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

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

17. Suppose we show alternating light/dark lines.

32. This is stored on your hard drive.

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

45. color = pow( tex2D( Sampler, Uv ), 2.2 )‏

46. Do your lighting calculations

47. Account for gamma on color output

52. Hardware does sampling for free

53. For Texture read:

54. D3DSAMP_SRGBTEXTURE

55. For RenderTarget write:

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

66. Definitely Gamma

67. Normal Map

69. Uncharted 2 had them as Linear

70. Artists have trouble tweaking them to look right

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

76. sRGB: PC and PS3 gamma

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.

87. Full Auto settings.

88. Outside blown out.

89. Cello case looks empty.

91. Note: 1 F-Stop is a power of two

93. Good News: HDR Image

94. Bad News: Now what?

96. Photomatix

97. This one is local

99. Simulate the Iris

100. Dynamic Range in different shots

101. Tunnel vs. Daylight

102. Simulate the Retina

103. Different Range within a shot

105. Within a Shot – HDR Tonemapping

106. Different Shots – Choosing the correct exposure?

107. Video Games

108. Within a Shot – HDR Tonemapping

110. Within a Shot – HDR Tonemapping

111. Different Shots

112. Automatic Exposure Adjustment

114. Creative Director, Microsoft Game Studios

116. Simplest version is:

117. F(x) = x/(x+1)

119. The crisper, more saturated blacks of improper gamma.

120. The nice soft highlights of Reinhard

122. CG Supervisor at Digital Domain

126. Film vs. Digital purists.

137. Filmic > Linear > Reinhard

138. In terms of “Soft Highights” vs. “Clamped Highlights”

140. What happens if we go down?

144. Three texture lookups

146. Replaces the entire Lin/Log and Texture LUT

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

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

163. Time for stage 3.

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?

179. SSAO Darkens Sunlight – BAD

180. Reduces perceived contrast

181. Makes lighting look flatter

183. No normals

184. No special filtering (I.e. Bilateral)‏

185. Processed in 64x64 blocks

187. Dilate Horizontal

188. Dilate Vertical

195. Uses half-res depth buffer

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

209. Deepens our Blacks

210. Artifacts are not too bad

211. Could use better filtering for halos

214. Here is the base overview.

219. Say you have 5 loads to do

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

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

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

245. SPUs issue one even and odd instruction per cycle

246. One line = One cycle

247. e6 = even, 6 cycle latency

252. Next instruction needs currAo

253. currAo won’t be ready yet

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

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.

282. We’re also looking for

283. Senior Lighting Artist.