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Bickerstaff benson making3d games on the playstation3
- 1. Making 3D Gameson the PlayStation 3 ® by Ian Bickerstaff & Simon Benson, Sony Computer Entertainment Stereoscopic 3D Team
- 2. Making 3D Gameson the PlayStation 3 ® • What is stereoscopic 3D and why have 3D games? • Stereoscopic theory and how to make high quality 3D images • Rendering 3D images on the PlayStation 3 ® • Case studies • Future work
- 3. What is stereoscopic3D? Images from slightly different viewpoints are presented to each eye The difference between the two images is called parallax The brain combines the images to reconstruct the 3D world
- 4. No th ingne w … Le petit journal pour rire 1859
- 5. No th ingne w … • 1 8 3 2 firs t 3 D v ie w ing de v ic e Sir Charles Wheatstone reflecting stereoscope
- 6. No th ingne w … Brewster • 1 8 3 2 firs t 3 D v ie w ing de v ic e stereoscope & stereocards • 1 8 4 4 3 D ph o to v ie w e r Col Ian Bickerstaff Robert Howlett’s 3D image of “Great Eastern” Captain William Harrison, 1857
- 7. No th ingne w … Jules Duboscq Bioscope disc • 1 8 3 2 firs t 3 D v ie w ing de v ic e • 1 8 4 4 3 D ph o to v ie w e r • 1 8 5 2 3 D m o v ie s s upplie d o n inte rc h a nge a b le dis ks Col Joseph Palteau, University of Ghent For Cross-eyed viewing
- 8. No th ingne w … • 1 8 3 2 firs t 3 D v ie w ing de v ic e • 1 8 4 4 3 D ph o to v ie w e r • 1 8 5 2 3 D m o v ie s s upplie d o n inte rc h a nge a b le dis ks • 1 8 5 8 3 D s h utte r gla s s e s (m e c h a nic a l) Look through here! D’Almeida Eclipse stereoscope
- 9. No th ingne w … • 1 8 3 2 firs t 3 D v ie w ing de v ic e • 1 8 4 4 3 D ph o to v ie w e r • 1 8 5 2 3 D m o v ie s s upplie d o n inte rc h a nge a b le dis ks • 1 8 5 8 3 D s h utte r gla s s e s (m e c h a nic a l) • 1 8 9 3 3 D po la ris e d gla s s e s John Anderson’s “Stereoscope for polarised light” 1930s polarised 3D glasses
- 10. No th ingne w … Paul Mortier • 1 8 3 2 firs t 3 D v ie w ing de v ic e electrically • 1 8 4 4 3 D ph o to v ie w e r synchronised shutter glasses • 1 8 5 2 3 D m o v ie s s upplie d o n inte rc h a nge a b le dis ks • 1 8 5 8 3 D s h utte r gla s s e s (m e c h a nic a l) • 1 8 9 3 3 D po la ris e d gla s s e s • 1 8 9 6 e le c tric a lly s ync h ro nis e d s h utte r gla s s e s 1930s 3D shutter glasses
- 11. No th ingne w … Lumiere brothers’ • 1 8 3 2 firs t 3 D v ie w ing de v ic e Autochrome process • 1 8 4 4 3 D ph o to v ie w e r • 1 8 5 2 3 D m o v ie s s upplie d o n inte rc h a nge a b le dis ks • 1 8 5 8 3 D s h utte r gla s s e s (m e c h a nic a l) • 1 8 9 3 3 D po la ris e d gla s s e s • 1 8 9 6 e le c tric a lly s ync h ro nis e d s h utte r gla s s e s • 1 9 0 3 c o lo ur 3 D ph o to gra ph s Col Ian Bickerstaff
- 12. No th ingne w … • 1 8 3 2 firs t 3 D v ie w ing de v ic e • 1 8 4 4 3 D ph o to v ie w e r • 1 8 5 2 3 D m o v ie s s upplie d o n inte rc h a nge a b le dis ks • 1 8 5 8 3 D s h utte r gla s s e s (m e c h a nic a l) • 1 8 9 3 3 D po la ris e d gla s s e s • 1 8 9 6 e le c tric a lly s ync h ro nis e d s h utte r gla s s e s Radio News, November 1928 • 1 9 0 3 c o lo ur 3 D ph o to gra ph s Baird Stereoscopic television • 1 9 2 8 3 D TV de m o ns tra te d Modification by Erik Kurland
- 13. No th ingne w … Ivan Sutherland’s Head Mounted • 1 8 3 2 firs t 3 D v ie w ing de v ic e Display • 1 8 4 4 3 D ph o to v ie w e r • 1 8 5 2 3 D m o v ie s s upplie d o n inte rc h a nge a b le dis ks • 1 8 5 8 3 D s h utte r gla s s e s (m e c h a nic a l) • 1 8 9 3 3 D po la ris e d gla s s e s • 1 8 9 6 e le c tric a lly s ync h ro nis e d s h utte r gla s s e s • 1 9 0 3 c o lo ur 3 D ph o to gra ph s • 1 9 2 8 3 D TV de m o ns tra te d • 1 9 6 5 inte ra c tiv e 3 D CGI
- 14. Why has 3Dreturned? New LCD TVs make high quality 3D affordable H I s ta nda rd no w inc lude s 3 D DM The PlayStation 3 is an ideal 3D image ® generator 3D gaming will be widely available soon
- 15. Why have 3Dgames? Increases the immersion and realism
- 16. Why have 3Dgames? Improves the clarity of visual information
- 17. Why have 3Dgames? Improves the clarity of visual information
- 18. Why have 3Dgames? Improves depth perception
- 19. How stereoscopic 3Dworks The difference in the position of our eyes generates parallax The closer the object, the more parallax is observed Distant objects produce virtually no parallax Replace our eyes with cameras to capture the 3D effect The distance between the cameras is called the “Interaxial” Increasing the interaxial increases the parallax
- 20. How stereoscopic 3Dworks – imagine a 3D TV in the room
- 21. How stereoscopic 3Dworks – the perfect 3D TV…
- 22. How stereoscopic 3Dworks – the parallax matches perfectly
- 23. How stereoscopic 3Dworks- render the images from our cameras Will this recreate the effect?
- 24. How stereoscopic 3Dworks – the parallax doesn’t match…. …compensate for the sideways shift
- 25. How stereoscopic 3Dworks –our current image again
- 26. How stereoscopic 3Dworks –what is required “convergence”: controls the depth placement of the image
- 27. How stereoscopic 3Dworks – back in the room it now looks correct “ortho-stereoscopic” viewing
- 28. How to implementinteraxial and convergence shifts y z Interaxial: a local world space translation in the x axis x y Convergence: a screen space translation in the x axis x
- 29. How to implementinteraxial and convergence shifts y z Interaxial: a local world space translation in the x axis x y Convergence: a screen space translation in the x axis x asymmetrical viewing frusta “point of convergence” ...determines on which side of the screen objects lie
- 30. Interaxial and convergencein real cameras Stereoscopic camera with built in convergence Stereo Realist 35mm camera 1947 Non-stereoscopic cameras toed in to achieve convergence
- 31. The problem withtoeing in… Keystone distortion! Always avoid toeing in your cameras!
- 32. Story so far… Adjustedthe interaxial Adjusted the convergence We have replicated reality!
- 33. The limitations ofparallax –positive and negative parallax
- 34. The limitations ofparallax – viewing difficulty always focus here
- 35. The limitations ofparallax – the acceptable limits C O MF O R T ZON E
- 36. The limitations ofparallax -divergence
- 37. The limitations ofparallax: cinemas –the screen is far away Close objects require too much negative parallax
- 38. The limitations ofparallax: televisions –the screen is close to the viewer Distant objects require too much positive parallax
- 39. Exactly how muchpositive parallax? We need to know... The size of the screen – maybe but not guaranteed The viewing distance – need head tracking The amount of light entering the viewer’s eyes – not practical to measure The viewer’s stereoscopic ability – not practical to measure
- 40. Parallax Management –use an arbitrary value • A de fa ult m a xim um +v e pa ra lla x o f 1 / 3 0 th s c re e n w idth • A o ids div e rge nc e fo r s c re e ns up to 9 0 v inc h e s 1/30th screen width
- 41. Parallax Management –use an arbitrary value • A de fa ult m a xim um +v e pa ra lla x o f 1 / 3 0 th s c re e n w idth • A o ids div e rge nc e fo r s c re e ns up to 9 0 v inc h e s 1/30th screen width On a typic a l s c re e n th e m a xim um de pth is a ppro xim a te ly th e s a m e a s th e v ie w ing dis ta nc e A o inc lude a 3 D s tre ngth s lide r ls
- 42. Limiting the positiveparallax: solution 1 as it originally was... Restrict the depth in your world to be within the required parallax range
- 43. Limiting the positiveparallax: solution 1 with a wall added... Restrict the depth in your world to be within the required parallax range
- 44. Limiting the positiveparallax: solution 1 – how the depth is perceived max parallax real world viewed world Accurate depth but large restrictions on the game design
- 45. Limiting the positiveparallax: solution 2 as it originally was... Reduce the amount of convergence
- 46. Limiting the positiveparallax: solution 2 convergence reduced ...but the objects are now in front of the screen Reduce the amount of convergence
- 47. An aside: placementand scaling in stereoscopic 3D Decrease the convergence Everything moves closer y x Everything decreases in size
- 48. An aside: placementand scaling in stereoscopic 3D Decrease the convergence Everything moves closer y x Everything decreases in size Decrease the interaxial Objects in the foreground move further y away z Objects in the foreground increase in x size Objects in the distance are unchanged
- 49. An aside: placementand scaling in stereoscopic 3D First adjust your convergence to position y your distant objects x y z Then adjust the interaxial until your foreground objects are correct x ...see how this affects the room scene
- 50. Limiting the positiveparallax: solution 2 with reduced interaxial ...foreground objects now the correct side of the screen
- 51. Limiting the positiveparallax: solution 2 max parallax display infinity compressed expanded real world viewed world ...acceptable parallax, but the world appears distorted
- 52. What happens ifyou alter your viewing distance? real world viewed world The amount of perceived depth increases with viewing distance
- 53. Choice of lenses real world viewed world What happens if the viewer is stationary but the camera and field of view are altered?
- 54. Choice of lenses– wide angle lenses real world viewed world A wide angle lens exaggerates depth
- 55. Choice of lenses– telephoto style lenses real world viewed world A telephoto-style lens will compress depth – not good for 3D
- 56. Lens choice toimprove the solution 2 distortion: before max parallax display infinity real world viewed world Can the distortion from before be improved?....
- 57. Lens choice toimprove the solution 2 distortion: after max parallax display infinity real world viewed world The foreground objects are now closer to their correct positions
- 58. Summary – acompromise Televisions limit the amount of positive parallax we can use Either limit the depth of our world – game design issues Or Alter the 3D settings - distortion Adjusting the 3D settings can control the distortion This is the challenge of stereography!
- 59. Negative parallax limitations?– objects coming out of the screen What we would like to see...
- 60. Negative parallax limitations?– objects coming out of the screen What we actually see – “window violations”
- 61. Other parallax limitations:2D overlays on the screen What we would like to see
- 62. Other parallax limitations:depth conflicts What we actually see
- 63. Summary about negativeparallax • Keep most objects behind the screen • Best for fast moving objects and special FX • Occasional negative parallax is entertaining!
- 64. Other issues: Fusion– regions of similar parallax The brain can fuse together regions of similar parallax to form a single image Large variations in parallax can’t be fused Handy for extracting objects from backgrounds Repeatedly switching between fusion zones is tiring
- 65. Scaling the worldto maximise the parallax Our stereoscopic vision works best for objects close to us What if our game world operates outside of that range?
- 66. Scaling the worldto maximise the parallax Here the cameras are metres apart It is as if we are a giant looking down on the world The apparent size of our 3D world is a creative decision
- 67. Summary of otherissues • Avoid the requirement to switch from fusion zone to zone • The world can be scaled to bring it into our 3D perception range
- 68. Implementation on thePlayStation 3 – SDK facilities available ® • supports 3D output • tells you if the TV supports 3D • gives you the screen size • The choice to switch to 3D is up to the user from within your game
- 69. Implementation on thePlayStation 3 – a 3 step process ® 1280 pixels Step 1: Generate two images Left 720 pixels Render into a 1280x1470 buffer Images automatically converted into HDMI 3D output at 59.94Hz 1470 pixels 30 pixel gap filled with any uniform colour 30 pixels Any frame rate up to 59.94 can be used Avoid frame tearing Right 720 pixels
- 70. Implementation on thePlayStation 3 – a 3 step process ® 1280 pixels Step 1: Generate two images • H rdw a re ups c a ling is a v a ila b le a Left 720 pixels • U c a le d 3 D im a ge s te nd to lo o k m uc h ps b e tte r th a n 2 D im a ge s • U e go o d a nti- a lia s ing s 1470 pixels 30 pixel gap filled with any uniform colour 30 pixels • Lo w - re s a nti- a lia s e d im a ge s lo o k m uc h b e tte r th a n h igh re s im a ge s w ith no a nti- a lia s ing Right 720 pixels
- 71. Implementation on thePlayStation 3 – a 3 step process ® Step 2: Apply convergence to define the maximum positive parallax • A 2D x axis translation in screen space • Shift the left image to the left and the right image to the right • Normally use 1/30th screen width as the default alternating left/right frames
- 72. Implementation on thePlayStation 3 – a 3 step process ® Step 2: Apply convergence to define the maximum positive parallax • Take care the convergence is applied to all your rendering pipeline alternating left/right frames
- 73. Implementation on thePlayStation 3 – a 3 step process ® Step 3: Apply the interaxial by horizontally offsetting the cameras • Keep the cameras parallel • Maximise the depth by increasing the interaxial until the closest objects are just behind the screen alternating left/right frames • Surprisingly, dynamically altering the interaxial is not that noticeable to the viewer interaxial = 2 X tan (horizontal field of view/2) x closest distance 30
- 74. Implementation on thePlayStation 3 – a 3 step process ® Step 3: Apply the interaxial by horizontally offsetting the cameras • Be careful with large interaxials – miniaturisation? • The field of view and camera distance can be adjusted too alternating left/right frames • Try to avoid window violations and depth conflicts interaxial = 2 X tan (horizontal field of view/2) x closest distance 30
- 75. Implementation on thePlayStation 3 – a 3 step process ® Step 3: Apply the interaxial by horizontally offsetting the cameras Take care with any 2D rendering tricks- are they OK in 3D? alternating left/right frames Reflections will need to be calculated for each eye
- 76. PlayStation 3 –Case studies ®
- 77. WipEoutHD •Max resolution : 1080P • Max refresh rate : 60Hz
- 78. WipEoutHD • Advantages •Immersion • Understanding of track flow
- 79.
- 80. WipEoutHD • 3D Userinterface
- 81.
- 82. MotorStorm: Pacific Rift •Max resolution : 720P • Max refresh rate : 30Hz
- 83. MotorStorm: Pacific Rift • Advantages • Immersion • Accessibility • Scale
- 84. MotorStorm: Pacific Rift • Performance • Frame tearing
- 85. MotorStorm: Pacific Rift • Field of view
- 86. MotorStorm: Pacific Rift • User interface opacity
- 87. MotorStorm: Pacific Rift • Split screen
- 88. SuperStardustHD •Max resolution : 1080P •Max refresh rate : 60Hz
- 89. SuperStardustHD Advantages •Clarity •Entertainment
- 90.
- 91. SuperStardustHD • Negative parallax (out of screen)
- 92. Future work- arendering technique used by Sony Pictures Entertainment • Pa ra lla x fro m de pth m a p • R nde r a e s ingle im a ge a nd c re a te th e s e c o nd im a ge us ing th e de pth m ap
- 93. Future work- arendering technique used by Sony Pictures Entertainment • Pa ra lla x fro m de pth m a p • La rge pa ra lla x c re a te s ga ps w h ic h ne e d to b e b a c kfille d • Tra ns pa re nc y a nd re fle c tio ns w o n’ t w o rk w ith th is a ppro a c h • Ne e d to c o m b ine it w ith full re nde ring fo r diffic ult o b je c ts • Ta ke s a b o ut 3 % o f th e to ta l SPUtim e pe r 6 0 H fra m e z
- 94. Acknowledgements F u rth e r re a din g : Introduction to stereoscopic 3D: Mendiburu, 3D Movie Making; Stereoscopic Digital Cinema from Script to Screen,2009 History References: Reynaud, Tambrun & Timby Paris in 3D; from Stereoscope to Virtual Reality 1850-2000, 2000 F Drouin, The Stereoscope and Stereoscopic Photography 1894
- 95.