣ Same principle as particles with motion blur
‣ Separate weapon pass with different projection
‣ Different near plane
‣ Rendered into first 5% of depth buffer range
‣ Still reacts to lights and post-processing
GUERRILLA | DEVELOP CONFERENCE | JULY ‘07 | BRIGHTON
27.
28.
29. Light Accumulation Pass
‣ Light is rendered as convex geometry
‣ Point light – sphere
‣ Spot light – cone
‣ Sun – full-screen quad
‣ For each light…
‣ Find and mark visible lit pixels
‣ If light contributes to screen
‣ Render shadow map
‣ Shade lit pixels and add to framebuffer
GUERRILLA | DEVELOP CONFERENCE | JULY ‘07 | BRIGHTON
30. Determine Lit Pixels
‣ Marks pixels in front of the far light boundary
‣ Render back-faces of light volume
‣ Depth test GREATER-EQUAL
‣ Write to stencil on depth pass
‣ Skipped for very small distant lights
GUERRILLA | DEVELOP CONFERENCE | JULY ‘07 | BRIGHTON
31. Determine Lit Pixels
‣ Find amount of lit pixels inside the volume
‣ Start pixel query
‣ Render front faces of light volume
‣ Depth test LESS-EQUAL
‣ Don’t write anything – only EQUAL stencil test
GUERRILLA | DEVELOP CONFERENCE | JULY ‘07 | BRIGHTON
32. Render Shadow Map
‣ Enable conditional rendering
‣ Based on query results from previous stage
‣ GPU skips rendering for invisible lights
‣ Max 1024x1024xD16 shadow map
‣ Fast and with hardware filtering support
‣ Single map reused for all lights
‣ Skip small objects
‣ Small in shadow map and on screen
‣ Artist defined thresholds for lights and objects
GUERRILLA | DEVELOP CONFERENCE | JULY ‘07 | BRIGHTON
33. Shade Lit Pixels
‣ Render front-faces of light volume
‣ Depth test - LESS-EQUAL
‣ Stencil test - EQUAL
‣ Runs only on marked pixels inside light
‣ Compute light equation
‣ Read and unpack G-Buffer attributes
‣ Calculate Light vector, Color, Distance Attenuation
‣ Perform shadow map filtering
‣ Add Phong lighting to frame buffer
GUERRILLA | DEVELOP CONFERENCE | JULY ‘07 | BRIGHTON
34. Light Optimization
‣ Determine light size on the screen
‣ Approximation - angular size of light volume
‣ If light is “very small”
‣ Don’t do any stencil marking
‣ Switch to non-shadow casting type
‣ Shadows fade-out range
‣ Artist defined light sizes at which:
‣ Shadows start to fade out
‣ Switch to non-shadow casting light
GUERRILLA | DEVELOP CONFERENCE | JULY ‘07 | BRIGHTON
35. Sun Rendering
‣ Full screen quad
‣ Stencil mark potentially lit pixels
‣ Use only sun occlusion from G-Buffer
‣ Run final shader on marked pixels
‣ Approx. 50% of pixels skipped thanks 1st pass
‣ Also skybox/background
‣ Simple directional light model
‣ Shadow = min(RealTimeShadow, Occlusion)
GUERRILLA | DEVELOP CONFERENCE | JULY ‘07 | BRIGHTON
36. Sun – Real-Time Shadows
‣ Cascade shadow maps
‣ Provide more shadow detail where required
‣ Divide view frustum into several areas
‣ Split along view distance
‣ Split distances defined by artist
‣ Render shadow map for each area
‣ Max 4 cascades
‣ Max 512x512 pixels each in single texture
‣ Easy to address cascade in final render
GUERRILLA | DEVELOP CONFERENCE | JULY ‘07 | BRIGHTON
37. Sun – Real-Time Shadows
‣ Issue: Shadow shimmering
‣ Light cascade frustums follow camera
‣ Sub pixel changes in shadow map
‣ Solution!
‣ Don’t rotate shadow map cascade
‣ Make bounding sphere of cascade frustum
‣ Use it to generate cascade light matrix
‣ Remove sub-pixel movements
‣ Project world origin onto shadow map
‣ Use it to round light matrix to nearest shadow pixel corner
GUERRILLA | DEVELOP CONFERENCE | JULY ‘07 | BRIGHTON
38. Sun - Colored shadow Cascades - Unstable shadow artifacts
39. MSAA Lighting Details
‣ Run light shader at pixel resolution
‣ Read G-Buffer for both pixel samples
‣ Compute lighting for both samples
‣ Average results and add to frame buffer
‣ Optimization in shadow map filtering
‣ Max 12 shadow taps per pixel
‣ Alternate taps between both samples
‣ Half quality on edges, full quality elsewhere
‣ Performance equal to non-MSAA case
GUERRILLA | DEVELOP CONFERENCE | JULY ‘07 | BRIGHTON
40. Forward Rendering Pass
‣ Used for transparent geometry
‣ Single pass solution
‣ Shader has four uberlights
‣ No shadows
‣ Per-vertex lighting version for particles
‣ Lower resolution rendering available
‣ Fill-rate intensive effects
‣ Half and quarter screen size rendering
‣ Half resolution rendering using MSAA HW
GUERRILLA | DEVELOP CONFERENCE | JULY ‘07 | BRIGHTON
41. Post-Processing Pass
‣ Highly customizable color correction
‣ Separate curves for shadows, mid-tones, highlight colors, contrast and
brightness
‣ Everything Depth dependent
‣ Per-frame LUT textures generated on SPU
‣ Image based motion blur and depth of field
‣ Internal lens reflection
‣ Film grain filter
GUERRILLA | DEVELOP CONFERENCE | JULY ‘07 | BRIGHTON
42. SPU Usage and Architecture
Putting it all together
GUERRILLA | DEVELOP CONFERENCE | JULY ‘07 | BRIGHTON
43. SPU Usage
‣ We use SPU a lot during rendering
‣ Display list generation
‣ Main display list
‣ Lights and Shadow Maps
‣ Forward rendering
‣ Scene graph traversal / visibility culling
‣ Skinning
‣ Triangle trimming
‣ IBL generation
‣ Particles
GUERRILLA | DEVELOP CONFERENCE | JULY ‘07 | BRIGHTON
44. SPU Usage (cont.)
‣ Everything is data driven
‣ No “virtual void Draw()” calls on objects
‣ Objects store a decision-tree with DrawParts
‣ DrawParts link shader, geometry and flags
‣ Decision tree used for LODs, etc.
‣ SPUs pull rendering data directly from objects
‣ Traverse scenegraph to find objects
‣ Process object's decision-tree to find DrawParts
‣ Create displaylist from DrawParts
GUERRILLA | DEVELOP CONFERENCE | JULY ‘07 | BRIGHTON
52. SPU Architecture
DRAW
GAME, AI PREPARE GAME, AI PREPARE
PHYSICS DRAW
DATA
PHYSICS DRAW PPU
LOCK
SPU 0
SPU 1
SPU 2
SPU 3
Particles, Skinning Main scenegraph + displaylist IBL generation
edgeGeom Shadow scenegraph + displaylist
GUERRILLA | DEVELOP CONFERENCE | JULY ‘07 | BRIGHTON
53. Conclusion
‣ Deferred rendering works well and gives us artistic
freedom to create distinctive Killzone look
‣ MSAA did not prove to be an issue
‣ Complex geometry with no resubmit
‣ Highly dynamic lighting in environments
‣ Extensive post-process
‣ Still a lot of features planned
‣ Ambient occlusion / contact shadows
‣ Shadows on transparent geometry
‣ More efficient anti-aliasing
‣ Dynamic radiosity
GUERRILLA | DEVELOP CONFERENCE | JULY ‘07 | BRIGHTON